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Review of 'A Mimita'

Classical Guitar Magazine September 2009

Works for guitar by Maria Luisa Anido
Aire norteño; Barcarola; Canción del Yucatán; Adios, Adios; Preludio campero; De mi Tierra; Aire de Vidalita; Gato; Canción de cuna; Impresiones Argetinas; Boceto indígena; Preludio pampeano; Variaciones camperas; Triste; Santiagueña; Catamarqueña; Preludio Criollo; Canto de la llanura; El Misachico; Preludios nostáIgicos; Lejanía; Mar;Gris.

Maria Isabel Siewers.
Acqua Records 10AÑOS AQ 173

I was Iucky enough to meet Maria Luisa Anido (Mimita to her countless friends) a few times towards the end of her life, though I never heard her play live. She was a very charming lady; beneath the mask of age you could perceive the young girl she bad once been, and that made her company all the more desirable: as much a pleasure as an act of homage paid by someone nearly 20 years younger.

Now her friend Maria Isabel Siewers (younger still) has produced this CD of Anido pieces, an hour of them, played with an affection that is touching in the extreme, particularly in the more lyrical pieces such as Canción del Yucatán, Canción de Cuna, the Preludios nostálgicos.

The nine Impresiones Argentinas make a substantial contribution. They range widely in mood, explor ing aspects of Argentine life. If any one track expresses Argentina, it is Catamarqueña, an extraordinary evocation in Maria Isabel's capable hands - though I have to adrnit that I have never been to Argentina. The slow and melancholy Boceto indíqena is another example, the brooding resonance that Siewers conjures from her guitar's bass strings making the piece memorable. Preludio criollo is interesting too, with its idiosyncratic way with rhythm. Each one of the nine has something special about it.

Maria Luisa Anido did not record all her music; she was too modest, not realising that to have done so would be to render a service to 20th- century guitar history. Maria Isabel Siewers has remedied that unfortunate deficiency with the intense feeling for her subject that comes from close personal friendship and a shared love of their native land. A wrong has been righted, and there could not have been a more appropriate artist to do it.

Colin Cooper
Classical Guitar Magazine, September 2009