María Luisa Anido (Isabel María Luisa Anido González) (26 January 1907 – 4 June 1996) was an Argentine classical guitarist and composer. Biography She was born 26 January 1907 in Morón, in the province of Buenos Aires, Argentina. She was the fourth daughter of Juan Carlos Anido and Betilda González Rigaud. Her family moved to Buenos Aires when she was very young. She studied with Domingo Prat in Argentina and Miguel Llobet in Spain. From 1925, she frequently performed in Argentina together with Llobet. Her first London appearance was in 1952 at the Wigmore Hall, and she spent several years in the 1960s performing and teaching in Russia. later she became professor at the conservatory of Buenos Aires. By the mid-1980s she lived again near Barcelona and died in Tarragona. María Luisa Anido's compositions for guitar "Composing is a wonderful task because of the sincerity it carries within, because of the act of creation […] because it reveals the greatest depths of the human soul." — María Luisa Anido María Luisa Anido has been one of the few female composer-performers of her time. Her compositions are mainly miniatures that reflect several aspects of her personality. Aire Norteño, her most popular piece, is a 'Bailecito', a little dance present in all festivities in north-western Argentina, which is generally accompanied by charangos, quenas and cajas. Anido frequently plays the bass notes pizzicato to emphasise the juxtaposition of 3/4 time in the bass and 6/8 in the melody, a characteristic that is frequently found in Argentine folklore. In 1927, Anido composed her first piece, Barcarola. Miguel Llobet, the Catalan guitarist, wrote to her shortly after that: "I have read and played your Barcarola; the voices are carried magnificently with admirable taste of their natural characteristics; the tone colours are perfect. Bravo, very well done. I think you should continue writing your excellent inspirations." In Canción del Yucatán, Anido alternates the characteristic Habanera rhythm with triples and rubatos that mark the sweet and feminine character of the piece. Following Llobet's example, she recreates, through glissandi and exquisite legato, the intimate atmosphere of the Mexican song 'Adiós ... Adiós ...'. Much of her music is inspired by Argentine folklore. Preludio campero illustrates the attitude of the gaucho as he improvises chords on his guitar until a small melody appears, without any hurry, with the tranquillity and liberty that the immensity of the pampas imparts. A