pedal in De mi Tierra rocks in a continuous movement. She is not afraid of the high positions on the guitar, so she plays with melodies in the higher notes, contrasting with that ostinato bass. In 1952, she travelled through Europe for the first time, and Bèrben in Italy published her Aire de Vidalita. This piece was inspired by one of the most popular lyric songs of Argentine folklore. The musicologist Carlos Vega said: "The 'vidalitas' are little songs of various characters and tempos. Sometimes they are tender love songs, sometimes cheerful, lively carnival songs. They became especially popular in Buenos Aires by the end of the 19th century. Their poetic form is not uniform, but generally it is a quatrain where the word 'vidalita' appears between the first and second and between the third and the fourth lines as follows: los días mas bellos, vidalita tienen su hora amarga y hasta en la agonía, vidalita luce la esperanza. María Luisa Anido prepares the theme with four bars of guitaristic arpeggios. The melody of the piece respects its characteristic rhythm, but instead of flowing in a homophone way or through parallel thirds, sixths or tenths, it is built as a chorale in four voices, which gives it a special depth. The Gato that concludes this group is one of the most popular dances. Its choreography can vary according to the region where it is danced, but it always keeps a picaresque character, and, like most Argentine dances, is repeated twice. After an introduction of 8 bars (generally accompanied by the dancers and audience clapping hands) the melody flows wittily and freely over a very simple harmonic ground. Departing from folkloric influences, Anido composed Canción de Cuna, which was published in Italy in 1953. The triplet figure that serves as upbeat to each bar reflects the rocking movement of a cradle or a mother's arms. This impressionist miniature once again reveals her acute sensitivity. Impressiones Argentinas was published in Argentina in 1953. This is a set of nine pieces that embrace almost all the nuances of Argentine folklore. In Boceto indígena, dedicated to Lalyta Almirón (a child prodigy born in 1914 who was the first Argentine guitarist to play in Europe), Anido alternates a Baguala rhythm with a tempo de danza and uses one of her favourite and original effects: harmonic tones in the basses of a two-voice melody. Damped basses