Original post 2016
Most recent update 6/25/2020
Quick Links to playlists for the 2020 Guitar Foundation of America lecture:
Spotify Playlist (Abridged, 62 minutes)
Spotify Playlist (Long, 4 hours)
*There are numerous recordings that are not currently available through these popular streaming formats. Some have been listed with the essays following. Hopefully, these playlists and resources can be a launching point for further listening.
If you would like to learn more about the women discussed in the GFA lecture, please see the information and essays below. If you would like to support my research, recordings and musical activities, you can "buy me a coffee" at https://ko-fi.com/candicemowbray.
A Little Background Information
In 2006, I presented a lecture at the Bethlehem Guitar Festival celebrating the contributions of women to the world of guitar as performers, composers and philanthropists. I shared biographies and music from female musicians associated with a variety of musical styles. Since that time, I have continued to study such contributions within the classical genre. I completed my doctoral thesis titled "Ida Presti as a Solo Performer and Composer of Works for Solo Guitar," at Shenandoah University in December 2012 and I have had the opportunity to give lectures for concert series, guitar festivals, libraries and public school events.
Much has changed since I first began collecting information. In the years since the Bethlehem lecture, the internet has made available resources that were once quite difficult to obtain. I reflect upon sitting on the floor of a library physically searching through decades of journals; mail-ordering used, out-of-production recordings and books at expenses that were difficult for a graduate student to manage; and graciously being gifted LP’s and other saved treasures that assisted my search for information. Although my doctoral thesis focused on Ida Presti, I collected resources about other guitarists, especially items pertaining to Luise Walker and Maria Luisa Anido. I look back on this decade with nostalgia and I am very happy to have physical evidence of my searches, however, the digital age has made possible an incredible ability to access, store and share information.
About the Essays and Posts
In addition to sharing my studies through lectures, I began during Women's History Month 2015 to share short essays on my public Facebook page highlighting the contributions of women guitarists with a primary focus on historic figures who also composed. By using Facebook, I was able to post direct links to sources, sheet music, recordings and videos in the comments area. I am in the process of revising the Facebook posts as well as my lectures into more formal writings. As this is a labor of love, it will take time and it is an ongoing project. I have begun the project here with this blog post.
Below, you will find short essays about the guitarists, lists of resources and links to the original Facebook posts. By visiting the Facebook posts, you will be able to view the comments for each post where you will find numerous links to videos, sheet music, etc. You can also share resources on those posts. Please try to share citations as well.
For each essay, I hope you will explore the lists of works cited and additional resources as well as associated bibliographies where applicable, and that you will be further drawn to the projects and writings of those people who have been working in this area of research and performance. Since these entries are informal and the blog template presents some limitations, footnotes are numbered with parentheses and the citations appear in an adapted Turabian style.
This project is ongoing and I revisit it from time to time with updates to this page. Clearly, it is not a definitive list: it is simply a beginning. Overtime, it will grow. Please continue to check back and you are welcome to share resources with me.
Women in Classical Guitar History
(Listed in chronological order)
Francesca Caccini (1587-ca. 1645)
Francesca Caccini (1587-ca. 1645) was an Italian composer and virtuosic singer who played guitar, lute, theorbo, harp and harpsichord. Francesca's mother and sister were also musicians and her father, Giulio Caccini, was a key figure in the early development of opera. Giulio, who was a singer as well as a lutenist and composer, participated in the famed discussions of the Florentine Camerata and is credited with establishing the use of monodic texture and creating stile recitativo (1)
Caccini worked for the Medici court from 1607-27 and again from 1633-1641. She eventually “became the highest paid musician at the Florentine Court.”(2) Her work included teaching, performing and composing, and she gave chamber performances throughout Europe. Her compositional output is said to have included over 300 titles by 1614 although only a small portion of her work has survived.(3) Surviving works include a book of songs and duets from 1618, an opera and some individual songs that survived in anthologies.(4) Published in 1618, her Il primo libro delle musiche (First book of music) was dedicated to the Cardinal de'Medici and consists of 36 songs including solos and soprano/bass duets. Her opera, La liberazione di Ruggiero (The liberation of Ruggiero), from 1625, is the first known opera by a female composer. At least two sources claim it was the first Italian opera performed outside of Italy.(5) She also contributed music to stage works by Rinuccini, Buonarroti, Saracinelli and Cicognini.
Francesca Caccini's Ill primo libro delle musiche of 1618: A Modern Critical Edition of the Secular Monodies by Ronald James Alexander and Richard Savino was published by Indiana University Press in 2004. The book contains seventeen secular monodies for one and two voices with figured bass accompaniment as well as biographical information, commentary on performance practices, text translations and a bibliography. Savino's ensemble, El Mundo, recorded a couple of Caccini's works on their album, What Artemisia Heard, for the Sono Luminus record label in 2015. The New Historical Anthology of Music by Women, also published by Indiana University Press, includes Doris Silbert's edition of “Aria of the Shepherd" from La Liberazione di Ruggiero and Carolyn Raney's transcription of "Maria, dolce Maria" from Il Primo Libro as well as a biographical essay by Suzanne Cusick and a list of suggested readings. An additional resource of interest to guitarists is Mariette Stephenson's solo guitar arrangements of several Caccini works which were self-published in 2016.
(1) K. Marie Stolba, The Development of Western Music: A History, Brief Second Edition (Madison, WI: Brown and Benchmark, 1995), 199-200.
(2) Andrew Clements, “Caccini: La Liberazione di Ruggiero CD review – first opera by a woman stands firmly on its own feet,” The Guardian, March 8, 2017, accessed June 20, 2020, https://www.theguardian.com/music/2017/mar/08/francesca-caccini-la-liberazione-di-ruggiero-cd-review-elena-sartori.
(3) Suzanne Cusick, “Francesca Caccini (1587-after 1641,” in New Historical Anthology of Music by Women, ed. James R. Briscoe (Bloomington, IN: Indiana University Press, 2004), 48-59.
(4) Cusick, 48.
(5) Stolba and Clements.
Ronald James Alexander and Richard Savino, Francesca Caccini's 'Il primo libro delle musiche' of 1618: A Modern Critical Edition of the Secular Monodies (Bloomington, IN: Indiana University Press, 2004).
“Giulio Caccini,” Naxos Records, accessed June 20, 2020, https://www.naxos.com/person/Giulio_Caccini/25238.htm.
Mariette Stephenson, Caccini Works for Solo Guitar (Self-published, 2016).
Nate Zuckerman, “Caccini, Francesca (1587-ca.1645),” Italian Women's Writers Library, University of Chicago, 2004, accessed June 20, 2020, https://www.lib.uchicago.edu/efts/IWW/BIOS/A0083.html.
Selection of Compositions:
Selection of Recordings:
What Artemisia Heard by El Mundo and Richard Savino (CD)
Italian Sirens by Ars Lyrica Houston (Youtube)
Francesca Caccini - Sacred and Secular Songs by Elena Cecchi Fedi (CD)
Mariette Stephenson's arrangements are available at https://www.stringsbymail.com/caccini-francesca-caccini-works-for-solo-guitar-pdf-download-16144.html
Ronald James Alexander and Richard Savino's book is available at https://www.amazon.com/Francesca-Caccinis-primo-libro-musiche-ebook/dp/B00272ML2E
Regina Strinasacchi (ca. 1761-1839)
Regina Strinasacchi is best known as the violinist for whom Mozart composed the Sonata in B-flat Major, k454 but she was also a guitarist of exceptional skill. She was born near Mantua in 1764 and trained at the conservatory of the Ospedale della Pieta (the institute of Vivaldi fame) in Italy. She also received some training in Paris. While in her 20's, Strinasacchi traveled through Italy. In 1784, she went to Vienna for two performances at the National Court Theater and performed the Sonata in B-flat with Mozart during a second concert. Her female contemporaries include Maria Anna Mozart (Wolfgang's sister), Maria Theresia von Paradis (a virtuoso pianist who wrote concertos and whose operas were staged) and Nancy Storace (soprano). She married an cellist and mandolinist, Johann Conrad Schlick, of the ducal chapel at Gotha and, after his death, moved to Dresden. She died in 1839. Although Strinasacchi's successes are most associated with violin performance, multiple biographical resources include reference to her skill as a guitarist, placing her in the same time frame and geography of many figures in this golden age of the guitar.
Philip James Bone, Guitar and Mandolin: Biographies of Celebrated Players and Composers for These Instruments, Internet Archive, 263-4, accessed June 20, 2020, https://archive.org/details/guitarmandolinbi00bone/page/262/mode/2up?q=Strinasacchi
Luis Dias, "Gender, Charity and Music," Luis Dias ~ Physician, Musician, Music Journalist, Writer, Photographer, Wild-life enthusiast, History buff, March 15, 2015, accessed June 20, 2020, https://luisdias.wordpress.com/2015/03/15/gender-charity-and-music/.
George Dubourg, The Violin: Some Account of That Leading Instrument and Its Most Eminent Professors, (London: Robert Cocks and Co., 1852), Google Books, accessed June 20, 2020. https://books.google.com/books?id=7y0DAAAAQAAJ&dq=schlick%20violin&pg=PA405#v=onepage&q=schlick%20violin&f=false, 405-6.
Kay Pech, Women and the Violin : A history of women violinists born before 1950, music written by women for the violin, and societal attitudes toward women violinists, Revised edition, Chamber Music Institute, December 2017, accessed June 20, 2020, https://chambermusicinstitute.com/women-violinists/, 11-12.
"Regina Strinasacchi Schlick (ca.1761-1839)," Violin Virtuosas, accessed June 20, 2020, http://violinvirtuosas.weebly.com/schlick.html.
Chappell White, "Regina Strinasacchi," Grove Dictionary of Music and Musicians Vol. 4, (New York, NY: Macmillan Press, 2001), 726-7.
Other Possible Resources:
Violin Virtuosas cites Musical Times, October 1, 1906, Vol. 47.
Mentioned in Andrew Robinson's Sudden Genius? The Gradual Path to Creative Breakthroughs, (United Kingdom: OUP Oxford, 2010), 10.
Emilia Giuliani-Guglielmi (1813-1850)
No Facebook post
James Akers, "James Akers introduces Emilia Giuliani (1813-1850)," October 1, 2018, video, https://www.youtube.com/watch?v=ua1r5BkvZjA.
Nicoletta Confalone and Robert Coldwell, Emilia Giuliani (1813-1850), (DGA Editions, 2013).
Thomas F. Heck, Mauro Giuliani: A Life for the Guitar (Austin, TX: Guitar Foundation of America, 2013).
Peter Schleuning and Jannis Wichmann, "Giuliani, Emilia," Sophie Drinker Institute, 2014, accessed June 22, 2020, https://www.sophie-drinker-institut.de/giuliani-emilia.
Variations on L'amo from I Montecchi ed i Capuleti by Bellini op. 1, Milan 1834
Belliniana no. 1, ossia varii pezzi tratti dale opera di Bellini, ridotti e variati op. 2, Milan 1834
Variations on Ah perchè non posso odiarti by Bellini op. 3, Milan 1836
Belliniana no. 2, ossia varii pezzi tratti dalle opere del Maes. Bellini, ridotti e variati op. 4, Milan 1835
Variations on Non più mestaby Rossini op. 5, Milan 1836
Belliniana No. 3, ossia vari pezzi tratti dalle opere de Maes. Bellini, ridotti e variati op. 6, Milan 1835
Belliniana No. 4, ossia vari pezzi tratti dalle opere del Maes. Bellini, ridotti e variati op. 7, Milan 1835
Belliniana No. 5, ossia vari pezzi tratti dalle opere des Maes. Bellini, ridotti e variati op. 8, Milan 1836
Variazioni su un tema di Mercadante op. 9, Milan 1837
Belliniana No. 6, ossia vari pezzi tratti dalle opere del Maes. Bellini op. 11, Milan 1836
Six Preludes op. 46, Vienna 
Selection of Recordings:
The Woman's Voice by Connie Sheu (CD)
La Donne e la Chitarra by James Akers (CD)
Prelude 1 played by John Mendle (Youtube)
Prelude 1 played by Annette Kruisbrink (Youtube)
Vespers by Emily Shaw (CD)
Preludes played by Emily Shaw (Youtube)
Belliniana no. 1 played by Frederica Artuso (Youtube)
Emilia Giuliani "Opera Complete per Chitarra" by Paolo Amico (CD)
Madame Sidney Pratten (1821-1895)
No Facebook post
Artemio Milla Gutierrez, “Sidney Pratten, Una mujer guitarrista en la Ingalterra del siglo XIX,” Royal Classics, third quarter 2012, accessed June 22, 2020, http://www.royalclassics.com/files/201208031145010.RC%2068%203T%202012.pdf, 7-8.
"Catharina Pratten," The Royal Parks, accessed June 22, 2020,
"Madame Sidney Pratten (Catharina Josepha Pratten (nee Pelzer))," National Portrait Gallery, accessed June 22, 2020,
Heike Matthiesen, "Madame Sidney Pratten," accessed June 22, 2020, https://madame-sidney-pratten.jimdosite.com/?fbclid=IwAR3MkDz7mJnlxlcellLs50OttKtGoccFjvxFS1ov-sKQ9rFxZsEXNq2N77s.
Frank Mott Harrison, Reminiscences of Madame Sidney Pratten: Guitariste and Composer (Bournemouth, England: Barnes and Mullins, 1899).
Daniel Nistico, "The Resourceful Guitarist," accessed June 22, 2020, https://www.danielnistico.net/sidney-pratten.html.
Daniel Nistico, "Mme. Sidney Pratten's Guitar School (c. 1859) - Part 1," accessed June 22, 2020, https://www.youtube.com/watch?v=KSBT1oFJaAU.
Maurice Summerfield, “Madame Sidney Pratten” in The Classical Guitar: Its Evolution, Players and Personalities since 1800 (Blaydon on Tyne, UK: Ashley Mark Publishing, 2002) 58-9.
*He recommends: Guitar News, July/August 1962 and Classical Guitar, December 1994
Harvey Turnbull, The Guitar from the Renaissance to the Present Day (Westport, CT: The Bold Strummer 1991).
List available on page 8 of:
Artemio Milla Gutierrez, “Sidney Pratten, Una mujer guitarrista en la Ingalterra del siglo XIX,” Royal Classics, third quarter 2012, accessed June 22, 2020, http://www.royalclassics.com/files/201208031145010.RC%2068%203T%202012.pdf.
Selection of Recordings:
Guitar Ladies by Heike Matthiesen (CD)
Carnaval de Venise played by Heike Matthiesen (Youtube)
14 Histoires de guitares by David Jacques (CD)
Forgotten, A Lament, Weary and Song Without Words played by David Jacques (Youtube)
Forgotten played by Emily Shaw (Youtube)
La Donne e la Chitarra by James Akers (CD)
Velvet Touch by Ulrich Wedemeier (CD)
Sadness played by Ciyadh Wells (Youtube)
Garden Waltz by Candice Mowbray (CD)
Vahdah Olcott-Bickford (1885-1980)
No Facebook Post
Vahdah Olcott-Bickford was born in Ohio in 1885. As a child, she moved to New Mexico and then Los Angeles, California. She began studying guitar at age eight and became the pupil of George C. Lindsey at age nine. Through Lindsey, she was introduced to Manuel Ferrer (1828-1904) with whom she studied for about a year until his sudden death. She moved to New York in 1914 and became known for her performances as well as teaching. She became the tutor to Mrs. Vanderbilt and her daughter, Cornelia. Bickford was invited to stay with the Vanderbilt family estate, Biltmore.
Vahdah's birth name was Ethyl Lucretia Olcott but she was influenced by astrology and changed her name to Vahdah. Zhe married Zahr Myron Bickford who was a multi-instrumentalist (including guitar and mandolin) and composer. The couple moved to Los Angeles where Bickford helped to establish the American Guitar Society which still exists today.
"She was a visionary collector of guitar music, guitar journals, letters from important musicians and other materials relating to the guitar and other plucked instruments."(1) Her immense collection of materials titled, "The Olcott-Bickford Collection," is housed by the International Guitar Research Archives at California State University, Northridge. There are about 7,000 musical scores in the collection. A description and guide to the collection can be viewed at:
Bickford wrote method books for plucked string instruments, composed and arranged numerous classical and popular musical works for performance on guitar. Her husband composed and dedicated works to her as well. Martin Guitars issued a signature Olcott-Bickford model guitar, an example of which hangs in their museum.
Maurice Summerfield stated, "There is little doubt that through her promotional efforts and her transcriptions of music for the guitar, she was one of the most influential figures in the North American classical guitar scene during the first 50 years of this century."(2)
Bickford gave her last concert in 1977 for the American Guitar Society and died in 1980 at the age of 94.
(1) Patricia Ward Biederman, "'Motherly Instincts' and a Passion for the Guitar," Los Angeles Times, September 21,1998, accessed June 20, 2020,
(2) Maurice Summerfield, "Vahdah Olcott-Bickford," The Classical Guitar, It's Evolution, Players and Personalities since 1800, (Blaydon on Tyne, UK: Ashley Mark, 2002), 58-9.
Jeffrey Noonan, The Guitar in America: Victorian Era to Jazz Age, (Jackson, MS: University Press of Mississippi, 2008).
Ernie Jackson, "Vahdah Olcott-Bickford," The Only Book You'll Ever Need - Guitar, (United Kingdom: F+W Media, 2012), accessed June 20, 2020, https://www.google.com/books/edition/The_Only_Book_You_ll_Ever_Need_Guitar/chxjDwAAQBAJ?hl=en&gbpv=0.
"Notes on Vahdah Olcott-Bickford and the Founding of AGS," American Guitar Society, accessed June 20, 2020, http://www.americanguitarsociety.org/anniversary.html.php.
This article may be from Guitar Review, No. 23, June, 1959.
Josefina Robledo (1892-1972)
***Most of the information from this post came from my rough translation of the Altrecorde website. Please visit the website listed in the works cited for the original article.
Guitarist Josefina Robledo was born in Valencia on May 10, 1892 and died in Godella on May, 25, 1972. She began her studies with Francisco Tarrega at the age of seven.(1) During a lecture in 1959, Robledo shared personal recounts of their first meeting and her consequent studies with Tarrega as well as time she spent caring for him. A transcription of that lecture and excerpts from letters by Tarrega to Robledo can be read by visiting http://altre-corde.blogspot.com/p/maestri.html.
Robledo moved to Buenos Aires in 1914 and gave concerts in Argentina, Uruguay, Paraguay and Brazil. "She performed in Sao Paulo in the same period as Barrios and Canhoto. Her refined style created a sensation in the city, not only because of the high level of her performance skills but also due to the fact that she was a female virtuoso, something rarely seen at that time."(2) Robledo returned in Spain in 1924, performing many concerts, but ended her concert career after being married in 1927. She continued to play for friends and give occasional performances. One of those concerts occurred November 20, 1952, for the centenary of the birth of Tárrega, with Pepita Roca, Daniel Fortea and Emilio Pujol.(3)
Photos of her published transcription of Chopin's "Marche Funebre" appear on the Altrecorde website. One of those photos shows the back page of the publication where a list of other published transcriptions by Robledo appears. Some of these publications can be accessed through the Royal Danish Library by searching for her name via the site's homepage. At least two of her scores come up as "Untitled."
(1) "Maestri: Josefina Robledo Gallardohe," Altre-Corde, accessed June 20, 2020, http://altre-corde.blogspot.com/p/maestri.html
(2) Joao Paulo Figueiroa da Cruz, “An Annotated Bibliography of Works by the Brazilian Composer Sergio Assad” (DMA, Florida State University, 2008), accessed June 20, 2020, http://purl.flvc.org/fsu/fd/FSU_migr_etd-4460, 6-7.
(3) Altrecorde: Maestri.
Website for the Josefina Robledo Festival Internacional de Guitarra de Godella
Leandro Marcio Goncalves, "O processo de difusao do violao classico no Brasil atraves da 'Escola de Taregga' entire 1916 e 1960," (Master Thesis, Universidad de Evora, 2015), accessed June 20, 2020, http://dspace.uevora.pt/rdpc/handle/10174/16400.
Maria Luisa Anido (1907-1996)
**I've learned quite a bit more about Anido since this essay was written and plan to revise. Please check back soon.
Maria Luisa Anido was born on January 26, 1907 in Morón, a province of Buenos Aires, In Argentina. She died in Tarragona, Spain on June 4, 1996. Anido had an incredible career as a concert artist and teacher, relentlessly touring throughout her lifetime with performances in South America, Europe, Russia, Japan and Cuba. Musically active into her latest years, Anido received honors in the form of awards, titles and musical tributes including being named Honorary Member of the University of Havana at age 80.
Anido grew up in an environment rich with guitar activity. Her father, Juan Carlos Anido, was a supporter of guitar and taught her first lessons. Domingo Prat took over as her guitar tutor and Anido gave her first full recital at age 11. Guitarists such as Emilio Pujol, Regino Sainz de la Maza, Miguel Llobet and Josefina Robledo were guests in her family home and her father founded La Guitarra Magazine.(1) Anido made recordings with Llobet between 1915 and 1929 which are considered to be among the earliest recordings of guitar in duo.(2) During her early career, Juan Carlos Anido accompanied his daughter when traveling for performances in Argentina and surrounding countries but upon his death in 1933, Anido ceased travels and taught in Buenos Aires. After her mother’s death in 1950, Anido embarked upon an extensive international touring career.
In addition to performing and teaching, Anido wrote numerous arrangements and original compositions for guitar, the later of which were often infused with Argentine folk elements. A few of her compositions include: Aire de vidalita, Aire norteno, Cancion del Yucatán, Preludios nostalgicos and Impresiones argentinas.
(1) Cristina Cid, “Maria Luisa Anido,” accessed January 26, 2020, http://www.guitarrasweb.com/marialuisaanido/curri.htm
(2) Jack Silver, liner notes to Legendary Treasure: Andres Segovia and His Contemporaries, Volume 6, Andres Segovia, Miguel Llobet and Maria Luisa Anido, DHR-7754, CD, 2000.
Anido, Maria Luisa. Impresiones argentinas: para guitarra. Buenos Aires: Editorial Julio Korn, 1953.
Anido, Maria Luisa. Lejania: preludio n.1: de la serie de Preludios nostálgicos. Buenos Aires: Ricordi Americana, 1979.
Becerra, Carmen. “Maria Luisa Anido.” Accessed January 26, 2020. http://www.carmen-becerra.com/maria-luisa-anido/
Cid, Cristina. “Maria Luisa Anido.” Accessed January 26, 2020. http://www.guitarrasweb.com/marialuisaanido/curri.htm
Silver, Jack. Liner notes to Legendary Treasure: Andres Segovia and His Contemporaries, Volume 4. Andres Segovia and Maria Luisa Anido. DHR-7719, CD, 1999.
Silver, Jack. Liner notes to Legendary Treasure: Andres Segovia and His Contemporaries, Volume 6. Andres Segovia, Miguel Llobet and Maria Luisa Anido. DHR-7754, CD, 2000.
Summerfield, Maurice. The Classical Guitar: Its Evolution, Players and Personalities Since 1800. 5th ed., Blaydon on Tyne: Ashley Mark Publishing, 2002.
Wikipedia: The Free Encyclopedia. “Maria Luisa Anido.” Last modified August 18, 2018. Accessed January 2, 2019. https://en.wikipedia.org/wiki/Mar%C3%ADa_Luisa_Anido
To be added
Selection of Compositions:
Aire de vidalita (from Serie Americana)
Cancion de cuna
Cancion del Yucutan
Cancion no. 3
Preludio Campero no. 3 (from Con cinco piezas)
Impresiones argentinas: I. Boceto indigena (dedicated to Lalyta Almiron)II. Preludio pampeano III. Variacions camperas IV. Triste V. SantiaguenaVI. Catamarquena VII. Preludio criollo VIII. Canto de la Llanura IX. El Misachico
Preludios nostalgicos: I. LejaniaII. MarIII. Gris
Poupurri de pericones
Selection of Arrangements:
To be added
Luise Walker (1910-1998)
**I'm currently working on the essay about Luise Walker. Here is a basic introduction and a list of resources.
Along with Ida Presti (1924-1967) and Maria Luisa Anido (1907-1996), Luise Walker (1910-1998) was one of the pre-war era guitarists sometimes referenced as the "Grand Dames" of the guitar. She took her first guitar lessons at eight years of age and was able to have lessons with Heinrich Albert and Miguel Llobet. Possessed with "formidable technique" and "a musicality whose warmth was comparably expressed in her willingness to help others,"(1) Walker became Professor of Guitar at the State Musical Academy in Vienna, made many concert tours and composed solos, studies and arrangements. Her "Kleine Romanze" is often performed.
(1) John Duarte, "Luise Walker (1910-1998)," Classical Guitar Magazine, November 1998.
Tobias Braun, "Guitarist Luise Walker and her Santos Hernandez Guitar," Tobias Braun Guitars, accessed June 22 2020, http://www.tobiasbraun-guitars.com/publikationen_en.php.
John Duarte, "Presti and Walker," Liner notes to Les grandes dames de la guitare, Ida Presti and Luise Walker Pear, Pavilion Records, Ltd., GEMM CD 9133, CD, 1995.
Maurice Summerfield, "Luise Walker," The Classical Guitar, It's Evolution, Players and Personalities since 1800, (Blaydon on Tyne, UK: Ashley Mark, 2002), 305.
Luise Walker, Ein Leben mit der Gitarre (Frankfurt, Germany: Musikverlag Zimmerman, 1989).
Luise Walker, interview by Maria Isabel Siewers, Classical Guitar Magazine, November 1998.
Selection of Compositions and Arrangements (some grouped by publication):
The Young Guitar Soloist: Alte Laute, Hofischer Tanz, Repos, Greensleeves, Carlito, Gaucho, Es waren zwei Konigskinder, Gitana, Adios, Variationen uber Leise rieselt der Schnee
Dance song and Etude in C Major
Altspanische Suite fur Altblockflote und gitarre op 49
Old Masters of the 17th Century (trans.)
Daily Training (method)
Miniatures: 10 Little Pieces
Favorite Guitar Pieces (edition of Tarrega’s music)
Variationene uber ein spanisches Lied
Brasilianisch and Etude in E Major
Marsch nach einer Tiroler Melodie and
5 Easy Compositions for Solo Guitar: Kleine Ballade; Prelude; Biedermeier-Walzer; Capriccio; Countryside by Night
Argentinische Weise; Triste; Volksweises
Musik für die gitarre luise walker (VOB6453) Composer: H. Marschner, Instrumentation: Solo; Guitar as per V.O. Bickford collection Box 109, Folder 9
Selection of Compositions Written for Walker:
En Tierras de Jerez para Luise Walker by Joaquin Rodrigo
"Prelude 2" from 5 Preludes by Guido Santorsola
Vals Romantico by Santorsola
Cancion para Luise Walker by Ekard Lind
Impressionen (flute and guitar for Walker and Werner Tripp Duo) by Heinrich Gattermeyer
Kassation I (flute, viola and guitar at request of Walker) by Gattermeyer
Partie im Dialog (flute and guitar for Walker and Werner Tripp Duo) by Gattermeyer
Fantasia for Guitar and Piano by Heinrich Haug -
Andres Segovia and his Contemporaries Vol. 3: Segovia and Walker, DOREMI (CD)
Ida Presti and Luise Walker: Les grandes dames de la guitare, Pearl (CD)
Guitar Recital by Luise Walker, Philips (LP)
Guitar Recital by Luise Walker, Supraphon (LP)
Guitar Recital by Luise Walker, Epic (LP)
G. Santorsola, Luise Walker, Vienna Symphony Orchestra, Paul Sacher - Concertino For Guitar And Orchestra, Philips (LP)
Luise Walker, Roncalli, Scarlatti, Sor, Santórsola, Villa-Lobos, Torroba*, Van Hoek - Famous Guitar Compositions, Supraphon (LP)
Paganini, Luise Walker - Quartet For Guitar, Violin, Viola & Cello / Terzetto Conceretante For Guitar, Viola & Cello, Turnabout (LP)
Schubert, Weber, Haydn, Luise Walker - Guitar Music In Vienna, Turnabout (LP)
Luise Walkerová* / Leo Witoszynskyj* - Kytarový Recitál, Supraphon (LP)
Luise Walker - Jota/Italienische Fantasie, Telefunken (LP)
Luise Walker, Franz Lehár - Concertino For Guitar And Orchestra / Die Czardasfürstin - Operettenquerschnitt, Philips (LP)
Menuetto (Donna Diana) / Standchen by Luise Walker, Decca (LP)
Luise Walker - Guitar, Test Pressing, Philips (LP)
Lali “Lalyta” Delfina Almirón (1914-1997)
A biography can be obtained at:
Ida Presti (1924-1967)
I published my doctoral thesis about Ida Presti in dearly 2013 and would like to direct you to the paper, its footnotes and bibliography for resources about Ida Presti. In the bilbliography, you will find citations for articles, videos and more by persons such as Elisabeth Presti, Anna Marillia, Eleftheria Kotzia, Alice Artzt, Angelo Gilardino, Gilbert Biberian, Andres Segovia and John Duarte. The paper is available for free download. A link and abstract are provided below. I have also written articles for Soundboard and Prodigies, publications of the Guitar Foundation of America.
Ida Presti as a Solo Performer and Composer of Works for Solo Guitar by Mowbray, Candice, D.M.A., Shenandoah University, 2012, 113; 3537481
Ida Presti (1924-1967) was one of history's greatest classical guitarists. Her extraordinary technique was matched by incredible musicianship. Remembered largely for her contributions to the guitar-duet medium, Presti was a child prodigy and gave many concerts as a soloist before she and her husband, Alexandre Lagoya (1929-1999), dedicated their careers to performing as a duo. Her few released solo recordings reveal that her virtuosity and musicality were evident early in her career. Throughout her lifetime, Presti's playing exhibited unique vitality and stunning facility. Esteemed colleagues remember Presti with fondness and reverence, considering her untimely death to be a great loss for the guitar community.
Presti's solo career and compositions for solo guitar are the primary focus of the study. Historical perspective is offered to determine possible influences on her education and repertoire. Her solo recordings and compositions were examined to identify aspects of her technique and interpretive style. Additionally, the study includes a discussion of select works written in homage to Presti. Through these efforts, it is anticipated that readers will be encouraged to listen to Presti's recordings and perform her compositions and the works written in her honor.
Selection of Resources:
Olivier Chassain, ed., Ida Presti: Oeuvres pour guitare seule (Ancona, Italy: Berben, 2018).
S. Patrick Flynn, "The Revival of the Classical Guitar Duet medium through Ida Presti and Alexandre Lagoya," (DMA diss., University of Memphis, August 2005).
Eleftheria Kotzia, "Wish You Were here ida Presti 1924-1967," Classical Guitar, May 1992, 11.
Eleftheria Kotzia, “Wish You Were Here: 40th Anniversary of the passing of Ida Presti,” Tar, April 4, 2007, accessed June 22, 2020, www.tar.gr/en/content/content/print.php?id=454.
Guitar Review, Issue 31 (May 1969).
La Guitare, 4th Quarter (1984).
Anne Marillia and Elisabeth Presti, Ida Presti: Her Life, Her Art (Ancona, Italy: Berben, 2005).
Selection of Presti and Presti-Lagoya Recordings:
The Art of Ida Presti, Istituto Discografico Italiano (CD)
Ida Presti and Luise Walker: Les grandes dames de la guitare, Pearl (CD)
G.E. 13 Ida Presti and Alexandre Lagoya Solos, Golden Era (CD)
Ida Presti and Alexandre Lagoya Live, Mount Orford, Cananda, 1962 & 1963, DOREMI (CD)
L'art de Alexandre Lagoya avec Ida Presti, Decca (CD set)
Discography available at https://www.discogs.com/artist/1819074-Ida-Presti
Presti's Solo Compositions:
Etude du matin
Prelude en pensant a Bach
Etude D’Arpeges (Etude I)
Etude II en accords
Etude III en pensant a Bach
Presti's Duo Compositions:
Selection of Recordings of Presti's Compositions:
A Tribute to Ida Presti by Cinzia Milani (CD)
The Works of Ida Presti for Two Guitars by Olivier Chassain and Stein-Erik Olsen and Olivier Chassain (CD)
The Woman's Voice by Connie Sheu (CD)
Guitar Ladies by Heike Mattiessen
Vespers by Emily Shaw
Composition Feminine by Chris Bilobram (CD)
Reverie by Candice Mowbray (CD)
To Be Added
Renata Tarrago (1927-2005)
Luisa M. de Roca
Luisa M. de Roca
Maria Angelica Funes
Teresa de Rogatis
Maria Rita Brondi (1889 -1941)
Madeleine Cottin (1876 -after 1952)
Julie Fondard (ca.1819 -1864)
Madame De Goni (Madame Knoop)
Consuelo Mallo Lopez
Celia Rodrigues Boque
Maria Esperanza Pascual Navas
Irma Haydee Perazzo