Annotations for the History of the Classical Guitar in Argentina 1822-2000, 4 Vols.

Authors: Randy Osborne, Héctor García Martínez | Index by Jan J. de Kloe

This is a history of the classical guitar when Argentina was the 6th largest economy in the world (a position now held by California). Virtuosos from Europe went there and their students were at times the Governor of a Province or his wife. These virtuosos arrived before the advent of the radio in 1920. The love of the guitar brought the importation of the most expensive instruments fabricated in Madrid and Barcelona. Some of these virtuosos had their photographs and eulogies in the Buenos Aires magazines more than 6 years before they ever gave their first concert in the "Paris" of South America.

"A monumental work worthy of awards."
-- Dr. James Westbrook, Classical Guitar Historian and Author

"It's the most important book about the classical guitar since Domingo Prat's "Diccionario de Guitarristas y Guitarreros" published in 1934."
-- Richard Bruné, Classical and Flamenco Guitar Maker and Historian

"I hardly know where to start praising this collection. I am flabbergasted at the scholarship."
-- An author colleague

Another colleague who is an author of books about collectable Classical Guitars said: "I hardly know where to start praising your work. I was flabbergasted at your scholarship. I, and probably many others, were unaware of the talent, patience and scholarship you quietly possess. Congratulations my friend. You will be mentioned in the same breath as Prat and Romanillos. By my rating system of Excellent, Very Good. Good, Fair, Poor' I would rate your tome of work as follows: Scholarship - Excellent Presentation - Excellent Readability - Excellent Importance - Excellent Value - Excellent Organization - Excellent Printing quality of text - Good Printing quality of illustrations - Good to Fair Overall - Excellent

Annotations for the History of the Classical Guitar in Argentina 1822-2000
by Randy Osborne and Héctor Garcia Martinez
ISBN 978-1-7345294-0-1, 978-1-7345294-1-8, 978-1-7345294-2-5, 978-1-7345294-3-2 $299.95

  • 2,630 pages about the World Center of Classical Guitar Activity
  • 77 page index by Jan J. de Kloe
  • Foreword by Richard Bruné
  • Over 175 biographies with 3,200 photos and images, 4 Volumes, 8 1/2” x 11”, Hardbound, 8" wide, 19.5 lbs
  • Translations of Spanish, French, Italian, Portuguese, Catalan and Japanese texts
  • Hundreds of concert programs: Tarrega, Miguel Llobet, Agustin Barrios, Emilio Pujol, Regino Sainz de la Maza, Maria Luisa Anido, Atahualpa Yupanqui, Lalyta Almiron, Abel Fleury, José Rey de la Torre, Vicente Gomez, Louise Walker, Julio S.Sagreras, Antonio Jiménez Manjon, Andrés Segovia, Hilarion Leloup, Consuelo Mallo Lopez, Maria Angelica Funes, Antonio Sinopoli, Pablo Escobar, Manuel Lopez Ramos, Josefina Robledo, Abel Carlevaro, Eduardo Falu, Domingo Prat, Blanca Prat, Nelly Ezcaray, Carmelo Rizzuti, Carlos Garcia Tolsa and the Estudiantina Figaro, Justo T. Morales, Ricardo Muñoz, Celia Salomon de Font, J. M. Oyanguren, Adolfina Raitzin, Ana Schneider de Cabrera, Emilio and César Bo, etc.
  • Hundreds of early 78 RPM record labels: Llobet, Barrios, Pujol, Sainz de la Maza, Yupanqui, Falu, Otermin, Ezcaray, Pierri, Luna, Oyanguren, Ladru, Chazaretta, Pardo, Veron, Diana Lavalle, Aguirre, etc.
  • In-depth views of the early days of the recording industry.
  • From the archives of: Mario Rodriguez Arenas, Ricardo Muñoz, Domingo Prat, Segundo N. Contreras, Blanca Prat, César Bo, Pedro Mascaro y Reissig, Eduardo Bensadon, Rosendo Barreiro.
  • Hundreds of 19th and early 20th-century sheet music covers, including the history of how 20th-century European publishers acquired rare 18th and 19th-century sheet music editions from dozens of child prodigies playing live on radio.
  • The Guitar in Uruguay, early Argentine and Uruguayan guitar societies and the monthly magazines they spawned.
  • Early Guitar Collector Books written by the auction appraisers.
  • The 11-String Guitar in the Rio de la Plata.
  • Interviews by Héctor Garcia Martinez with: Atahualpa Yupanqui, Noemi Toulouse, Maria Herminia Antola de Gomez Crespo, (Victor Villadango’s professor), Blanca Prat, Luisa Camacho and Luis Mendoza.
  • Interview by Richard “Rico” Stover with Lalyta and Lila Almiron.
  • Additional materials: 1858 Antonio de Torres guitar photos, Francisco Simplicio Catalog of all models and workshop photos, Enrique Sanfeliu Catalog of all models, Exports of Manuel Ramirez, Domingo Esteso, Juan Galan Catalog, 19th century Antigua Casa Nuñez ads, in-depth view of the guitarmakers of Argentina and Uruguay, involvement of Japanese guitarists in the Classical Guitar World of Argentina, 7 year study programs for Domingo Prat and Antonio Sinopoli students.

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“We can say that it documents, in the greatest possible detail, the period when Buenos Aires was the world center of all activities linked to classical guitar. The index contains over 7,500 names related to the guitar.”
-- Dr. Marco Bazzotti

“I was immediately struck by Mr. Osborne’s effective use of an associative approach to the exposition of the wealth of information. Instead of a strictly chronological or thematic structure, he often expands materials to include related materials,allowing the reader a synoptic view of the work’s unfolding scope.”
-- Dr. Jack Silver- Designer Segovia and his Contemporaries CDs

“When your book is released it will create a sensation, it will prompt more research (said in 2009), you have actually written 4 books (said in August 2018, when working on the index). I learned a few things about Barrios too.”
-- Richard “Rico” D. Stover

“This is a remarkable outcome from a monumental undertaking! Guitar activities in Argentina were so varied and numerous that only a work of this size could possibly give the reader a complete perspective. The personalities, performances and general atmosphere come to life through the immense number of photographs and programs. Translated text from the many published and unpublished sources adds great detail to the activities of well-known performers as well as brings to life the many lesser known personalities. Any student, performer or enthusiast would find something of delight and discovery in this book.”
-- Robert Coldwell, Digital Guitar Archive

“This is one of the most exciting guitar history publications that I have received and its arrival is so timely with regard to providing the full panorama of the guitar history of the period, including the many significant women guitarists and composers. The original source material provided here is invaluable.”
-- Thérèse Wassily Saba, International Classical Guitar


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