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Miquel Llobet
Miguel Llobet Solés (18 October 1878 22 February 1938) was a classical guitarist, born in Barcelonamarker (Cataloniamarker). Llobet was a renowned virtuoso who toured Europe and America extensively. He made well known arrangements of Catalan folk songs for the solo guitar and is also the composer of original works.


Some details of Llobet's biography are confused and contradictory. The son of a wood sculptor, he was baptized in the month of his birth in the church of Sant Just i Pastor on the Carrer de la Palma de Sant Just, the street where he spent his boyhood, just a few streets from the Carrer Gignàs, which (from 1884 through 1885) was the residence of his eventual teacher Francisco Tárrega. He was trained as an artist, revealing a talent for painting, and continued to paint throughout his life. His earliest musical training was on the violin and the piano. Later he received a guitar as a gift from an uncle. In December, 1889, Llobet heard Antonio Jiménez Manjón (1866-1919) give a guitar recital at the Teatre Catalunya in Barcelona, and was inspired to seek instruction on the guitar from Magí Alegre.

Llobet first met, and played for, the great guitar pedagogue Francisco Tárrega in October 1892. Two years later he began to study with him at the Municipal Conservatory of Music in Barcelona. By his own account, his studies with Tárrega do not seem to have been based on any particular method, rather Llobet would observe Tárrega play and then experiment with his techniques at home. "Così, più che impararla, io sperimentavo la mia tecnica sulla chitarra". ("In this way, more than by learning it, I experimented with my guitar technique.") (Tonazzi1996, 13-14).

He began giving private concerts for intimate gatherings in 1898. In 1900, he met Concepción Jacoby, Tárrega’s patron, who also became his own patron, helping him to launch an international career. His first public concert took place in 1901 at the Conservatory of Valènciamarker. During that same year, he also performed at conservatories in Sevillemarker and Malagamarker, where he was awarded the honorary title of Professor. He played at the Teatro de la Comedia in 1902 and before the Spanish Royal Family in Madridmarker in 1903.

In 1904 in Parismarker Llobet's first concert outside Spain was presented by Ricardo Viñes, the noted pianist. At this time that he first came into contact with the avant garde. Paris was apparently kind to Llobet, as he returned to live there in 1905, performing at such prestigious venues as the Schola Cantorum, La Trompette and the Société Nationale de Musique. According to Ronald Purcell , he resided there until 1910. In the biographical sketch given by Bruno Tonazzi , Llobet returned to Paris in 1910 but according to Purcell he probably temporarily relocated to Buenos Airesmarker in that year. From there he performed throughout South and Central America and the Caribbeanmarker in a series of tours largely arranged by Domingo Prat, (author of theDiccionario de Guitarristas (1933)), Juan Anido (father of María Luisa Anido) and Ruiz Romero of the publishing house Romero y Fernandez. In 1912, Llobet gave his first concerts in the United Statesmarker, performing in Bostonmarker, Philadelphiamarker and New Yorkmarker. He then returned to Paris.

In the following years, he continued to perform throughout Europe, particularly in Belgiummarker and the Netherlandsmarker. During 1913 and 1914 he performed throughout Germanymarker. According to Purcell, "At the outbreak of World War I, Llobet returned to Buenos Aires," and continued to make trips throughout the Americas . while Tonazzi states that at the outbreak of the First World War he returned to his native land. Llobet's concert itinerary seems to have been dominated by performances in the Americas at that time, lending some support to Purcell's claims, however Purcell also implies that Llobet was in Spain about 1915, where he taught his most important pupil, Andrés Segovia.

Segovia's autobiography, written at the height of his career, depicts him as being self-taught - there are admissions of his seeking out Llobet's advice for a short time, but Segovia is quite clear about the lack of any real influence on his playing. At the age of 22, Segovia was still youthful enough to have received valuable instruction. Purcell states that "At the age of twenty-two (Segovia) pursued what he considered the only direct contact to Tárrega, Llobet, for refinement of his technique and especially for the music that both he and Tárrega had written and transcribed for the guitar..." and that "Segovia, whose performance style and technique reveals [sic] the principles of Tárrega, was basically influenced by Llobet....This stylistic influence can be heard when comparing Llobet's Parlophone Electric recordings (Chanterelle Historical Recordings CHR 001) with Segovia's Angel recordings, ZB 3896" .

Between 1912 and 1917, Llobet is reported to have made at least one attempt at recording. It is known that he toured the East Coast of the United States in 1912, 1914 and 1917 and the prominent guitarist Vahdah Olcott-Bickford, who was living in New York at the time, writes that "he tried to make a recording at the Bell Lab in New Brunswick, New Jerseymarker, but was dissatisfied with the sound" (Purcell 1993, 5).

In 1920-1921, Llobet played in Spain and toured throughout Germany, performing in Munichmarker, Leipzigmarker, Dresdenmarker, Cologne and Stuttgartmarker. In 1922 he was in Vienna for the first time. When in Vienna, Llobet was frequently a guest in the house of Luise Walker's parents. In 1924, he again toured throughout Germany and Austriamarker, and he concertized in the Americas in 1925. He returned again to the Americas in 1930 to perform for the Spanish Arts Festival, under the auspices of the Library of Congressmarker. The violinist Antonio Bossa had recommended him, and he was contracted to play six solos, and to arrange and perform Manuel de Falla's Siete Canciones Españoles with soprano Nina Kochitz.

In 1923, he began to teach María Luisa Anido (1907-1997) in Buenos Aires. By 1925, the two were performing duets and, according to Purcell, about 1930 recorded some of Llobet's duet arrangements on the Odeon-Parlophone label distributed by Decca. These recordings, the first electric recordings of the classical guitar, followed a solo series recorded by Llobet on the Parlophon/Electric series out of Barcelona" . The solo recordings are supposed to have been recorded around 1925, but are from two different sources: Argentina/Odeon recording sessions as well as the earlier Barcelona/Parlophon recording. In response to an inquiry Purcell stated that "Llobet did not care for the acoustic recording results in 1915 and only recorded electronically.... His recordings were recorded in 1925 and later with Maria Anido" (Purcell 2001).

Llobet toured Europe again in 1930-1931, performing in Londonmarker, Berlinmarker, Hamburgmarker, Munich, Viennamarker, Budapestmarker and Bolognamarker among others. On hearing him in Berlin Paul Hindemith declared an intent to compose for the guitar but did not follow this through - Hindemith's only work for guitar, the Rondo for Three Guitars, had been written in 1925.

From 1932 to 1934, Llobet taught the young Cuban virtuoso José Rey de la Torre at his home in Barcelona. He does not appear to have performed much at this time, but maintained his artistic contacts. Rey writes, "At the time I arrived in Barcelona in 1932, he had almost retired from the concert stage. During the three years that I spent there he left town only once for a month's tour of Scandinavia" (Rey 1985, 24).

Llobet seems to have enjoyed a somewhat reclusive retirement from the concert stage, Rey de la Torre who, as Llobet's pupil, may well have been his most frequent visitor, writes that "Llobet did not have many visitors..." (ibid). He did seem to go out to concerts frequently, walking with his wife, to the Palau close to his home, and met a few influential artists at his large apartment at Via Layetana No. 46 in Barcelona: Emilio Pujol was a frequent guest and Manuel de Falla is known to have visited whenever in that city.

The statement by Philip J. Bone in The Guitar and Mandolin that Llobet "was killed in 1937, in an air raid in Barcelona during the Spanish Civil War" (Bone 1954) has been tacitly contradicted by all reliable sources. However, the emotional devastation over the siege of Barcelona may have begun his downward spiral of health. On February 22, 1938, Llobet died of pleurisy in Barcelona.

His complete works, as Urtext edited by Professor Ron Purcell, are published by Chanterelle Verlag.


  1. R. Purcell, Llobet 1989,1: iii
  2. Tonazzi 1966, 12
  3. Llobet 1989, 1: iv
  4. Tonazzi 1966, 12
  5. R Purcell, Llobet 1989, 1: ii
  6. Llobet 1989, 1: iv

List of Works

Original compositions

  • Romanza
  • Estudio en mi mayor
  • Estudio Capricho en re mayor
  • Mazurka
  • Variaciones sobre un Tema de Sor
  • Scherzo-Vals
  • Prélude Original
  • Preludio en re mayor
  • Respuesta-Impromptu
  • Preludio en la mayor
  • Preludio en mi mayor
  • Estilo

Arrangements of folksongs

  • Plany (Lamentation)
  • La filla del marxant (The merchant's daughter)
  • El testament d'Amèlia (Amelia's will)
  • Cançó del lladre (Thief's song)
  • Lo rossinyol (The nightingale)
  • Lo fill del rei (King's son)
  • L'hereu Riera (Heir Riera)
  • El mestre (The teacher)
  • La filadora (The spinner woman)
  • La presó de Lleida (The prison at Lleida)
  • La Nit de Nadal (Christmas Eve)
  • La pastoreta (The little shepherd girl)
  • El noi de la Mare (The Mother's child (Our Lady's child))
  • Leonesa (From León)
  • Estilos populares Argentinos nos. 1 & 2.


Guitar solo

Guitar duet

Pieces composed for Miguel Llobet


Track Listing
*Julián Aguirre: Huella*
*Isaac Albéniz: Evocación*
*Johann Sebastian Bach: Sarabande [2 takes].
*Napoléon Coste: Etude op.38 no.21 [2 takes].
*Miguel Llobet: El Testament d'Amelia, La Filla del Marxant, Plany, El Mestre.
*Felix Mendelssohn: May Breezes*.
*Manuel M. Ponce: 2 Canciones Mejicanas.
*Pedro M. Quijano;: Estilo Popular Criollo.
*Fernando Sor : Andantino op.2 no.3, Estudio op.35 no.2, Minueto op.11, no.12.
*Rogelio del Villar: Canción Popular Leonesa [Canción del Ladrón]
(* Duetts with María Luisa Anido).


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