Miguel Llobet (1878-1938) Romanza
Guitar: Chiara Ascar
Guitar Teacher Prof. Luca Trabucchi
Audio & video by Marco Taio, Pourya Mohseni Motlagh, Vasco Fondra
Film making and audio editing by Marco Taio
Recorded at Bazzini Hall - Conservatorio "Luca Marenzio" - Brescia on 30th May 2024
© Conservatorio "Luca Marenzio" - Brescia
Miguel Llobet Solés (18 October 1878 – 22 February 1938) was a classical guitarist, born in Barcelona, Spain. Llobet was a renowned virtuoso who toured Europe and America extensively. He made well known arrangements of Catalan folk songs for the solo guitar, made famous arrangements for the guitar of the piano compositions of Isaac Albéniz, arrangements immortalized by Andrés Segovia, and was also the composer of original works.
Some details of Llobet's biography are confused and contradictory. The son of a gilder, 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.[1] 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.")
In 1904 in Paris Llobet's first concert outside Spain was presented by Ricardo Viñes, the noted pianist. It was 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,[5] he resided there until 1910. In the biographical sketch given by Bruno Tonazzi,[6] Llobet returned to Paris in 1910 but according to Purcell he probably temporarily relocated to Buenos Aires in that year. From there he performed throughout South and Central America and the Caribbean in a series of tours largely arranged by Domingo Prat, (author of the Diccionario 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 States, performing in Boston, Philadelphia and New York City. He then returned to Paris.
Segovia's autobiography, written at the height of his career, depicts himself 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".
n 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 followed a solo series recorded by Llobet on the Parlophon/Electric series out of Barcelona".[16] The solo recordings, among the first released of the classical guitar, 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".
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