Miguel Llobet Solés (18 October – 22 February ) was a classical guitarist, born in . Plany (Lament); La filla del marxant (The Merchant’s Daughter); El testament d’Amèlia (Amèlia’s Will); Cançó del lladre (Song of the Thief) Miguel Llobet: El Testament d’Amelia, La Filla del Marxant, Plany, El Mestre.

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Cançó del lladre (Llobet, Miguel) – IMSLP/Petrucci Music Library: Free Public Domain Sheet Music

He returned again to the Americas in to danco for the Spanish Arts Festival, under the auspices of the Library of Congress.

Revista Musical Catalana 7, no.

His earliest musical training was on the violin and the piano. During and he performed throughout Germany. These pieces are often referred to as Llobet’s “Canciones populares Catalanas”. Charles Scribner’s Sons, Knopf,p. Il Fronimono. Guitar Worksvol.

It was at this time that he first came into contact with the avant garde. Later he received a guitar as a gift from an uncle.

Hyperion Records

Among the guitars used by Llobet, one finds: Part 5 — Pujol’s Article in Lavignac’s Encyclopedia”, in: This list is incomplete ; you can help by expanding it.


Guitarra Havana 2, no. Sterling soon llobett arranged for a holding company to combine Columbia and the Carl Lindstrom group, which included Parlphone and Odeon, the companies that seem to be the ones under which Llobet’s recordings were released.

At the age of 22, Segovia was still youthful enough to have received valuable instruction. Chanterelle, now under the ownership of Musicverlag Zimmermann, is in the process of publishing new Urtext editions of the complete catalog under the editorship of Stefano Grondona.

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 This name uses Spanish naming customs: Two years later he began to study with him at the Municipal Conservatory of Music in Barcelona.

Artes Graf, Soler, He does not appear to have performed much at this time, but maintained his artistic contacts. In the following years, he continued to perform throughout Europe, particularly in Belgium and the Netherlands.

Mangado Artigas, Josep Maria: In response to an inquiry, Purcell stated that “Llobet did not care for the acoustic recording results in and only recorded electronically Chanterelle Verlag 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.


He began giving private concerts for intimate gatherings in Guitar News27 October—Novemberp. Vida y obra de Manuel de Falla Buenos Aires: Chanterelle VerlagOdeon-ParlophoneDecca.

Canço del Lladre

Classical Guitar 17, no. Some details of Llobet’s biography are confused and contradictory. In the biographical sketch given by Bruno Tonazzi, [6] Llobet returned to Paris in but according to Purcell he probably temporarily relocated to Buenos Aires in that year. From Wikipedia, the free encyclopedia.