2016 Miguel Llobet International Guitar Competition

Resultado de imagen de miquel llobet certamen

Miguel Llobet Solés

(Barcelona, 18 th of October 1878 – 22 th February 1938) Guitarist and composer –Wikipedia



Young Llobet:
Son of a renowned carver, Miguel Llobet began to study drawing and painting with the artist Torres Casana. Although always had a fondness for drawing, even to expose some works, soon directed his efforts towards the guitar. He received his first lessons from a local teacher, Magin Alegre, who was introduced by Jaumet of the Verses, a humble instrument singer and harpist. Who was Magin Alegre, on the 18 December 1889, led him to a concert of Antonio Jiménez Manjarrez, the blind guitar virtuoso, and who, on October 1892, was introduced to Francisco Tarrega in the House of Guitarists. All this led him to enroll, at sixteen, at the Municipal Conservatory of Barcelona, although it can be considered Llobet, primarily, autodidact. At the conservatory he studied for some time with Tárrega, being his teammates during those years Pablo Casals, Emilio Pujol, Gaspar Ricardo Vines and Cassadó.



First concerts:
In 1899 met Concepción Jacoby, admirer and protector of Tarrega, which led him to Malaga, where he won a great victory at the Philharmonic Society, entity which will then appoint honorary master, as he had done with Juan Parga. Ms. Jacoby also led to the Paris Exhibition.

He finished his studies at the conservatory in 1901, and 1903, already achieved some national fame, made a tour, where you got to play for the royal family in Madrid. The limited possibilities offered Spain made in 1904 was transferred to Paris. There Ricardo Vines introduced him to his first concert abroad, held in Washington Hall Palace the 26 of January 1905. That year also acted for Société Nationale de la Trompette and the Schola Cantorum with huge success.



Golden Age:
Very private parties requested, also gave guitar lessons, especially rich South American families living in the French capital. However, during his stay in Paris he never gave a solo concert, but always shared with other artists program, little thing that impacted demand repertoire. During these years he gave many concerts in Europe and even played in England. A particular success was his concert in Antwerp in 1905.

In 1909 was invited to join the jury of the International Competition of Guitar and Mandolin Boulogne. It was in these years that he met Paul Dukas, Maurice Ravel, Claude Debussy and Isaac Albéniz, and established a lasting friendship with Manuel de Falla, with whom he shared several programs Parisian venues.



World tours:
In 1910 made the first of his numerous tours in Argentina. He returned in 1912, expanded the tour to other South American countries and the United States continued to; in October he performed in Boston and Philadelphia and received rave reviews. He returned to Paris and was established in a study of street Demors, where he gave private lessons. He toured Holland and Germany, and 1913 published two of his compositions in Munich.

The First World War in Germany and was surprised then decided to undertake profitable American tours. He visited the United States on two occasions, 1916 and 1917, year they performed in New York. The little concert activity in Europe because of the war made great seasons pass in Spain, where 1915 conoció Andrés Segovia.



Maria Luisa Anido:
Volvío in Argentina 1918, hired by Juan Carlos Anido, instrument aficionado and entrepreneur founder of The Guitar, magazine published many compositions and arrangements of Llobet. During the decade of 1920 gave further concerts in Argentina, where he also taught, and from 1925 formed a duo with one of his students, Maria Luisa Anido, aforementioned daughter of businessman. According guitar historian Domingo Prat, sus repeated visits to Argentina inspired less enthusiasm, thing attributed to the fact that only showed virtuosity Llobet.

During the years after World War Llobet made several tours through Austria and Germany, country then offered great opportunities for guitarists.



Manuel de Falla:
In the early 1920 Several composers have dedicated their works. The most significant of these was the Tribute (for the tomb of Claude Debussy) Manuel de Falla, written 1920 and revised and fingered by both artists the next year.

This piece did other composers like Lopez-Chavarri, Barbera, Broqua Larnote Grignon and devote her works. At this time was part of the artistic committee of the International Competition of Guitar and Mandolin, chaired by Mascagni, took place in Florence in 1921.

In April and May 1924 contactó con Ravel y Stravinski en Barcelona, their place of residence.



Electrical Recordings:
In 1925 made some electrical recordings, being perhaps the first guitarist to be engraven well, followed by another duet with Maria Luisa Anido in 1930. This same year gave a recital with singer Nina Kochitz in the Library of Congress in Washington, where he introduced his famous transcriptions of Seven Popular Spanish Songs Fail. In 1934 undertook his last tour in Europe long. To 1936, at the beginning of the Spanish Civil War, health problems forced him to significantly reduce its activities.

Miguel Llobet was the first and one of the greatest guitar virtuosos century, and perhaps the first modern school of interpretation in the instrument. His studies with Tárrega ended in 1902, when the old master had changed yolks nails, but Llobet kept using nails throughout your life. However, in an article published in Paris in 1910, already dead Tárrega, highlights the compositions and how playing his former mentor.



Repertoire universal:
The great critic Adolfo Salazar was considered not only the most important guitarist of his generation, but also the most made to increase the guitar repertoire, through the transcripts of the works of his countrymen Albeniz, Granados and Falla and Spanish nineteenth-century pieces and foreign.

Presented premieres of new works by Heitor Villa-Lobos, Manuel Ponce, Manuel de Falla, Lopez-Chavarri and Lamote de Grignon. His work in duet with Maria Luisa Anido, perhaps the first serious duet instrument history, transcripts were master of his pen, addition of new works for this medium, as Romanza by Eduardo Torres.


Musical Impressionism: His playing was praised universally, although Prat, something unfair, virtuosity accused of targeting low public tastes. Sometimes their fingerings may seem twisted modern perspective, but were largely governed by their search for different timbres and colors, besides being conditioned by their instrument with gut strings.

His playing and his compositions have both styles of flamenco as its predecessors Arcas and Parga, and have limited use of strumming, avoiding it even in his transcription for two guitars “Dance of the miller” from The Three-Cornered Hat by Manuel de Falla, This effect mimics piece guitarrístico.


 

Master teacher: Although Llobet lived mainly as a concert, also taught, both in Paris and in Argentina. His most important students, Maria Luisa Anido and Jose Rey de la Torre, were the result of his long stays in Buenos.Aires. Without being one of his direct disciples, is undeniable that the influence exerted on Andrés Segovia Llobet, perceived especially in the stylistic aspect.

Although Llobet knew guitar project worldwide through her tours and recordings, this role has been forgotten by the later work of Segovia.

Also relevant to the pedagogical sense review of studies of Carcassi. The original contribution in his compositions Llobet guitar masters are, clearly, harmonizations and arrangements of Catalan folk songs, which still remain in the repertoire.


 

Contemporary Praise: Emilio Pujol rightly said that it is the most advanced guitar pieces composed between the end of s. S nineteenth and early. XX and it shows them that Llobet had knowledge of harmonic practice tardorromántica.

In his correspondence with Falla are testing their extensive knowledge of the music that was contemporary, showing interest in the late Verdi and Richard Strauss as well as Ravel and Stravinsky.

His style and tastes were not, however, modernist in conception, and such features are not later compositions trend.



Llobet Forever:
He continued his compositional odd jobs along his life and his works were published in various media. These works include studies and preludes, well as Romanza salon pieces, Mazurka, Scherzo-waltz and some variations on a theme of great guitarist Catalan s. Nineteenth Fernando Sor. The most complete edition of his works and transcripts (for one and two guitars) is in The Guitar Works of Miguel Llobet, edited by Ronald Purcell (Heidelberg, Chanterelle, 1989).

Nowadays, his remains rest in the cemetery of Poblenou in his hometown. During 58 years was gone, but in the 2006, Catalunya Cercle discovered Guitarrístic to its present location and are responsible for its maintenance. Each year pays tribute during the International Guitar Competition in Barcelona, which bears his name and is known today as the competition Llobet.

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