We proudly present a detailed Thematic Catalogue to our new critical collected edition of the guitar works of Miguel Llobet – a pivotable figure in guitar history.
It is evident from our illustrated catalogue that this is different to any other guitar edition we know. It is informative, very richly illustrated with many previously unpublished unique manuscripts, rare documents and rare photographs.
Thanks to the generosity of more than 50 contributors and the recent discoveries of an important new source of Llobet’s manuscripts, we are able to include some 60 formerly unpublished titles. If you want all Llobet’s works this is the only edition for you.
Our Llobet edition is cheaper than the famous Llobet UME editions of the 1960s, which have considerably fewer titles and no accompanying texts or commentaries, nor covers.
Our music engraving is clear, accurate and legible and no one is more qualified, than Stefano Grondona, after 30 years of research on Llobet, and after having recorded Llobet’s complete works on six CDs, to edit an edition of this scope and complexity with its informative texts and comprehensive critical apparatus and commentaries.
The edition is immensely informative and contains almost 80 illustrations, music examples, autograph manuscripts, rare documents, and photographs, it clearly demonstrates Llobet’s true role as the pivotal figure of 20th century guitar history – the link between the past and the present as well as his active role in the publication of Manuel de Falla’s ‘Homenaje’. The edition follows his compositions, his successes on 3 continents, and tells a remarkable story, not only about Llobet but also about the vibrant international cultural life in Barcelona during ‘El Modernismo’, the Catalan ‘Art Nouveau’.
History has been unkind to Llobet. Although he was feted on three continents, he endured continuing hostility from Tárrega’s other pupils, who according to Segovia were generally of a low level. Even Emilio Pujol, who as a high level Tárrega pupil, published material after Llobet’s death, which was obviously came from Llobet. The description of Llobet as “Tárrega’s best pupil” although accurate, was restrictive and actually worked more to promote Tárrega than recognising Llobet’s great contribution to the development of the guitar and legacy of much new and valuable repertoire, and transcriptions, some of which were created at the same time, or even before some of Tárrega’s works. After Llobet’s death, Segovia, who owed a huge debt to Llobet for his development as a guitarist, and from whom he took and published repertoire, turned nasty on his maestro and did everything to obliterate his memory.
This edition presents a wealth of repertoire which the vast majority of guitarists today do not know of, have not seen, and have never heard. We hope its publication will prompt the interest of today’s players.
We ask you: Please do take an unbiased and serious look and at least order it for your local library, if not for yourself.