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 Gigns, which (from 1884 through 1885) was the residence of his eventual [1] teacher Francisco Trrega. He was trained as an artist, revealing a talent for painting, and continued to paint throughout his life. His earliest musical training was on theviolin and the piano. Later he received a guitar as a gift from an uncle. In December, 1889, Llobet heard Antonio Jimnez Manjn (18661919) give a guitar recital at the Teatre Catalunya in Barcelona, [2][3] and was inspired to seek instruction on the guitar from Mag Alegre. Llobet first met, and played for, the great guitar pedagogue Francisco Trrega 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 Trrega do not seem to have been based on any particular method, rather Llobet would observe Trrega play and then experiment with his techniques at home. "Cos, pi che impararla, io sperimentavo la mia tecnica sulla chitarra". ("In [4] this way, more than by learning it, I experimented with my guitar technique.") He began giving private concerts for intimate gatherings in 1898. In 1900, he met Concepcin Jacoby, Trregas patron, who also became his own patron, helping him to lau nch an international career. His first public concert took place in 1901 at the Conservatory ofValncia. During that same year, he also performed at conservatories in Seville and Mlaga, 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 Madrid in 1903. In 1904 in Paris Llobet's first concert outside Spain was presented by Ricardo Vies, 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 Socit Nationale de Musique. According to Ronald [5] Purcell, he resided there until 1910. In the biographical sketch given by Bruno [6] Tonazzi, 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 theCaribbean in a series of tours largely arranged by Domingo Prat, (author of the Diccionario de Guitarristas 1933), Juan Anido (father ofMara 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. He then returned to Paris. In the following years, he continued to perform throughout Europe, particularly in Belgium and the Netherlands. During 1913 and 1914 he performed throughout Germany. According to Purcell, "At the outbreak of World War I, Llobet returned to Buenos Aires," and continued to [7] make trips throughout the Americas. while Tonazzi states that at the outbreak of the First [8] 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 [9][10] most important pupil, Andrs Segovia. 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 twentytwo (Segovia) pursued what he considered the only direct contact to Trrega, Llobet, for refinement of his technique and especially for the music that both he and Trrega had written

and transcribed for the guitar..." and that "Segovia, whose performance style and technique reveals [sic] the principles of Trrega, was basically influenced by Llobet....This stylistic influence can be heard when comparing Llobet's Parlophone Electric recordings (Chanterelle [11] Historical Recordings CHR 001) with Segovia's Angel recordings, ZB 3896". In 1915, Llobet made one attempt at recording at the Victor studios in New York, but the two [12] sides he recorded, Manuelito and Sueo, were rejected. The prominent guitarist Vahdah Olcott-Bickford, who was living in New York at the time, writes that "he tried to make a recording [13] at the Bell Lab in New Brunswick, New Jersey, but was dissatisfied with the sound." It is also known that he toured the East Coast of the United States in 1912, 1914 and 1917. In 1920-1921, Llobet played in Spain and toured throughout Germany, performing in Munich, Leipzig, Dresden, Cologne and Stuttgart. In 1922 he was in Vienna for the first time. [14][15] When in Vienna, Llobet was frequently a guest in the house of Luise Walker's parents. In 1924, he again toured throughout Germany and Austria, 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 Congress. The violinist Antonio Bossahad recommended him, and he was contracted to play six solos, and to arrange and perform Manuel de Falla's Siete Canciones Espaolas with soprano Nina Kochitz. In 1923, he began to teach Mara Luisa Anido (19071997) 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 [16] a solo series recorded by Llobet on the Parlophon/Electric series out of Barcelona". 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 [17] recordings were recorded in 1925 and later with Maria Anido". It may be noted that electronic recording was developed by Bell Labs under its Western Electrical branch, and was leased to recording companies under the name of "Westrex Electrical Recording System" beginning in [18] 1925. Initially only Victor and Columbia records leased it, with an up-front payment of $50,000 each. Under the general management of Louis Sterling, Columbia acquired a number of European, Asian, and U.S. recording companies in 1925. Sterling soon after 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 [19] released. Llobet toured Europe again in 1930-1931, performing in London, Berlin, Hamburg, Munich, Vienna, Budapest and Bologna among others. On hearing him in Berlin Paul Hindemith declared an intent to compose for the guitar, but did not follow this through [20] 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 Jos 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 [21] month's tour of Scandinavia." 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 [22] did not have many visitors..." 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 [23] 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 theSpanish Civil War" (Bone 1954) has been tacitly contradicted [24][25] 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 [26] Barcelona. His complete works, as Urtext edited by Professor Ron Purcell, are published by Chanterelle Verlag.