Llobet, Miguel
Llobet Guitar Works Vol.4 - Transcriptions I
261 g
collected edition
contains previously unpublished works
Delivery state   Available
In contrast to Llobet´s output of just 14 original works, his transcriptions for guitar number 118, a considerable quantity of an extremely high standard. These were a huge influence on the two generations of guitarists following Llobet some of whom mercilessly and anymously plundered them for their own use!

These were transcribed y Llobet during his formative years and are romantic masterpieces which transcended their original setting.

In his early career, Segovia played many transcriptions of Llobet.
Highly recommended
BACH: Preludio BWV999*
BACH: Preludio de la Suite I para violoncello, BWV1007*
BACH: Preludio para la Suite III para violoncello, BWV1009*
BACH: Preludio para la Suite IV para violoncello, BWV1010*
BACH: Sarabanda de la Sonata II para violin solo, BWV1002
BACH Bourrée de la Sonata II para violin solo, BWV1002
MOZART: Aria de ‘Don Juan’ (Vedrai, carino)*
MOZART: Andante de la Sonata III, K330
BEETHOVEN: Sonata, Romanza, Largo de la Sonata no. 4, op. 7*
BEETHOVEN: Adante de la Sonata n. 10, op. 14 no. 2
BEETHOVEN: Allegretto de la Sonata no. 14, op. 27 no. 2, ‘Claro de Luna’
BEETHOVEN: Fragmento de la Sonata no. 23, op. 57
BEETHOVEN: ‘Apasionata’, Fragmento de la Sonata no. 30, op. 109
WAGNER: Fragmento de la ópera ‘Parsifal’

= 1st publication)
Miguel Llobet (1878-1938)
Llobet’s life-span is almost exactly one century later than his compatriot Fernando Sor, prompting the Italian guitarist and researcher Stefano Grondona to name Sor and Llobet a “Catalonian Binomial”. Both figures are clearly very different from their respective contemporaries. Llobet’s output of only 14 original works is heavily outnumbered by his 118 innovative transcriptions and adaptations for guitar, guitar duo, and guitar ensemble. He was a revolutionary but modest man with a deep respect for the past, who forged the way for the guitar into the 20th century. As the only virtuoso pupil of Tárrega, his destiny was to be a key link between the guitar’s past and its future - his influence was immense; wherever he went he changed the way the guitar was played and perceived. He continued his leading role in the development of the guitar into the first three decades of the 20th century and was hugely influential in the development of Andrés Segovia.
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