Nueva Colecci6n Llobet Miguel Llobet Guitar Works Vol. 4 12 Famous Guitar Duos (Arranged by Miguel Llobet) contents Daquin, Louis Claude Le Cou-Cou Albéniz, Isaac Rumores de la Caleta, Malaguena, No. 6, "Recuerdos de Viaje" Castilla, Seguidillas, No. 7, "Suite Espanola” ‘i : 5 Bajo la Palmera, "Canciones de Espatia’, op. 232 : 5 Evocacion, "Suile Iberia” : : : Granados, Enrique Danza Espafiola No. 6, Rondalla Aragonesa. C 5 : : Danza Espafola No. 11,Zambra 5 5 ‘Lopez-Chavarri, Eduardo Leyenda del Castillo Moro, de "Cuentos y Fantasias” Mendelssohn, Felix Romanza sin Palabras, No. 20, op. 53 Romanza sin Palabras, No. 25, op. 53 : ‘Mozart, Wolgang Amadeus Minuetto, "Sinfonia No. 39 5 : 5 ‘Tchaikovsky, Peter Humoresque, op. 10, no. 2 Edited by Ronald Purcell This cation fret published 1969 by Chanterde Verlag © Comat 1908 by Michael Macken, Chantel vefag Contains new abe orginal malcialand clades copyright protected orks printed Minder Hocne fom Union Musteal Eopaola ant feord Aesrcans Sake This edition i strictly copyright lights reserved cover design by Jo Kraul Pine ine UR by York Pres La ISBN Se00s4-008.0 Chanterelle 894 12 15 18. 22, 26 32 34Miguel Llobet 1878-1938 INTRODUCTION Student of Tarroga & Macsiro to Segovia The opening ofthe 20th contury ushered in anew oraforthoclas- sicgutar. With a newtace-lit, alterationsin siza,and some impor- ‘ant intemal structural changes executed by the Spanish luthier Antonio de Torres Jurado (1817-1892), as wel as the perform- ances and compositions of Francisco Tarrega (1852-1808), tne guliar was launched and firmly established on a course thel has ‘seen it develop into one of the most popular instruments today. Two guitarists, Miguel Llobet and Andrés Segovia (1893-1987), arelargely responsible forthisincreased popularity. Liobet'sstud- ieswith Témega ended prior to 1902, Segovia did noi study with Térroga; however, he admite to an indirect influence through Llobet (sae Segovia's Autobiography, pp. 99-101) and epeaks highly of the “Nasters” school ‘Segovia, whose performance siyle and technique reveals the principles of Térrega, was basically influenced by Llobet, Since Tarrega never mado any recordings, wo can extrapolate through the recordings laftby Llobet the siylisicinfiuencs let upon him by his teacher. This style is obvious in the eaily recordings of Segovia, in which we hear certain tralts left upon him by Llobet. ‘This siylistc influence can be heard when comparing Licbet's Parlophone Electric recordings (Chanterelle Historical Fiecord- ings CHR 001) wih Sogovia's Ango! recordings, ZB 3896, Undaunted by the death of Tarrega, and the success of Llobet through the 1920's, Segovia's southem Spanish pride, talent and, ecication carriedhim success{uly intothe next five decades, but ‘not without some of the trappings o! Miguel Llobet Llobet: His Life {A ‘ull illustrated. biogrepty is eluded in the introduction to Yolume lof the series: he folowing notes areextratedtrom hat.) Miguel Llobet Soles was born October 18, 1878 ard dled Febru- ary 22, 1938 in Barcelona, Spain, Hic father, a famous wood Sculptor, nurtured the boy along in the oraphic arts until ha was eleven. Then in 1889 his uncle brought a guitar into the house- hold. He began studying the instrument with Magin Alegre whoin that came year took the young Liobot to hear the blind Spanish vyirtuoso of the guitar Antonio Jimenez Manjon (1866-1919). ‘was afterthis concert, on Dacember18, 1689, that Liobetdecided Upon the guttaras his life's ambition, He stated that Manjén had leflan indelible impression upon him. In October of 1802 Magin Alogra took his 14-year-old puplito the guitar shop "Casa de los Gultarreros,” where the youngstar played for Tarrega; this shop also had a small hall usad for local erlormances. it was shorly after air frst meeting that Liobet first heard Tarrega play in hese intimate surroundings. Tarrega periormed his arrangements of Granada by Albéniz and the Overtureto Tannhauser by Wagner ‘At the aga of 18 Llobet attended the Muricipal Conservatory of, Music where he continusd his studies with Tarrega. By 1888, at the age of20, he began his first series of privateconcerts. Tese ‘wore typical gatherings of intimate irionds who were connected, With Tarrega and the Consarvatery. Llobet’ fist public appeer ‘anoa occurred in 1901 at the Conservatory of Valencia. Ricardo Vifes, the noted pianist and interpreter of Debussy's keyboard Works, presented him in his fist concert outside Spain, in Paris, in 1308, While tosiding in Paris from 1905 to 1910, Llobet gave concen throughout Europe and the British Isles. His frstconcert in South, ‘America occurred in 1910, Then Llobet made a temporary ome in Buenos Altes, period cally loaving on concert junkets that ook him nah through Brazil andinto Central Americaand the Caribhean, By 1912 histourhed brought him to the Unitad States with concerts in Boston ard Philadelphia Llobet continued this 1912 tour across the Atlantic to Paris and Gormany. Attho oulbrosk of Word War I, he ratumedto Busnes Ares where he gave concerts and taught. The concerts given during the war years continued toreach as far north as the USA.New Repertolre and the Works In this Volume Lobet’s publications number approximately 100, Of this number, there are 25 known original compositions including folksong set: tings. All ohers are either arrangements of noted composers for ‘either solo or two guitars, or revised editions of the repertoire some of which were originally edited by Tarrega. One of the major ‘musical attributes Llobet received inhi training trom his teacher, ‘Tarraga, was the concept of exploring and experimenting with sound and colour. Tarrega, in his editions, paid less attention to Tight and left hand indications than did Llobet. However, Liobet's ‘concem for colour caused him to indicate in detal both right and left hand fingering as well as to use terminology for placement of the right hand, According o Emilio Pujol, Térrega was enamoured with the classic quartet and its variegated homogeneity. He attempted to make a single unit out of the six strings of his instrument. Whereas Llobet, attracted by the diverse timbres of the orchestra, attempted to’ make each string a distinct guitar (colour) Tarrega’s generation was stil feeling the impact of Beethoven and Chopin when Llobet began his studies, even though their transcribing pens produced many arrangments fromthe compos crs, Bach, Mozart and Haydn; but Tarrega’s transcriptions of Wagner must have been a real modern treat for his young student, Llobet. These experiences along with personal contact with one of the major performing proponents of the music of the impressionists, Ricardo Vines, and his travels to Paris in 1905 prepared Liobet to go beyond the usual theory lessons. These ‘eal fe experiences and the opportunity of listening to the works of the impressionists and expressionists enabled him to experi- ment in harmony and to explore on the guitar, colour effects such ‘as harmonics, pizzicato, placement of right-hand (su! tasto or sul ppuente) and left-hand fingering without destroying the original intent of the composer. His application of these techniques is Gligently notated in his own compositions and arrangements. ‘Through the performance of these works on concert tours Llobet ‘shed new light on the guitar as a viable musical instrument de- rmanding to be a part of the mainstream of contemporary music. Here Is some general information and details of the unique and anistic innovations Llobet has given to some of the works pre- ‘sented in this volume. Albéniz 1. Bajo la Palmera, Canciones de Espafia, op. 232: In bars 31 and 54, the use of “bariolage" becomes more a fingering of conven- lence rather than an effect. We also see in he opening statement ofthe first guitar par the use of grace notes, anticipating the main ‘ote but really functioning in performance as a vocal glissando. Both Llobet and his teacher used this subtle nuance quite fre- quently. Castila, Seguidilas, no. 7 dela Suite Espanola: The arpeggios of this and the following work show after an ascending arpeggio the descending portion executed with the index finger of the right hand, From bars 50-52, Llobet is asking fortwo effects: the first, a dry sound near the bridge and second, as seen in bar 52, a ‘sweet’ glissando from Ab to an F slurred. Evocacién de la Suite Iberia: This is one of the best examples of hhow to arrange a keyboard work for two guitars and should be sludied carefully Rumores de la Caleta, Malaguefa, no. 6, de Recuerdos de Viaje: Note the expressions, “cerca del puente” [near the bridge}, "puente” [bridge] or seco cerca del puente”. This last indication is directly asking for a “dry” sound near the bridge. Granados, E. Danza Espafiola No. 6, Rondalla Aragonesa: See bar 9 and further for “medio pizz." - upper halt of chord is “nat.” and lower haif"pizz." The effect ot vibration slurs (igados) bars 29-31. Bars, 61-64 call for “feeling of trino," - quavering um Danza Espafiola No. 11, Zambra: The composer has called for Ccortain effects like “simulando un fejano murmullo.” Liobet has Created this “distant whispering” in bars $6, 60 & 80. In bars 5- 10inthe tstguitar pan, the string changos for the left hand finger- ing ereate contrasting colours and produce agogic accents. Lopez-Chavarri E. Leyenda del Castillo Moro de Cuentos y Fantastas: In the intro- duction, bars 1-9, the indication “glissando” under “arm. oct.” bars 1 &3, s unusal even in today's guitar arrangements. The ac- ‘curacy of the right hand index and annular fingers needtobe very precise in glssing the chord outiine on the 2nd to the Sth strings. ‘The 2nd and 4th bars contrast this colour nicely. See bar 9, 2nd ‘guitar par for a unique effect: harmonics over a grace note do- Scending slur, supported by a lower octave, generating an aural phenomenon with the last natural note. Mendelssohn F. Romanza sin Palabras, No. 20, op.53: Note the expressive left hand fingering in the 1st guitar part and repetitive passages ingered differently or colour. Tehaikovsky P. ‘Humoresque, op. 10, no. 2: Note the Fingering for the opening theme between both guitars in unison on different strings. ‘After 1930, Llobet settled in Barcelona to teach and give occa- sional concerts. In 1934, he offered concerts in Vienna, Germany land other parts of Western Europe. By 1937, he was back in Barcelona during one of the most dificult sieges upon his home town at the time of the Spanish Civil War. Pahissa says that when he saw Llobet at this time, "he was wandering through the streets, of Barcelona and he seemed absolutely crushed, overwhelmed by circumstances and completely apathetic.” Soon after, his health began to fall, whereupon he contracted pleurisy and died the following year, To Miguel Llobet Soles is given the credit for bringing the classic guitar into the modern musical world of international concert tours; for contributing new works to the repertoire both original as well as transcribed; for presenting othe publicin performancethe new works of such composers as de Falla, Villa-Lobos, Ponce and others; for teaching the pedagogical principies of Tamega; and, of utmost importance, for having made the first electric recordings of the classic guitar. Ronald Purcell, ‘Sherman Oaks, 1988 ‘Acknowledgements [would tke to thank the following for their generous assistance in the production ofthis volume: Gregory Newton, Matanya Ophee and José Rey de la Torre. Publisher's Acknowledgements Chanterelle Veriag are indebted to the following publishers with- ut whose authorisation to reproduce copyright protected works the Nueva Coleccién Llobet would not have been possible: Union Musical Espafola, Madrid, Ricordi Americana SAEC, Buenos Aires, 4. & W. Chester / Edition Wilhelm Hansen London Lid. ‘Tis eation frst published 1989 by Chanteralle Vetta, (© 1989 by Mchaol Macmecken, Chanterelle Vetag, 6900 Heidelberg, W: Germany. ‘llrightsreserved This edition contains new and original matorial nd i sity copyright. The unauthorised copying or reproduction of any part ‘of this publication conravonos the rights of Chantorale Verlag, ‘Union Musical Espafola and Rlcordi Americana SAEC ‘and could resultin legal action being acton,Guitarra 1 2 LE COU-COU CLAUDE DAQUIN Vo bo Pe leggiero dim, e rit a tempo P ®. =. ®. ap Pte fe & St tt tt pare © Copyright 196¢ by Union Musial Espafols, Madi All sights reserved. ‘This ition © Copyright 1989 by Chantelle Verlag, Heidelberg Reprinted by arrangement Chanterelle Photocopying this music is ILLEGAL. 804Guitarra 1 dim. e rit, a tempo P poco a poco cresc. 7 p Chanterelle 394Guitarra I dim. e rit. ‘p Chanterelle 394Guitarra 1 5 RUMORES DE LA CALETA MALAGUENA (N° 6 de «Recuerdos de viaje») Allegro Zz Zz yg a i sige MEF — oo Santando cantando Key? ‘©Copyright 1964 by Union Musical EspaBols, Madrid All ights reserved, ‘This edition © Copyright 1989 by Chanterelle Verlag, Heidelberg. Reprinted by arrangement. ‘Chanterelle Photocopying this music is ILLEGAL. 394Guitarra 1 ritard. poco (poco ritard. ay cu -- cure ‘a tempo Titard, cue tempo 93 qe Chanterele 894117 sz Meno tempo cantando dim, crese. ritard. poco Chanterelle 894Guitarra 1 CASTILLA SEGUIDILLAS (N° 7 de la «Suite Espafiola») 1 ALBENIZ mi yn nabbed A ‘con anima 27 > P ‘©Copyright 1964 by Union Musical Espaiola, Madrid, All rights reserved. ‘This edition © Copyright 1989 by Chanterelle Verlag, Heidelberg. Reprinted by arangement. Chanterelle Photocopying this music ILLEGAL. 394Guitarra 1 con anima —_= tf Bseco puente. — == dolce bale a 53 4A ab, ® # « ame Gore a ™ me at sv fie lan® [4 sh e———— SFY Uy = = — Chanterelle 894Guitarra T a tempo 7 A 86 A Wa 2® a poco rit. ae a Chanterelle 304Guitarra I ‘Ppoco meno puente P poco meno puente Chanterelle 894Guitarra 1 2 BAJO LA PALMERA De Schantsd xjugns O22 1 ALBENIZ Allegretto ma non troppo o> Zo op ~o f marcato @ 4 eres x ?f F Mle __yfttise ued 3 crese ——= crese eresc vit. molto ClF=+ == an @ AS. rit. molto A yA Ak 37 ‘ f : pon lO ‘©Copyright 1964 by Union Musial Fs Allights reserved. ‘Thisedition © Copyright 1989 by Chanterelle Vela, Heidelberg. Reprinted by arrangement. Chantersle Photocopying hit musie is ILLEGAL. 8944 S crese Sit. motto Guitarra 1 Hes ado a tempo a sib 2h wed. lo s =— Saude dass 3k St ~ a v —= a tempo Zz rit, molto 42 ~— 77 O Jotee z 2 crese. Chanterelle 894 express. dim, e rit. moltoGuitarra 4 sy, Op a x SF marcato dole $$ poco riten arm. na. 2| ——. ——— _ Ff farm.oct, = = Andante z expres. cir cv , cy 3 a ® ssa a rd. Frito ? E arm, oct arm. oct 8 1 J@ rams 5 Pp rit molto + f4bla #P Andante 4 Abid 123 ad Oz-00% 25 5 3 perdendosi Chanterelle 394Guta is EVOCACION De la Suite «IBERIA» 1 asin Allegretto espressivo wt \ 2 Sig Se et aa 7 dolce z 7 dolce @ poco eresc mia mag trm.oeu.Cih CVs a Fr BP = : arm, oct.= arm. nat. © pp BP rit, molto © Copycght 1964 by Union Musical Espaiols, Madrid All ios sere Thsediion © Copyright 1989 by Chanterelle Verlag, Heiter Reprinted by aangement. Ghanerete Photocopying this muse LEGAL. 394Guitarra 1 ‘goo om — >= —_— ao —— BH. Poco meno tempo ‘molto rit. SS RF RO form Oct n> > civ @ 2 7 L__* doin eneieney | @ 7 od, => — poco res XO-3%)" 4 ip A 83 1 ® 2 bhaeedigs * y 5 FS = fF _— ewer Chanterelle 594Guitarra 1 a tempo C= = oo , 101 ® ARP Rf " td 2 uw fae 2 of tp ad add Q * rocogf FP ah—__* 131 ‘0 —| ———.| ce perdendost pay TT Mat arm. 2 /P setoble de tambora cetea del puonte Quasi adagio arm oct. = =~ 9 # arm.otssse ae 143 arm, oct. = = % esate de amor eres de Poem gem. 5 ‘Tempo primo Largo = >> Toe sonoro ma non forte rit. motto 7? muy atenuado 148 a - - - 4 arm. tF pizz. PpGuitarra T DANAZA ESPANOLA N° 6 «RONDALLA ARAGONESA» E. GRANADOS Allegretto opt t natural Teh gta Gens whek t p plzz plea plzz Poco a poco crese. pi poco a poco accelerando estos tres acordes, entre pizz. y sonido natural 6 natural pom ™ Brkt Frit i en ee Pies pias pia 16 eS cv- er en 29 ? P > P sempre pit fe accel a [evs ©Copyright 1964 by Union Musical Espafoa, Madsid. All rights reserved. This edition © Copyright 1989 by Chanterelle Verlag. Heidelberg. Reprinted by arrangement Chanterelle Photocopying this music is ILLEGAL. itGuitarra 1 19 Vivace sempre tf sempre ff CVI cIxa ‘pi md 4: B : w= ® sempre ff iichen Gué dat Ta Se oucee > Andante — : Xa a mn 67 sempre Molto andante expresive 74 arm, arm, opt. Canto, ee @ @ rit, molto a piacere rit 80 He con fantasla a tempo Chanterelle 898Guitarra 1 20 @ @ a piacere atempo con molta fantasta o 91 @ o oO o-= atempo con molta expressione Pa Tempo Inolio Fit. € con molta expres. poce rit ff atemjo dim, poco a poco rit. 4 ae 4 bien cantato @ Le? 4 piacere a tempo con fantasia e expres. * e ¢ + poco rit. e expres. = afempe a tempo 7 eo ea 141 natural Pize. Piez. heyy) sae Ss natural grt t wt grt gut BitGuitarra 1 a ) 2 ft Bente de 7 seeeeee MI aa nig) @ @ onto gre tte f = Hope cee ee ce Vivace - sempre ff sempre pf ae * ® 4 mpre tf vere GhanterelleGuitarra 1 22 DANZA ESPANOLA N° 11 Largo a piacer. Andante con’ ae ae ,_ @ mo) 43 be @_uye yg >> rit, molto ® ® 2.5 — ‘©Copyright 1964 by Union Musical Espafiola, Madd All rights reserved. ‘Thisedition © Copyright 1989 by Chanterelle Vela, Heldetber. Reprinted by arrangement. Gunerelle Photocopying this musi s ILLEGAL 894dim, =— Farm. 12 Andante con moto G3) genes poco eresc. t ia rit, molto a arm, arm, “#ti oct. arm, oct. poco cresc, cvin largamente (como recitativo) ’ 4 — so “Biante , 3 ie, = iif = ‘molto legato put dim, molto rit. Chanterelle 394Guitarra 1 vies A tempo (misterioso) viz, - - - = ee 1 a] simulando un lejano murmullo Come primo dod ec aad A tempo (misterioso) “2 lela + a> 2 tl us dim, Pisa eee ee a owe We sw A tempo (misterioso) ®, et eter pi = 7 Andante con moto ® 5 e @T, a @ Set 82 a piacer. P 36 . @®s © 21®@ @ ye a 2a. poco crese. t chanterele 594Guitarra 1 25 cv cv vu aT, ia sempre ff Cia Se ey A SE um, Andante con moto arm.oct. et. out. arm, 5; arm. oct = poco eresc dim. poco a poco rit. molto = he dim. € rit. molto Chanterelie 894Guitarra 1 %6 LEYENDA DEL CASTILLO MORO (De «Cuentos y Fantasias») ° E. LOPEZ-CHAVARRI Allegretto moderato > a Oenké : P giissande _liosande arm. oct, glisando arm, oct 2 =F cr 7 Ror Way ae Hh rit a tempo 4a3,2 ox > anf deciso liricamente © Copyright 1964 by Union Musical Espafola, Madd Allrights served ‘Thisedition © Copyright 1989 by Chanterelle Verlae, Hoidelborg. Reprinted by arrangement Chanterelle Photocopying this music is ILLEGAL. 894Guitarra T 7 oD ate ia ee 4 aimost. SE 7 (Pp stssanao 39 2 We eh: 48 od * a poco rit, mf Quasi Tempo 1 63,2 (poco Fit pie rit Quasi Tempo I x 55 aN patssendo arm. oct. ats 2 mf pe. - - - - 4 5 _# PRP P Ghanyerelle 94Guitarra) ROMANZA SIN PALABRAS N° 20 «ENDECHA AMOROSA» 28 F. MENDELSSOHN Op. 53,n°.2 © Copyright 1964 by Union Musical Espiols, Madd Allrghs reserved. ‘Tisedition © Copyright 1989 by Chanterelle Verte, Heidelberg. Reprinted by arrangement. Chanterele Photocopying this music is ILLEGAL. 94Guitarra T 29 > arm. 19 P —== Chanterelle 894Guitarra 1 30 ROMANZA SIN PALABRAS N° 25 (CONSOLACION) F, MENDELSSOHN Andante expresivo Op. 62, n°. 1 fi of eresc. erese. siempre cresc. {© Copyright 1964 by Union Musical Espfiola, Madrid All rights reserved. ‘Thisedition © Copyright 1989 by Chanterelle Verlag, eidetborg. Reprinted by arrangement. Chanterelle Photocopying this music ILLEGAL 394Guitarra T 31 dim. PR dim. 5 ns Oe eee crese. dim, ‘muy ligado dim. chanelle ‘204Guitarra 1 32 MINUETTO De la Sinfonfa N° 39 Allegretto CIX--> W. A. MOZART cvie=> cies cvie=4 pz, © Copyright 1989 by Chanterelle Vera, Reproduced by kind permission of Ricordi Americana SAEC. All sights reserved, Chanterelle Photocopying this music is ILLEGAL. 394Guitarra 1 cua 2 = = Fotot Fok ToT FFT tasta Fin sin repeticionesGuitarra 1 34 HUMORESQUE P. L. TCHAIKOVSKY Op. 10, n°. 2 Allegretto scherzando 14 crese, © Seemeeecereceeeneattane staccato 23 Po crese. we P expres. cme _————— a tempo {© Copyright 1964 by Union Musical Espafiola, Madrid Allrighs reserved. ‘This edition © Copyright 1989 by Chanterelle Verlag, ‘Heidelberg. Reprinted by arrangement. Chanterele Photocopying this musi s ILLEGAL, 894Guitarra t ritard, Poco cresc, nf a tempo 1-777 @ 32- ovo pit nf s> —— == Pp Siaccato eresc. siempre staccato poco a poco dim, U2 eo Foy tf be Bs, antezelte 4