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バルセロナ出身の著名なクラシックギタリストと作曲家、タレガの高弟であり、セゴビアの恩師としても知られている。
郷土民謡『アメリア姫の遺言』『盗賊の歌』などをギターに編曲、演奏や録音を通じて国際的な評価を得ました。
作曲家のドビュッシー、ファリャ、ヒンデミット、そしてギタリストのアンドレス・セゴビアにも影響を与えた。
彼のタレガ以後の活動は、セゴビア以前のギター演奏家、世界的に最も著名な存在として、クラシックギター界に多大な貢献をしました。
彼の父親が彫刻家であったことから、リョベート自身も美術を学んで画才を発揮し、生涯にわたって絵を描きました。
最初はピアノとヴァイオリンを学んだが、おじからギターを贈られたことがきっかけで、1889年にアントニオ・ヒメネス・マンホンのギター演奏に接しました。
この出会いがマヒン・アレグレに師事して、ギターに転向するきっかけとなる。
この転向は彼の音楽的な道を決定づける大きな一歩でした。
生涯
音楽の遺産
リョベートは、セゴビアやナルシソ・イエペスのような技巧の華やかさを持たずにも、彼の演奏と録音における国際的な活躍を続けた。
彼の影響力は、クロード・ドビュッシーやマヌエル・デ・ファリャ、パウル・ヒンデミットに及んでいる。
同郷のカザルスがカタルーニャ民謡《鳥の歌》を編曲して自分のトレードマークとしたように、リョベートも郷土の民謡《アメリアの遺言》を編曲。彼の演奏や録音で取り上げたこの民謡は、その旋律に不朽の名声をもたらした。
リョベートの作曲家としての業績は、近年になって再評価が進められている。
彼のギター作品全集（原典版）は、ロナルド・パーセル校訂による楽譜が出版。
作品のほとんどが小品および民謡の編曲であるが、「ソルの主題による変奏曲」作品15も残されている。
リョベートの音楽は、今も多くの人々に愛され続けている。
マリーア・ルイサ・アニードは1907年生まれの著名なクラシックギタリストで、1997年に亡くなる。
彼女は父親であるファン・アニードの娘で、1923年に彼から指導を受けた。
アニードは、マリーア・リョベートの南米デビューにおいて重要な役割を果す。
二人は1925年までにデュオを結成し、1930年ごろにリョベートの編曲をオデオン＝パーロフォン・レーベルに録音した。
その後、デッカ・レーベルから頒布されたレコードは、クラシックギターの初期の電気吹込みとして知られている。
リョベート自身もバルセロナから単独でパーロフォン・レーベルに伝記録音を残しており、これらの録音はクラシックギターの歴史において重要な地位を占める。
マリーア・アニードとマリーア・リョベートの共演録音は特に有名であり、1925年に録音されたレコードがその代表例。
クラシックギター最初期の吹き込みとしては、1910年にアグスティン・バリオス・マンゴレが行った作業が最初であり、その後も多くのギタリストが電気吹込みを進化させてきた。
マリーア・アニードとマリーア・リョベートはその中でも特筆すべき存在であり、彼らの楽曲は今日でも多くの人々に愛され続けている。
セゴビアとリョベート
1915年ごろにスペインで活動していたリョベートは、その後に一番弟子となるアンドレス・セゴビアを指導した。
しかし、セゴビアは、自らを独学者として自叙伝で称しており、リョベートからの助言を求めたことは少なく、演奏技術においてはリョベートから影響を受けていないと自信満々に述べている。
セゴビアは、タレガの原理を演奏スタイルと技巧に取り入れており、リョベートにもその影響が見られる。
22歳の時には、タレガに直接つながっていると認められるリョベートに、洗練された演奏技巧を学び、リョベートとタレガが作曲した音楽を追求した。
1893年にスペインのハエン県リナーレスで生まれた。
4歳でギターに触れ、16歳のときにスペイン国内で初めて演奏会を開いた。
彼は、家族からの妨害や門人からの見下されを乗り越え、ギター演奏の研鑽を続けた。
セゴビアは、タレガの高弟ミゲル・リョベートとエミリオ・プジョールのサロンで、タレガ奏法を学び、発展させる。
彼の演奏技巧は、明るいスタッカートや頭で弦を押し、爪から抜くタッチを加えた、これにより、クラシック・ギター演奏家たちがフラメンコやマンドリンから脱却しようとしていたクラシック音楽的な楽音に向けて努力した。
セゴビアの演奏は聴衆を驚かせ、ギターは大衆音楽だけでなく、クラシック音楽でも適していると認識されるようになった。
彼は既存のギターが大規模な演奏会場で不十分だと感じ、演奏技術と楽器の自然な音量を向上させるために楽器製作者と協働。
これにより、今日知られるクラシック・ギターのデザインが生まれる。
1928年にアメリカ合衆国で有名になり、作曲家たちに影響を与える。
セゴビア自身も多くのクラシック音楽を編曲し、タレガの編曲を復活させた。
彼は多くの学生を指導し、有名な門人としてアリリオ・ディアスや松田晃演などがいる。
セゴビアは94歳で亡くなり、彼の遺産は今も多くの人々に影響を与えている。
カタルーニャ民謡集
多くのギター愛好家にとって馴染み深い《カタルーニャ民謡集》は、ギターの音色を存分に発揮した歌心あふれる小品で代表される。
音楽と楽器があまりにも美しく融和したこの民謡集は、クラシックギターが誇る名作。
この民謡集には、比較的長い3分ほどの曲から、1分にも満たない〈うぐいす〉のような愛らしい小品が集められている。
セゴビアの演奏でも知られる〈聖母の御子〉、名旋律が人気の〈盗賊の歌〉、全編にわたってハーモニックスを用いた〈商人の娘〉、その他〈哀歌〉、〈あととりのリエラ〉、〈王子〉、〈羊飼いの娘〉、〈凍った12月〉、〈糸を紡ぐ娘〉、〈レリダの囚人〉の13曲が、当時の聴衆たちも魅了したであろうリョベートの抒情的な音楽を聴かせてくれる。
作品リスト
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In English
Miguel Llobet Solés (1878-1938) Classical Guitarist
Classical guitarist and composer from Barcelona, a great brother of Tárrega and a mentor of Segovia.
He gained international acclaim through his guitar arrangements, performances and recordings of local folk songs such as “The Testament of Princess Amelia” and “The Thieves’ Song”.
He has influenced composers Debussy, Falla, and Hindemith, as well as guitarist Andres Segovia.
His post-Talega work has made a significant contribution to the classical guitar world as the most prominent guitarist before Segovia and worldwide.
Because his father was a sculptor, Lyoubate himself studied art and demonstrated a talent for drawing, painting throughout his life.
He initially studied piano and violin, but a gift of a guitar from an uncle brought him into contact with the guitar playing of Antonio Jiménez Manhon in 1889.
This encounter led him to study with Mahin Alegre and to turn to the guitar.
This conversion was a major step that would define his musical path.
In 1889, he was exposed to the guitar playing of Antonio Jiménez Manjón, which led him to the guitar, where he studied with Magí Alegre.
In October 1892, he had his first performance with Francisco Tárrega.
Two years later, he studied with Tárrega at the Escola Municipal de Musica de Barcelona.
Llobet observed Tárrega’s playing and tried out his technique at home.
In 1898, he began playing privately for private gatherings.
In 1900, he met Talega’s patron, Concepción Huguet, and with his support, Llobato began his international activities.
In 1901, he gave his first public performance at the Conservatory of Valencia. In the same year, he also performed at the conservatories of Sevilla and Málaga, where he received the title of professor emeritus from the latter.
In 1903, he gave a public performance for the Spanish royal family in Madrid.
In 1904, he gave the first foreign performance of his life in Paris, organized by Ricardo Viñes.
In 1905, he moved to Paris, where he performed in prestigious organizations such as the Schola Cantorum and the National Music Society.
In 1910, he moved to Buenos Aires. While there, he continued to perform in Latin America and the Caribbean.
In 1912, he made his U.S. debut, giving concerts in Boston, Philadelphia, and New York City.
He then returned to Paris. Over the next few years, he performed throughout Europe, especially in Belgium and the Netherlands. He was especially active in Belgium and the Netherlands.
From 1913 to 1914, he performed throughout Germany.
At the outbreak of World War I, he returns to Buenos Aires and continues his tour of the Americas.
He made at least one recording attempt from 1912 to 1917. However, he “tried to make a recording at Bell Laboratories in Brunswick, New Jersey, but was not satisfied with the sound.
In 1912, 1914, and 1917, he made concert tours along the East Coast of the United States.
From 1920 to 1921, he played in Spain, and toured throughout Germany (Munich, Leipzig, Dresden, Cologne, and Stuttgart).
In 1924, he again traveled throughout Germany and Austria, and in 1925, he gave a concert in the United States.
In 1930 and 1931, he toured Europe again, visiting London, Berlin, Hamburg, Munich, Vienna, Budapest, and Bologna.
Hindemith declared his intention to compose a guitar piece after hearing Ljovet play in 1930, but he never went through with it.
Hindemith’s only surviving guitar piece is “Rondo for Three Guitars,” composed in 1925, before he was inspired by Lyobate.
From 1932 to 1934, he taught the young Cuban performer José Rey de la Torre at his home in Barcelona.
By this time, he seems to have played very little, but he never lost touch with the art world.
Although Lyobate enjoyed a shabby life of seclusion, he did meet with several leading artists at his Barcelona mansion.
Falla always visited the house of Llobate when he visited Barcelona, and Emilio Pujol was also a regular guest.
Rey de la Torre, who was the most frequent student of Riobate’s, recalls, “Not many people visited Riobate.
Llobet was a frequent visitor to concerts, and he and his wife would travel to venues close to his home.
Llobet continued his international success in his performances and recordings, even without the technical flourishes of Segovia or Narciso Yepes.
His influence extended to Claude Debussy, Manuel de Falla, and Paul Hindemith.
Just as his fellow countryman Casals arranged the Catalan folk song “The Song of the Birds” and made it his trademark, so too did Lyoubate arrange the local folk song “The Testament of Amelia. This folk song, which he featured in his performances and recordings, brought immortality to the melody.
Llobet’s achievements as a composer have been undergoing reevaluation in recent years.
A complete collection of his guitar works (original edition) has been published, with scores revised by Ronald Purcell.
Most of his works are small pieces and arrangements of folk songs, but he also left us his “Variations on a Theme by Sol,” Op. 15.
His music continues to be loved by many people today.
María Luisa Anido, born in 1907, was a prominent classical guitarist who died in 1997.
She was the daughter of her father, Juan Anido, who taught her from him in 1923.
Anido played an important role in María Riobate’s South American debut.
The two formed a duo by 1925, and around 1930 they recorded Ljovate’s arrangements for the Odeon-Parlophon label.
The recordings, which were later distributed by the Decca label, are known as the earliest electric recordings of classical guitar.
Llobet himself made biographical recordings from Barcelona alone on the Parlophone label, and these recordings hold an important place in the history of the classical guitar.
The recordings of María Anido and María Llobato together are particularly well known, and a record from 1925 is a prime example.
The first classical guitar blowing was done by Agustin Barrios Mangole in 1910, and many guitarists have evolved electric blowing since then.
María Anido and María Llobet are notable among them, and their music continues to be loved by many people today.
While working in Spain around 1915, Llobet mentored Andrés Segovia, who would later become her number one student.
However, Segovia referred to himself in his autobiography as a self-taught musician, rarely sought advice from Llobet
, and confidently stated that he was not influenced by Llobet in his playing technique.
Segovia incorporated Tarrega’s principles into his playing style and technique, and his influence can be seen in Llobet.
At the age of 22, Segovia studied the refined playing techniques of Llobato, whom he recognized as a direct link to Tarrega, and pursued the music composed by Llobet and Tarrega.
Andrés Segovia was born in Linares, Jaen, Spain, in 1893.
He was introduced to the guitar at the age of four and gave his first concert in Spain at the age of 16.
He overcame obstacles from his family and disrespect from his students and continued to improve his guitar playing.
Segovia learned and developed the Talega technique in the salons of Talega’s great brothers Miguel Lyoubate and Emilio Pujol.
His playing technique added a bright staccato and a touch of pressing the strings with the head and plucking from the nails, thus striving toward a classical musical sound that classical guitar players were trying to break away from flamenco and mandolin.
Segovia’s playing astonished audiences, and the guitar became recognized as suitable not only for popular music but also for classical music.
He felt that existing guitars were inadequate for large performance venues and worked with instrument makers to improve playing techniques and the natural volume of the instrument.
This led to the design of the classical guitar as we know it today.
He became famous in the United States in 1928 and influenced composers.
Segovia himself arranged much classical music and revived Talega’s arrangements.
He taught many students and his famous students include Alirio Diaz and Koen Matsuda.
Segovia died at the age of 94, and his legacy continues to influence many.
The “Catalan Folk Songs,” which is familiar to many guitar lovers, is represented by a small piece of songful music that fully demonstrates the tone of the guitar.
This collection of folk songs, with its beautiful blend of music and instrumentation, is a masterpiece that the classical guitar can be proud of.
This collection of folk songs includes relatively long pieces of about three minutes in length, as well as lovely pieces like “Uguisu,” which is less than a minute long.
The thirteen songs include “The Virgin’s Son,” which Segovia is known for playing, “The Thieves’ Song,” which is popular for its melody, “The Merchant’s Daughter,” which uses harmonics throughout, “Lamentations,” “Liela the Hinderer,” “The Prince,” “The Shepherd’s Daughter,” “Frozen December,” “The Spinner,” and “The Prisoner of Lerida,” which would have charmed audiences at the time. The thirteen pieces, “The Prince,” “The Shepherd’s Daughter,” “Frozen December,” “The Spinning Thread,” and “The Prisoner of Lerida,” offer lyrical music that would have captivated audiences of the time.
Study in E Major Instrumental Music 1899
Estilo Instrumental Music
Canciones populares catalanas (arr. for viola and piano) Chamber Music 1918
Canciones populares catalanas (arr. for harpsichord) Instrumental Music 1918
4 Folksongs Instrumental 1910
13 Catalan Folksongs (arr. P. Binkley) Chamber Music 1920
13 Catalan Folksongs (arr. A. Segovia) Instrumental Music
10 Canciones populares catalanas (arr. C. Duncan) Chamber music
Romance
Romanza, instrumental music 1896
Exercise in E minor
Estudio en mi mayor, instrumental
Exercises in E minor Estudio en mi mayor, instrumental
Estudio, instrumental
Respuesta – Impromptu
Respuesta – Impromptu, Instrumental Music 1922
Leonesa
Leonesa – Instrumental Music
Leonesa (From Leon)
Leonesa (From Leon) – Instrumental Music
The Prison of Lleida
La Preso de Lleida (The prison at Lleida) – Instrumental piece 1918
Mazurka
Mazurka, Instrumental piece 1901
Plany (Lamentation)
Plany (Lamentation) – Instrumental piece 1918
Mazurka for Federico Bufaletti
Mazurka for Federico Bufaletti – Instrumental piece 1901
The little shepherd’s daughter
La Pastoreta (The little shepherd girl) – Instrumental piece 1918
The Nightingale
Lo Rossinyol (The nightingale) – Instrumental piece 1918
The thief’s song
Canco del lladre (Thief’s Song) – Instrumental
The Thief’s Song
Canco de Lladre (Thief’s song) – Instrumental piece 1918
Variations on a Theme of Sor, Op. 15
Variations on a Theme of Sor, Op. 15* – Instrumental Music 1908
Seguidillas
Seguidillas Chamber Music
El noy de la mare (The Son of the Virgin, arranged by C. Romero for guitar)
El noy de la mare (arr. C. Romero for guitar), Instrumental Music
El noy de la mare (arr. C. Romero for guitar)
El noy de la mare (arr. C. Romero for guitar) – Instrumental
El noy de la mare (arr. C. Romero for guitar) ・ Scherzo-vals
Scherzo-vals – Instrumental piece 1909
The Merchant’s Daughter
La Filla del Marxant (The Shopkeeper’s Daughter) – Instrumental piece 1918
The Shopkeeper’s Daughter (arr. F. Ballaert, M.J. Boila, D. Murugadas, H.M. Stephenson)
La filla del marxant (arr. F. Ballart, M.J. Boira, D. Murgadas and H.M. Stefansson), Instrumental piece 1900
Christmas Night
La Nit de Nadal (Christmas Eve) – Instrumental piece 1918
Clavelitos (arr. J. Valverde)
Clavelitos (arr. J. Valverde) – Instrumental Music
Granada
Granada – Chamber Music
Estudio Capricho
Estudio Capricho, Instrumental Music 1899
Intermezzo
Intermezzo – Instrumental Music
Catalan Folk Songs: Song of the Bandit (arranged for panpipes and guitar by M. O. Dupin)
Canciones populares catalanas: Canco del Lladre (The Robber’s Song) (arr. M-O. Duipin for panpipe, guitar), Chamber Music
Catalan Folk Songs: The Nightingale (L. Ross Palluti for guitar and mandolin ensemble)
Canciones populares catalanas: Lo Rossinyol (arr. L. Lospalluti for guitar and mandolin ensemble), chamber music 1918
Catalan Folk Songs (arr. L. Lospalluti for guitar and mandolin ensemble)
Canciones populares catalanas (version for guitar and mandolin ensemble), chamber music 1918
Catalan Folk Songs
Canciones populares catalanas (version for guitar and mandolin ensemble), chamber music 1918
The Prince
Lo Fill del Rei (King’s son) – Instrumental Music 1918
El mestre (The Master)
El mestre (The Master) – Instrumental piece 1900
La Filadora (The spinner)
La Filadora (The spinner woman) – Instrumental piece 1918
Estilo Popular Argentino No. 2
Estilo Popular Argentino No. 2 – Instrumental
Estilo Popular Argentino No. 1
Estilo Popular Argentino No. 1 – Instrumental
Testament of Amelia
Canciones populares catalanas: El testament d’Amelia (Amelia’s Testament) – Instrumental Music 1918
L’Hereu Riera (Heresy of the Riera)
L’Hereu Riera (Heir Riera), instrumental music, 1918
L’Hostal de la Peira (arr. F. Ballaert, M.J. Boila, D. Murugadas, H.M. Stephenson)
L’Hostal de la Peira (arr. F. Ballart, M.J. Boira, D. Murgadas and H.M. Stefansson), Instrumental Music 1900
Annunciation (arr. F. Ballart, M.J. Boira, D. Murgadas and H.M. Stefansson)
L’anunciacio (arr. F. Ballart, M.J. Boira, D. Murgadas and H.M. Stefansson), Instrumental Music 1900
Estilo Popular Argentino, instrumental music 1926
Catalan Folk Songs – Testament of Amelia (arranged for guitar by C. Romero)
Canciones populares catalanas: El testament d’Amelia (Amelia’s Testament) (arr. C. Romero for guitar), Instrumental Music 1918
Five Preludes
5 Preludes – Instrumental Music 1935
13 Catalan Folksongs
13 Catalan Folksongs, Instrumental Music 1920
10 Catalan Folksongs – Song of the Bandit (arranged for guitar by C. Denote)
Canciones populares catalanas: Canco del Lladre (The Robber’s Song) (arr. C. Denoth for guitar), instrumental music 1918