"Così, più che impararla, io sperimentavo la mia tecnica sulla chitarra".

Prat, 1934, p. 184-5, recounts that after meeting Llobet, Concepción took him to Málaga, and in 1900 to Paris, bringing him out of the Barcelona area for the first time and allowing him to begin an international concert career.

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 Société Nationale de Musique.

In the biographical sketch given by Bruno Tonazzi,[6] 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 the Caribbean in a series of tours largely arranged by Domingo Prat, (author of the Diccionario de Guitarristas 1933), Juan Anido (father of María Luisa Anido) and Ruiz Romero of the publishing house Romero y Fernandez.

According to Purcell, "At the outbreak of World War I, Llobet returned to Buenos Aires," and continued to make trips throughout the Americas.

Purcell states that "At the age of twenty-two (Segovia) pursued what he considered the only direct contact to Tárrega, Llobet, for refinement of his technique and especially for the music that both he and Tárrega had written and transcribed for the guitar..." and that "Segovia, whose performance style and technique reveals [sic] the principles of Tárrega, was basically influenced by Llobet....This stylistic influence can be heard when comparing Llobet's Parlophone Electric recordings (Chanterelle Historical Recordings CHR 001) with Segovia's Angel recordings, ZB 3896".

[12] The prominent guitarist Vahdah Olcott-Bickford, who was living in New York at the time, writes that "he tried to make a recording at the Bell Lab in New Brunswick, New Jersey, but was dissatisfied with the sound.

In 1920-1921, Llobet played in Spain and toured throughout Germany, performing in Munich, Leipzig, Dresden, Cologne and Stuttgart.

The violinist Antonio Bossa had recommended him, and he was contracted to play six solos, and to arrange and perform Manuel de Falla's Siete Canciones Españolas with soprano Nina Kochitz.

Under the general management of Louis Sterling, Columbia acquired a number of European, Asian, and U.S. recording companies in 1925.

[20] From 1932 to 1934, Llobet taught the young Cuban virtuoso José Rey de la Torre at his home in Barcelona.

Chanterelle, now under the ownership of Musicverlag Zimmermann, is in the process of publishing new Urtext editions of the complete catalog under the editorship of Stefano Grondona.

These new and more definitive editions are based on autograph manuscripts found in the Miguel Llobet Collection of the Museu de la Música in Barcelona.