Keywords
classical guitar in Chile, guitar-playing technique, guitar discourse, Manjón, Llobet, Barrios.
Abstract
Based on an investigation of newspaper articles, this article presents a first look at the activities of Antonio Jiménez Manjón, Miguel Llobet, and Agustín Barrios in Chile between 1893 and 1918. Manjón’s concerts were well received, clashing with some of the discourse in the local media, which considered the guitar vulgar and expressionless. Llobet introduced the Tárrega school in Chile in 1912, which is in itself a milestone in the study of Tárrega’s pedagogical philosophy in that country. Furthermore, his technique was praised and, like Manjón’s, led to the challenging of prejudices against the guitar. The case of Agustín Barrios, however, is noteworthy, since he seemingly did not achieve the same recognition and success as his predecessors, even though he was an outstanding guitarist and composer.
A look at these artists’ activities shows that the guitar was surrounded by a plethora of narratives, which gave rise to a specific understanding of the development of the instrument in Chile.
Notes
The original Spanish version of this article is available online on Revista Musical Chilena. This version, translated by Emma Going, incorporates a few additions by the author.
Recommended Citation
Soto Hurtado, Pablo. 2025. "Manjón, Llobet, and Barrios in Chile: Concerts and Reception in the Newspaper Record." Soundboard Scholar 10, (1). https://digitalcommons.du.edu/sbs/vol10/iss1/5