In 1899 he met Concepción Jacoby, admirer and protector of Tárrega, who took him to Málaga, where he achieved a great triumph in the Philharmonic Society, an entity that would later appoint him honorary teacher.

Much sought after in private evenings, he also gave guitar lessons, especially to rich South American families residing in the French capital. However, during his stay in Paris, he never gave a solo concert.

In 1910 he made the first of his numerous tours of Argentina. He returned in 1912, extended the tour to other South American countries and continued to the United States; in October he performed in Boston and Philadelphia.

During the 1920s she gave more concerts in Argentina, where she also gave classes, and from 1925 she formed a duo with one of her students, María Luisa Anido, the Great Lady of the Guitar.

In the 1920s several composers dedicated their works to him. The most significant of these was the Homage (pour le tombeau de Claude Debussy) by Manuel de Falla, written in 1920, revised and fingered by both artists.

In 1925 he made some electrical recordings, followed by others in duet with María Luisa Anido in 1930. That same year he gave a recital with the singer Nina Kochitz at the Library of Congress in Washington.

The great critic Adolfo Salazar considered him not only the most important guitarist of his generation, but also the one who did the most to increase the guitar repertoire, through the transcriptions of the works of his compatriots.

His playing was universally praised. Their technique and compositions are not due so much to the flamenco styles as those of their predecessors Arcas and Parga, and they have limited use of strumming.

Although Llobet lived mainly as a soloist, he also taught classes, both in Paris and Argentina. His most important students, María Luisa Anido and José Rey de la Torre, were the product of his pedagogical achievements.

Emili Pujol rightly said that they are the most advanced guitar pieces composed between the end of the 19th century and the beginning of the 20th and in them he denotes Llobet’s knowledge of late-romantic harmonic practice.

Currently, his remains rest in the Poblenou Cemetery in his hometown. For 58 years it was missing but in 2006, the Cercle Guitarrístic a Catalunya discovered its current location.