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". In 1915, Llobet made one attempt at recording at the Victor studios in New York, but the two sides he recorded, Manuelito and Sueño, were rejected. 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." It is also known that he toured the East Coast of the United States in 1912, 1914 and 1917. In 1920-1921, Llobet played in Spain and toured throughout Germany, performing in Munich, Leipzig, Dresden, Cologne and Stuttgart. In 1922 he was in Vienna for the first time. When in Vienna, Llobet was frequently a guest in the house of Luise Walker's parents. In 1924, he again toured throughout Germany and Austria, and he concertized in the Americas in 1925. He returned again to the Americas in 1930 to perform for the Spanish Arts Festival, under the auspices of the Library of Congress. 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. In 1923, he began to teach María Luisa Anido (1907–1997) in Buenos Aires. By 1925, the two were performing duets and, according to Purcell, about 1930 recorded some of Llobet's duet arrangements on the Odeon-Parlophone label distributed by Decca. These recordings followed a solo series recorded by Llobet on the Parlophon/Electric series out of Barcelona". The solo recordings, among the first released of the classical guitar, are supposed to have been recorded around 1925, but are from two different sources: Argentina/Odeon recording sessions as well as the earlier Barcelona/Parlophon recording. In response to an inquiry, Purcell stated that "Llobet did not care for the acoustic recording results in 1915 and only recorded electronically.... His recordings were recorded in 1925 and later with Maria Anido". It may be noted that electronic recording was developed by Bell Labs under its Western Electrical branch, and was leased to recording companies under the name of "Westrex Electrical Recording System" beginning in 1925. Initially only Victor and