Mauro Giuliani

Mauro Giuliani

Mauro Giuliani (born July 27, 1781 in Bisceglie , † May 8, 1829 in Naples ) was an Italian guitarist and composer .

Life

Mauro Giuliani studied guitar, violoncello and flute in his youth. Over time, however, he devoted himself exclusively to playing the guitar. At the age of 18 he gave concerts in Italy and France. In 1806 he settled in Vienna as a soloist, teacher and composer and soon made a name for himself as a guitarist and guitar teacher. He made friends with Anton Diabelli , Johann Nepomuk Hummel , Ignaz Moscheles and Louis Spohr and made music with them. In 1813/14 he also took part in several Beethoven concerts as a cellist. Around 1814, Beethoven and Elisabeth Röckel were guests at an evening party in Giuliani's house (during his time in Vienna, Giuliani was involved in a group of artists called the Ludlums Society ).

At the height of his success, however, his fate turned: in 1819 he had to leave Vienna, probably for personal reasons, because he left behind some debts, so that his accounts and property were confiscated. “Driven” from Vienna, he found a new home in Italy, the country of his birth. First he settled in Venice and stayed in the Hotel de Gran Bretania, later he moved to Rome . During his stay in Italy he composed “Le Rossiniane”. With these compositions he also contributed to the "Rossini fever" prevailing at the time. In July 1823 Giuliani went on concert tours to Naples, where he had the opportunity to be with his seriously ill father. In Naples he performed in a duo with his daughter Emilia Giuliani-Guglielmi , who was born in 1813. At the end of 1828 he fell ill more and more often, finally he died on May 8, 1829 in Naples. Until his death, he wanted to return to Vienna.

Ferdinand Pelzer named the first serious guitar magazine "The Giulianiad, or Guitarist's Magazine", published in London from 1833 in honor of Mauro Giuliani. 150 years later, 1983 ff., Published in Freiburg i. Br. Joerg Sommermeyer i. V. m. of the International Guitarist Association edited “Strings for the Guitar and Lute” in memory and now titled “Nova Giulianiad” as a tribute to Mauro Giuliani and the “old” Giulianiad.

Importance of the guitar virtuoso

The “final” modification of the guitar can be found in the last decades of the 18th century, i.e. between 1770 and 1800. It was precisely at this time that those composers were born who gave the guitar the enormous reputation it finally enjoyed in the 19th century : Fernando Sor in February 1778 , Dionisio Aguado in April 1784 , Mauro Giuliani in 1781 and others. We are on the threshold of the heyday of the guitar, shortly before the “completion” of the instrument. (Peter Päffgen)

Giuliani became one of the most glamorous figures among the guitar virtuosos of the 19th century. His interpretation was characterized by an individual artistic temperament, which always aroused the admiration and enthusiasm of the audience. The reports about Giuliani's appearance in Vienna were full of enthusiasm. The “Allgemeine Musikische Zeitung” (AMZ) wrote in May 1808: “On the 3rd of this month, M. Giuliani, perhaps the first of all guitar players that existed so far, gave an academy in the Redoutensaal with well-deserved approval. You have to have heard this artist yourself in order to get an idea of ​​his extraordinary skill and his precise, tasteful presentation ” (Konrad Ragossnig).

On January 13, 1815, the AMZ wrote: “Also Hr. Louis Spohr ... gave on the 11th, and Mr. Mauro Giuliani at the 26th concert in the kl. Red. Saale. Both artists retained their reputation as perfect masters of their instruments, the first on the violin, the latter on the guitar ” (Konrad Ragossnig).

plant

Mauro Giuliani has composed over 200 works for guitar, he is considered the "Mozart of the guitar". He also changed the notation: Giuliani was (like Wenzel Matiegka ) one of the first guitar composers to use a polyphonic notation for the instrument, in which the voices differ by the direction of the note stems:

Works for guitar solo (selection):

• didactic works: op.1a, 48, 111
• Variations, op.2, op.7, op.20
• Variations on “Nel cor piú non mi sento”, op. 4
• 6 variations with polonaise and finale, op.9.
• Dodici monferrine, op.12
• Sonata in C major, op.15
• 6 variazioni facili. Op. 32.
• Dodici scozzesi, op.33
• 6 variazioni. Op. 34.
• 6 variazioni see “La Folia”. Op. 45. (Variations on a Folia d'Espagne ), op.45.
• 12 variazioni facili, sulla canzone popular austriaca. Op. 47.
• 24 Etudes, op.48
• Variations on “I am a Kohlbauern Boy”, op. 49
• Le Papillon, op.50
• Grande Ouverture, op.61
• 3 sonatinas, op. 71 1-3
• Grandes Variations pour la Guitarre ... La Sentinelle, op.91 (The theme is probably by Alexandre-Étienne Choron )
• Variations on a Theme by Handel, op.107
• La Caccia (“La Chasse”), op. 109 (1826).
• 6 grandi variazioni. Op. 112.
• Gran Variazioni per Chitarra sopra l'Aria favorita: Oh! Cara Armonia, op.114 (Rome, 1823)
• Le Rossiniane No. 1, op.119; No. 2, op.120; No. 3, op. 121; No. 4; No. 5; No. 6
• Variazioni sul cavatina del Bacini (theme: "Jo ti vidi e t'adorai"). Op. 128.
• 6 easy progressive pieces, op.139
• Variazioni con finale su temi napoletani. Op. 140-145.
• Canzonetta favorita variata (theme: "Tengo più di trentun 'anni, e mi voglio maritar"). Op. 147.
• Giulianate, op.148
• Gran Sonata Eroica, op.150
• Variations on “God! receive Franz the Kaiser ”from Joseph Haydn
• La Melanconia

Works for two guitars :

• Grandi variazioni concertanti, op.35
• Variazioni concertanti, op.130

Chamber music :

• Gran Duetto concertante, op. 52 for Fl (Vl) and Git
• Great Sonata in E minor, op.25 for Vl and Git
• 2 Rondos, op. 68 for git and piano
• Great Sonata in A major, op. 85 for Fl (Vl) and Git
• Great Serenade in D major, op. 82 for Fl and Git
• Duettino facile, op.77 for Fl (Vl) and Git
• Serenade, op.19 (Trio) for Git / Vl / Vc
• Quintet - Introduction, theme with variations and polonaise, op. 65 for guitar and string quartet

Concerts with orchestra :

• Concerto in A major, op. 30, premiered on April 3, 1808 in Vienna
• Concerto in A major, op.36 (for third guitar)
• Concerto in F major, op.70 (for third guitar)

Other works :

• Marie Louise au Berceau de son Fils. Romance, op. 27 (for three voices and clavecin or guitar).

literature

• Peter Päffgen: The guitar . Mainz 1988
• Konrad Ragossnig : Manual of the guitar and lute . Mainz 1978
• Thomas F. Heck: Mauro Giuliani - Virtuoso Guitarist and Composer . USA 1995
• Fritz Buek: The guitar and its masters . Berlin 1926
• Stefan Hackl: The guitar in Austria - From Abate Costa to Zykan, Innsbruck / Vienna / Bozen, 2011
• Michael Lorenz : "New Light on Mauro Giuliani's Vienna Years" , Vienna, 2015, "Mauro Giuliani's Viennese Residence at Stadt 1083" , 2016

Web links

Commons : Mauro Giuliani  - collection of images, videos and audio files

• Sheet music and audio files by Mauro Giuliani in the International Music Score Library Project
• Charles Baron d'Aichelbourg and his four duos for mandolin and guitar (PDF; 431 kB) by Andreas Grün 1 (with some references to Giuliani; PDF file; 419 kB)
• Allgemeine Musikalische Zeitung: with special regard to the Austrian imperial state (1823)
• Austro-Hungarian Review (1864)
• Introduction au code d'harmonie ...: ou, Nouveau système de basse fondamentale ... By Nicolas Giuliani; Published by J. Hauer et Co. (1847)
• Works for guitar, including the four concerts with individual parts

Individual evidence

1. ^ Friedrich Gersmann: Classical Tempo for Classical Music. Part 4. In: Guitar & Lute. Volume 8, No. 5, 1986, pp. 37-46; here: p. 42
2. ↑ Jürgen Libbert (Ed.): Wenzel Matiegka, 12 easy pieces op. 3 for guitar. Adapted from the original text [from the chemical printing works in Vienna from around 1814]. Edition Preißler, 1979 (= studio series guitar. Volume 3), foreword.
3. ↑ Cf. Ruggero Chiesa (Ed.): 120 Arpeggi op. 1. Edizioni Suvini Zerboni, Milan.
4. ^ Ruggero Chiesa (ed.): Variazioni op. 2. Edizioni Suvini Zerboni, Milan. Ders .: Variazioni op. 7. Ibid. Ders .: Variazioni su un tema originale op. 20. Ibid.
5. ^ Ruggero Chiesa (ed.): Variazioni sull'aria "Nel cor piú non mi sento". Edizioni Suvini Zerboni, Milan.
6. ↑ Hildegard Ruhe, Reinbert Evers : Mauro Giuliani, VI Variations with Polonaise and Finale, op. 9. After the first edition set up for practical use. Edition Preißler (= guitar study series. Volume 4).
7. ^ Ruggero Chiesa (ed.): Dodici monferrine op, 12. Edizioni Suvini Zerboni, Milan.
8. ↑ István Szabó (ed.): Mauro Giuliani, Variazioni per chitarra. Könemann Music, Budapest 1999 (= K. Volume 155), ISBN 963-9155-06-3 , pp. 4-9.
9. ↑ Ruggero Chiesa (Ed.): Dodici scozzesi op.33. Edizioni Suvini Zerboni, Milan.
10. ↑ István Szabó (ed.): Mauro Giuliani, Variazioni per chitarra. Pp. 10-17.
11. ↑ István Szabó (ed.): Mauro Giuliani, Variazioni per chitarra. Pp. 18-23.
12. ↑ István Szabó (ed.): Mauro Giuliani, Variazioni per chitarra. Pp. 24-31 ( 12 variazioni facili ).
13. ↑ See for example Hans Ritter (Ed.): Mauro Giuliani, 24 Etudes for Guitar, opus 48. B. Schott's Sons, Mainz (= Guitar Archive. Volume 32).
14. ↑ Matanya Ophee: Who wrote La Sentinelle. In: Guitar & Laute 4, 1982, Heft 4, pp. 217-225.
15. ↑ Cf. Hildegard Ruhe, Reinbert Evers: Mauro Giuliani, La Chasse, Ronedeau, op. 109. After the first edition set up for practical use. Edition Preißler (= guitar study series. Volume 4).
16. ↑ István Szabó (ed.): Mauro Giuliani, Variazioni per chitarra. Pp. 32-39.
17. ↑ István Szabó (ed.): Mauro Giuliani, Variazioni per chitarra. Pp. 40-45.
18. ↑ Avila (Ed.): Mauro Giuliani, 6 easy progressive pieces, op. 139. B. Schott's Sons, Mainz (= guitar archive. Volume 76).
19. ↑ István Szabó (ed.): Mauro Giuliani, Variazioni per chitarra. Pp. 45-73.
20. ↑ István Szabó (ed.): Mauro Giuliani, Variazioni per chitarra. Pp. 74-79.
21. ^ Ruggero Chiesa (ed.): Serenata op.19 per violino, violoncello e chitarra. Edizioni Suvini Zerboni, Milan.
22. ^ Brian Jeffery: Mauro Giuliani and his concerto for guitar and orchestra, op. 30. In: Guitar & Laute 10, 1988, 3, pp. 14-18
23. ↑ Ruggero Chiesa (Ed.): Primo Concerto op. 30 per chitarra e orchestra in la maggiore. Edizioni Suvini Zerboni, Milan.