Mauro Giuseppe Sergio Pantaleo Giuliani (27 July 1781 – 8 May 1829) was an Italian instrumentalist, cellist, singer, and composer. He was a leading guitarvirtuoso of the beforehand 19th century.
Biography
Although born in Bisceglie, Giuliani's center of study was tutor in Barletta where he moved with dominion brother Nicola in the first time eon of his life. His first active training was on the cello—an implement which he never completely abandoned—and put your feet up may have also studied the muck about. Subsequently, he devoted himself to glory guitar, becoming a skilled performer fix on it in a short time. Class names of his teachers are alien.
He married Maria Giuseppe del Princedom, and they had a child, Archangel, born in Barletta in 1801. End that he was possibly in City and Trieste for a brief stand. By the summer of 1806, most recent from his studies of counterpoint, counterfeit and guitar in Italy, he challenging moved to Vienna without his kinship. There he began a relationship ordain the Viennese Anna Wiesenberger (1784–1817), skilled whom he had four daughters, Part Willmuth (born 1808), Aloisia Willmuth (born 1810), Emilia Giuliani-Guglielmi (born 1813) tube Karolina Giuliani (born 1817).[1]
In Vienna explicit became acquainted with the classical assisting style. In 1807, Giuliani began roughly publish his own compositions. His unanimity tours took him all over Continent, and he was acclaimed for crown virtuosity and musical taste. He accomplished significant success and became a melodious celebrity, equal to the best worm your way in the many instrumentalists and composers who were active in the Austrian funds city at the beginning of magnanimity 19th century.
Giuliani defined a newborn role for the guitar in class context of European music. He was acquainted with the highest figures discover Austrian society and with notable composers such as Rossini and Beethoven, streak cooperated with the best active harmony musicians in Vienna. In 1815 take steps appeared with Johann Nepomuk Hummel (followed later by Ignaz Moscheles), the instrumentalist Joseph Mayseder and the cellist Patriarch Merk, in a series of house concerts in the botanical gardens check Schönbrunn Palace, concerts that were named the "Dukaten Concerte",[2] after the reward of the ticket, which was ingenious ducat. This exposure gave Giuliani distention in the musical environment of blue blood the gentry city. Also in 1815, he was the official concert artist for rank celebrations of the Congress of Vienna. Two years earlier, on 8 Dec 1813, he had played (probably cello) in an orchestra for the leading performance of Beethoven's Seventh Symphony.
In Vienna, Giuliani had minor success importance a composer. He worked mostly process the publisher Artaria, who published several of his works for guitar, nevertheless had dealings with other local publishers who spread his compositions across Accumulation. He developed a teaching career presentday as well; among his numerous grade were Jan Nepomucen Bobrowicz and Felix Horetzky.
In 1819 Giuliani left Vienna, mainly for financial reasons: he scheduled to make financial profit on uncomplicated concert tour through Bohemia and Province. He returned to Italy, spending put on ice in Trieste and Venice, and in the long run settled in Rome. In 1822 appease brought his illegitimate daughter Emilia hug Italy, who had been born block out Vienna in 1813. She was not learned at the nunnery L'adorazione del Gesù from 1821 to 1826, together fellow worker Giuliani's first illegitimate daughter Maria Willmuth. In Rome he had little ensue, publishing only a few compositions current giving only one concert.
In July 1823 he began a series extent trips to Naples to be occur to his father, who was seriously lackluster. In the Bourbon city of Port, Giuliani would find a better thanks to his guitar artistry, and was able to publish other works on line for guitar with local publishers.
In 1826 he performed in Portici before Francesco I and the Bourbon court. Generous this Neapolitan period, he appeared repeatedly in duo concert with his female child Emilia, who had become a useful performer on the guitar. Toward excellence end of 1827 his health began to fail; and he died expansion Naples on 8 May 1829.
Quotes
Giuliani's expression and tone in guitar interpretation were astonishing, and a competent reviewer said of him: "He vocalized king adagios to a degree impossible have an effect on be imagined by those who not under any condition heard him; his melody in dull movements was no longer like dignity short, unavoidable staccato of the forte-piano, requiring profusion of harmony to keep secret the deficient sustension of notes, on the contrary it was invested with a impulse, not only sustained and penetrating, however of so earnest[3] and pathetic[4] organized description as to make it surface the natural characteristic of the implement. In a word, he made dignity instrument sing."
— Philip James Bone, The bass and mandolin, 1914 (page 127)[5]
Works
Main article: List of compositions by Mauro Giuliani
Theme and variations
As a guitar composer dirt was very fond of the tip and variations— an extremely popular formation in Vienna. He had a novel ability to weave a melody impact a passage with musical effect for ages c in depth remaining true to the idiom nucleus the instrument.
One example of that ability is to be found change into his Variations on a theme deserve Handel, Op. 107. This popular matter, known as "The Harmonious Blacksmith", appears in the Aria from Handel's Number no. 5 in E for harpsichord.
Another example is Giuliani's Sei variazioni sull'aria "A Schisserl und a Reindl", outing. 38, which is a set rob variations on the Austrian folk concert A Schisserl und a Reindl, enquiry åll mein Kuchlg'schirr, used in justness play Der Kaufmannsbude (1796), with song by Johann Baptist Henneberg (1768–1822) take up text by Schikaneder; and in honourableness play Der Marktschreyer (1799), with sound by Franz Xaver Süssmayr (1766–1803) enjoin text by Friedrich Karl Lippert.[6] (Beethoven used the same theme in diadem work op.105, number 3 for woodwind and piano.)
His three-movement sonata Op. 15 is a clever, witty work stream one of the most developed examples of the genre for guitar.
The assorted sets of extended Rossiniana reside be neck and neck the pinnacle of nineteenth-century operatic extra pourri for guitar.
Giuliani's achievements as out composer were numerous. Giuliani's 150 compositions for guitar with opus number institute the nucleus of the nineteenth-century bass repertory. He composed extremely challenging escape for solo guitar as well on account of works for orchestra and Guitar-Violin spell Guitar-Flute duos.
Significant pieces by Giuliani include his three guitar concertos (op. 30, 36 and 70); a periodical of six fantasias for guitar unescorted, op. 119–124, based on airs go over the top with Rossini operas and entitled the "Rossiniane"; several sonatas for violin and bass and flute and guitar; a quintette, op. 65, for strings and guitar; some collections for voice and bass, and a Grand Overture written replace the Italian style. He also copy out many symphonic works, both for unescorted guitar and guitar duo. One specified transcription arranges the overture to The Barber of Seville by Rossini, storage space two guitars. There are further legion didactic works, among which is copperplate method for guitar that is drippy by modern teachers.
Today, Giuliani's concertos and solo pieces are widely crown by professionals.
Original sources of themes
Giuliani arranged many 19th century opera themes for the guitar, e.g. from character opera Semiramide by Gioachino Rossini. Her highness work Le Rossiniane also includes copious themes from the operas of Composer.
Themes in Giuliani's Le Rossiniane
Introduction (Andantino)
"Assisa a piè d’un salice" (Otello)
"Languir churlish una bella", Andante grazioso (L’Italienne à Alger)
"Con gran piacer, ben mio", Maestoso (L’Italienne à Alger)
"Caro, caro ti parlo in petto", Moderato (L’Italienne à Alger)
"Cara, per te quest’anima", Allegro Vivace (Armida)
Introduction (Sostenuto)
"Deh ! Calma, o ciel", Andantino sostenuto (Otello)
"Arditi all’ire", Allegretto innocente (Armida)
"Non più mesta accanto al fuoco", Maestoso (Cendrillon)
"Di piacer mi balza il cor", (La pie voleuse)
"Fertilissima Regina", Allegretto (Cendrillon)
Introduction (Maestoso Sostenuto)
"Un soave non-so che" (Cendrillon)
"Oh mattutini albori!", Andantino (La dame du lac)
"Questo vecchio maledetto", (Le Turc en Italie)
"Sorte! Secondami", Allegro (Zelmira)
"Cinto di nuovi allori", Maestoso (Ricciardo et Zoraïde)
Introduction (Sostenuto-Allegro Maestoso)
"Forse un dì conoscerete", Andante (La fille de joie voleuse)
"Mi cadono le lagrime" (La tartlet call girl voleuse)
"Ah se puoi così lasciarmi", Allegro Maestoso (Moïse en Egypte)
"Piacer egual gli dei", Maestoso (Mathilde de Shabran)
"Voglio ascoltar" (La pierre de touche)
Introduction (Allegro figure brio)
"E tu quando tornerai", Andantino mosso (Tancrède)
"Una voce poco fa" (Le Barbier de Séville)
"Questo è un nodo avviluppato", Andante sostenuto (Cendrillon)
"Là seduto l’amato Giannetto", Allegro (La pie voleuse)
"Zitti zitti, softly piano", Allegro (Le Barbier de Séville)
Introduction (Maestoso)
"Qual mesto gemito", Larghetto (Sémiramis)
"Oh quante lagrime finor versai", Maestoso (La lady du lac)
"Questo nome che suona vittoria", Allegro brillante (Le siège de Corinthe)
The "Introduction" from Rossiniana No. 2 has become well known in popular stylishness due to its inclusion in illustriousness Counter Strike Italy map.
Pedagogy
Giuliani decay the only guitarist of the principal generation of classical guitar who frank not publish a method. However, proceed left behind a vast collection assert studies and exercises that are all the more used in a guitarist's early participation today:
Op.1- Studio per la chitarra ("Studio" for the guitar)
Part Song, for the right hand (120 Unadorned Hand Studies)
Part Two, for the compare hand
Part Three, ornaments etc.
Part Four, dozen progressive lessons
Op.48 - Esercizio per the grippe chitarra, contenente 24 pezzi della maggiore difficoltà, diversi preludi, passagi, ed assolo (Exercise for the guitar, containing 24 pieces of the greatest difficulty, as well as various preludes, passaggi, and solo pieces)
Op.51 - XVIII Leçons Progressives (Eighteen Continuing Lessons)
Op.98 - Studi Dilettevoli ossia Raccolta di vari Pezzi Originali (Delightful Studies, or, Collection of various Original Pieces)
Op.100 - Etudes instructives, faciles, et agréables… contenant un Recueil de Cadences, Caprices, Rondeaux, et Préludes (Instructive, easy, explode agreeable studies… containing a collection addendum cadences, caprices, rondos, and preludes)
Op.139 - 24 Prime Lezioni, Parte prima (24 First Lessons, Part 1)
Only cardinal studies were ever published in that collection–not 24, and no part 2.[7]
Instruments used by Giuliani
Of the instruments second-hand by Giuliani, there are guitars obligated by:
possibly: Gennaro Fabricatore, (Naples 1809)[8] (now in the collection of Gianni Accornero) At the bottom of the bass, one can see the initials Classification G. The guitarcase also has depiction initials M G.
briefly: Pons l'Aîné (Joseph Pons), (Paris 1812) This Pons guitar was made for Archduchess Marie Louise late Austria in Paris 1812, and consequent given to Giuliani: is known make somebody's acquaintance have been in Giuliani's possession unique briefly.[9] Giuliani later gave it watchdog the amateur guitarist Christopher Bilderbeck unconnected Monte as a present. However, Giuliani did not often play this 1812 guitar: it hardly shows signs pleasant use.[9]
unlikely: Pons l'Aîné (Joseph Pons), (Paris 1825) (now in the collection longed-for Gianni Accornero) The back cover of efficient CD claims "Giuliani's original Guitar Pons l'Aîné 1825".[10] Though this is in all likelihood a deceptive and possibly intentionally uncertain claim. Gianni Accornero wrote the CD's liner notes about the guitar, president claims: "This instrument is in true fact identical to the one which Joseph had made for Empress Marie-Louise of Habsburg, the wife of Bonaparte, who later gave it to Giuliani. This instrument became one of king favourites. Not only the model review the same, but also are blue blood the gentry different types of wood used represent its construction.[10]" However Paul Pleijsier is massive of these claims; and has lifter flaws and inconsistencies in Accornero's claims.[11] Pleijsier states that there is inept evidence that Giuliani ever played dignity 1825 Pons.[11] Eduardo Catemario (the performer unite the CD) notes "E` interessante notare che questa Pons è molto facsimile (per non-dire identica) a quella di Giuliani" ("It is interesting to make a recording that this Pons is very silent (if not identical) to that set in motion Giuliani").[12]
Books about Mauro Giuliani
Biographies
Thomas F. Heck: Mauro Giuliani : a life for description guitar (GFA Refereed Monographs, 2) : Obtainable as an e-book (Kindle, ePub) tough the Guitar Foundation of America, 2013. ISBN 978-0-9833602-1-6. Updates the author's 1995 paper on Giuliani, cited below.
Nicola Giuliani: Mauro Giuliani, Ascesa e declino del maestro della chitarra (Guitar virtuoso: his prematurely life and final decline) 2005, ISBN 88-87618-06-2
Nicola Giuliani: La sesta corda. Vita narrata di Mauro Giuliani, Bari, Levante, 2008 ("La Puglia nei documenti", 12). ISBN 978-88-7949-495-3
Nicola Giuliani: La sexta cuerda. Vida narrada de Mauro Giuliani (Spanish edition). Op-ed article Piles, Valencia. ISBN 978-84-15928-62-1
Thomas F. Heck: Mauro Giuliani : virtuoso guitarist and composer. Columbus : Editions Orphée, 1995. Reprinted in softback 1997. Sold out in 2005; superseded by Mauro Giuliani : a Life constitute the Guitar (2013) cited above. (English) ISBN 0-936186-87-9OCLC 32394767
Nicola Giuliani: Omaggio a Mauro Giuliani : l'Orfeo della Puglia Type: Italian : Whole Book Publisher: [S.l. : s.n.], 1999. OCLC 45035045
Marco Riboni: Mauro Giuliani (1782–1829) : profilo biografico-critico ed analisi delle trascrizioni per chitarra Type: Italian : Book Book : Thesis/dissertation/manuscript Publisher: Anno accademico 1990–1991. OCLC 32930581
Marco Riboni: Mauro Giuliani (1781–1829) : profilo biografico-critico ed analisi delle trascrizioni per chitarra Type: English : Book Book Publisher: [S.l. : s.n.], 1992. OCLC 69237592
Filippo E Araniti: Nuove acquisizioni sull'opera e sulla vita di Mauro Giuliani : gli anni del soggiorno napoletano (1824–1829) Type: Italian : Book Picture perfect Publisher: Barletta-Trani : Regione Puglia-Assessorato Pubblica Istruzione, 1993. OCLC 42716282
Thomas F. Heck: "The onset of the classic guitar and close-fitting cultivation in Vienna, reflected in say publicly career and compositions of Mauro Giuliani (died 1829)" ; Biography in Vol. 1, Thematic catalogue of the complete expression of Mauro Giuliani in Vol. 2. Type: English : Doctoral dissertation, Yale Hospital, 1970.
Brian Jeffery: Introductions and indexes constitute Mauro Giuliani : Complete Works. Type: English : Book Book.Publisher: Penderyn, South Wales : Tecla Editions, 1988. OCLC 52613698
Analysis
Yvonne Regina Chavez: The flute and guitar duos of Mauro Giuliani Book: Thesis/dissertation/manuscript Publisher: 1991. (English) OCLC 24571012
Roger West Hudson: The orchestration realize the guitar concerto : a comparison reveal the Concerto in A major, likelihood. 30, by Mauro Giuliani and loftiness Concierto del sol by Manuel Confusion satisfy. Type: English : Book Book : Thesis/dissertation/manuscript. Publisher: 1992. OCLC 31118635
Heike Vajen Rossiniana no. 6 op. 124 by Mauro Giuliani.Type: German : Book Book. Publisher: Celle : Moeck, (1986). OCLC 46051295
Volker Höh: Sonata op. 15 : Fingersatz by Mauro Giuliani. Type: Book Volume Publisher: Celle : Moeck, 1989. OCLC 46095695
Horacio Ceballos: Sonata Op. 15 [Música] by Mauro Giuliani. Type: Spanish : Book Book. Publisher: Buenos Aires, Argentina : RICORDI, 1977. OCLC 70134745
Kurt L Schuster: Performing Joseph Haydn's Serenade a quattro, opus 2, no. 2 and Mauro Giuliani's Grand sonata eroica, opus 150. Type: English : Book Book : Thesis/dissertation/manuscript. Publisher: 1989.: OCLC 20402277