Mauro Giuliani

by popularity


12 Divertimenti per chitarra, Op.3712 Divertimenti per chitarra, Op.4012 Ecossoises, Op.3312 Ländler for 2 Guitars, Op.9212 Ländler, Op.4412 Monferrine, Op.1212 Neue Wald-Ländler, Op.2312 Variations faciles sur une Air nationale Autrichien, Op.4712 Waltzes, Op.2112 Waltzes, Op.5712 Waltzes, Op.9014 National Dances and 3 Marches, Op.24b16 Pièces faciles et agréables, Op.7416 Piéces, Op.5918 Progressive Studies, Op.512 Thêmes favoris, Op.8024 Etudes, Op.4824 Prime lezioni progressive, Op.13924 Studies for the Guitar, Op.1003 Guitar Sonatinas, Op.713 Rondos, Op.173 Rondos, Op.33 Rondos, Op.84 Variations and Finale, Op.1416 Arie nazionale irlandesi, Op.1256 Arie nazionale scozzesi6 Cavatinas, Op.396 Rondos, Op.146 Variations for Flute and Guitar, Op.816 Variations on 'I bin a Kohlbauern Bub', Op.496 Variations sur l’Air favori de la Molinara, Op.4b6 Variations sur l'air ä Schüsserl und ä Reindl, Op.386 Variations sur les Folies d'Espagne, Op.456 Variations sur un Theme original Russe, Op.606 Variations, Op.1126 Variations, Op.1186 Variations, Op.26 Variations, Op.206 Variations, Op.326 Variations, Op.346 Variations, Op.606 Variations, Op.626 Variations, Op.76 Variations, Op.96 Variazioni brillanti su la Cavatina Di tanti palpiti, Op.878 Variations, Op.6


Amusements, Op.10


Bagatelle per la chitarra, Op.73


Caprice, Op.11Choix de mes fleurs chéries, Op.46


Der treue TodDivertimentiDivertimenti Notturni, Op.86Divertimenti, Op.29Divertimenti, Op.78Divertissement, Op.106Duettino Facile, Op.77


Etude contenant 8 Exercices, Op.90


Fughetta, Op.113


Giulianate, Op.148Gran Duetto Concertante, Op.52Grand duo concertant, Op.136Grand duo concertant, Op.85Grand Potpourri for Flute and Guitar, Op.126Grand Potpourri for Flute and Guitar, Op.53Grand Potpourri No.3, Op.31Grande ouverture, Op.61Grandes variations concertantes, Op.35Grandes Variations, Op.104Guitar Concerto No.1, Op.30Guitar Concerto No.2, Op.36Guitar Concerto No.3, Op.70Guitar Sonata, Op.15


Introduction and Variations on a Waltz, Op.103Introduction et variations sur le thème, Op.99Introduction, Theme and Variations, Op.105


La Caccia, Op.109La Tersicore del Nord, Op.147Landlers, Waltzes and Ecossaises, Op.58Le papillon, Op.50Les variétés amusantes, Op.43Les variétés amusantes, Op.54


Marche de l’opera 'Les deux Journées' varié, Op.110


Niaiserie d’Enfant, Op.41


Potpourri Nazionale Romano, Op.108Pot-pourri, Op.18Pot-Pourri, Op.26Pot-Pourri, Op.28Pot-pourri, Op.42Preludes, Op.83


Quintetto del Turco in Italia


Raccolta di pezzi musicali, Op.111Recueil de pièces faciles et agréables, Op.59Rondo Nouveau, Op.5Rondoletto, Op.4Rondongino brillanteRossiniana No.1, Op.119Rossiniana No.2, Op.120Rossiniana No.3, Op.121Rossiniana No.4, Op.122Rossiniana No.6, Op.124Rossiniane No.5, Op.123


Serenade for Flute and Guitar, Op.127Serenade, Op.19Sonata eroica, Op.150Studio per la chitarra, Op.1


Theme and Variations


Vari pezzi del balletto Il Barbiere di Seviglia, Op.16Variations ConcertantsVariations for Violin and Guitar, Op.24Variations on a Theme by Handel, Op.107Variations on Deh! calma oh ciel from 'Othello', Op.101Variations on 'Io ti vidi e t'adorai', Op.128Variations, Op.70Variazioni concertanti, Op.130
Mauro Giuseppe Sergio Pantaleo Giuliani (27 July 1781 – 8 May 1829) was an Italian guitarist, cellist, singer, and composer. He was a leading guitar virtuoso of the early 19th century.
Although born in Bisceglie, Giuliani's center of study was in Barletta where he moved with his brother Nicola in the first years of his life. His first instrumental training was on the cello—an instrument which he never completely abandoned—and he probably also studied the violin. Subsequently, he devoted himself to the guitar, becoming a very skilled performer on it in a short time. The names of his teachers are unknown, and we cannot be sure of his exact movements in Italy.
He married Maria Giuseppe del Monaco, and they had a child, Michael, born in Barletta in 1801. After that he was probably in Bologna and Trieste for a brief stay; by the summer of 1806, fresh from his studies of counterpoint, cello and guitar in Italy, he had moved to Vienna without his family. Here he began a relationship with the Viennese Anna Wiesenberger (1784–1817), with whom he had four daughters, Maria Willmuth (born 1808), Aloisia Willmuth (born 1810), Emilia Giuliani (born 1813) and Karolina Giuliani (born 1817).
In Vienna he became acquainted with the classical instrumental style. In 1807 Giuliani began to publish compositions in the classical style. His concert tours took him all over Europe. Everywhere he went he was acclaimed for his virtuosity and musical taste. He achieved great success and became a musical celebrity, equal to the best of the many instrumentalists and composers who were active in the Austrian capital city at the beginning of the 19th century.
Giuliani defined a new role for the guitar in the context of European music. He was acquainted with the highest figures of Austrian society and with notable composers such as Rossini and Beethoven, and cooperated with the best active concert musicians in Vienna. In 1815 he appeared with Johann Nepomuk Hummel (followed later by Ignaz Moscheles), the violinist Joseph Mayseder and the cellist Joseph Merk, in a series of chamber concerts in the botanical gardens of Schönbrunn Palace, concerts that were called the "Dukaten Concerte", after the price of the ticket, which was a ducat. This exposure gave Giuliani prominence in the musical environment of the city. Also in 1815, he was the official concert artist for the celebrations of the Congress in Vienna. Two years earlier, on 8 December 1813, he had played (probably cello) in an orchestra for the first performance of Beethoven's Seventh Symphony.
In Vienna, Giuliani had minor success as a composer. He worked mostly with the publisher Artaria, who published many of his works for guitar, but he had dealings with all the other local publishers, who spread his compositions all over Europe. He developed a teaching career here as well; among his numerous students were Bobrowicz and Horetzky.
In 1819 Giuliani left Vienna, mainly for financial reasons: he expected to make financial profit on a concert tour through Bohemia and Bavaria. He returned to Italy, spending time in Trieste and Venice, and finally settled in Rome. In 1822 he brought his illegitimate daughter Emilia to Italy, who had been born in Vienna in 1813. She was educated at the nunnery L'adorazione del Gesù from 1821 to 1826, together with Giuliani's first illegitimate daughter Maria Willmuth. In Rome he did not have much success; he published a few compositions and gave only one concert.
In July 1823 he began a series of frequent trips to Naples to be with his father, who was seriously ill. In the Bourbon city of Naples Giuliani would find a better reception to his guitar artistry, and there he was able to publish other works for guitar with local publishers.
In 1826 he performed in Portici before Francesco I and the Bourbon court. In this time, which we could call Giuliani's Neapolitan period, he appeared frequently in duo concert with his daughter Emilia, who had become a skilled performer on the guitar. Toward the end of 1827 the health of the musician began to fail; he died in Naples on 8 May 1829. The news of his death created a great stir in the Neapolitan musical environment.
Giuliani's expression and tone in guitar playing were astonishing, and a competent critic said of him: "He vocalized his adagios to a degree impossible to be imagined by those who never heard him; his melody in slow movements was no longer like the short, unavoidable staccato of the piano, requiring profusion of harmony to cover the deficient sustension of notes, but it was invested with a character, not only sustained and penetrating, but of so earnest and pathetic a description as to make it appear the natural characteristic of the instrument. In a word, he made the instrument sing."
As a guitar composer he was very fond of the theme and variations— an extremely popular form in Vienna. He had a remarkable ability to weave a melody into a passage with musical effect while remaining true to the idiom of the instrument.
Giuliani's achievements as a composer were numerous. Giuliani's 150 compositions for guitar with opus number constitute the nucleus of the nineteenth-century guitar repertory. He composed extremely challenging pieces for solo guitar as well as works for orchestra and Guitar-Violin and Guitar-Flute duos.
Outstanding pieces by Giuliani include his three guitar concertos (op. 30, 36 and 70); a series of six fantasias for guitar solo, op. 119–124, based on airs from Rossini operas and entitled the "Rossiniane"; several sonatas for violin and guitar and flute and guitar; a quintet, op. 65, for strings and guitar; some collections for voice and guitar, and a Grand Overture written in the Italian style. He also transcribed many symphonic works, both for solo guitar and guitar duo. One such transcription arranges the overture to The Barber of Seville by Rossini, for two guitars. There are further numerous didactic works, among which is a method for guitar that is used frequently by teachers to this day.
Today, Giuliani's concertos and solo pieces are performed by professionals and still demonstrate the ability of the guitarist to play the piece, as well as Giuliani's natural ability as a composer for the classical guitar.
Giuliani arranged many 19th century opera themes for the guitar, e.g. from the opera Semiramide by Gioachino Rossini. His work Le Rossiniane also includes numerous themes from the operas of Rossini.
The "Introduction" from Rossiniana No. 2 has become well known in popular culture due to its inclusion in the Counter Strike Italy map.
Of the instruments used by Giuliani, there are guitars made by: