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An acclaimed Italian guitar virtuoso and composer, Mauro Giuliani, along with Fernando Sor, was one of the last great classical proponents
ofhisinstrument until its revival in the early twentieth century. He studied counterpoint and the cello, but on the six-string guitar he was entirely self-
taught,and that became his principal instrument early on. Italy abounded with fine guitarists at the beginning of the nineteenth century (Carulli
remainsthemost familiar today), but few of them could make a living because of the public's preoccupation with opera. So Giuliani embarked on a
successf ...read more
An acclaimed Italian guitar virtuoso and composer, Mauro Giuliani, along with Fernando Sor, was one of the last great classical proponents
ofhisinstrument until its revival in the early twentieth century. He studied counterpoint and the cello, but on the six-string guitar he was entirely self-
taught,and that became his principal instrument early on. Italy abounded with fine guitarists at the beginning of the nineteenth century (Carulli
remainsthemost familiar today), but few of them could make a living because of the public's preoccupation with opera. So Giuliani embarked on a
successful tourofEurope when he was 19, and in 1806 he settled in Vienna, where he entered the musical circle of Diabelli, Moscheles, and Hummel. He
solidifiedhisreputation with the 1808 premiere of his Guitar Concerto in A major, Op. 30, and was soon heralded as the greatest living guitar
virtuoso.EvenBeethoven noticed Giuliani, and wrote of his admiration for him. Perhaps to return the favor, Giuliani played cello in the 1813 premiere
ofBeethoven'sSymphony No. 7.
Around 1814, Giuliani was named virtuoso onorario di camera to Napoleon's second wife, Empress Marie-Louise. But, deeply in debt, he returned
toItalyin 1819. An 1823 trip to London brought him acclaim in the English-speaking world, and resulted in a short-lived fan publication called
TheGiulianiad.After this visit, the guitarist settled in Naples, enjoying the patronage of the court of the Kingdom of Two Sicilies. He became adept on
anobscureinstrument called the lyre-guitar (which was marketed mainly to female amateurs), and perfected the design of the "ghitarra di terza,"
aninstrumentwith a shorter fingerboard than that of the regular "Spanish" guitar.
Giuliani published more than 200 works; his most durable pieces include three lyrical concertos in a late Classical/early Romantic style, and,
forsologuitar, the Grand Overture, Op. 61, and a series of six sometimes long-winded suites, Le Rossiniane, based on tunes by Gioacchino Rossini. As
aspecialhelp to other players, Giuliani notated his works on the treble clef in an innovative manner, with the rests and note-stem directions
distinguishingthemelody from the bass line and inner voices. « hide |
Similar Bands: Fernando Sor, Francisco Tarrega, Matteo Carcassi, Napoleon Coste, Dionisio Aguado |
 | Guitar Music
2009
|
 | Giulianate, Op.148
1827
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| Rossiniana No.6, Op.124
1826
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| Op. 123 Rossiniana No. 5
1824
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| Rossiniana No.4, Op.122
1823
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| Op. 150 Gran Sonata Eroica
1822
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| Op. 19 Serenade for guitar, violin and violoncello
1822
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| Rossiniana No.3, Op.121
1822
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| Rossiniana No.2, Op.120
1821
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| Variations on a Theme by Handel, Op.107
1821
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| Rossiniana No.1, Op.119
1820
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| La Caccia, Op.109
1819
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| Op. 65 Gran Quintetto (2 violins, viola, cello)
1817
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| 12 Waltzes, Op.57
1817
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| 3 Guitar Sonatinas, Op.71
1816
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| Op. 70 Third concerto for guitar in Dmajor
1815
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| 6 Variations sur les Folies d'Espagne, Op.45
1814
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| Gran Duetto Concertante Flute/Guitar in A, Op.52
1812
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| 18 Progressive Studies, Op.51
1812
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| Le Papillon, Op.50 32 Easy Pieces
1812
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| 24 Etudes, Op.48
1812
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| Op. 53 Gran potpourri (violin and guitar) Op.53
1812
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| Guitar Concerto No.2 in A
1812
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| Sonata in C Major, Op. 15
1812
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| Study for the Guitar, Op. 1
1812
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| Rondoletto, Op.4
1812
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| 6 Variations sur favori de la Molinara, Op.4b
1812
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| 14 National Dances and 3 Marches, Op.24b
1812
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| Variations for Violin and Guitar, Op.24 in Eminor
1812
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| Duo Concertant for violin & guitar in Em, Op. 25
1812
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| 16 Pièces faciles et agréables, Op.74
1810
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| Grand Duo Concertante, for violin/guitar, Op. 85
1810
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| 8 Variations, Op.6
1810
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| 6 Variations, Op.2
1810
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| 3 Rondos, Op.3
1810
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| Six Variations sur un Theme original, Op. 20
1810
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| Rondo Nouveau, Op.5
1810
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| Grande Ouverture Op. 61
1809
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| Guitar Concerto No.1, Op.30
1808
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Contributors: Doctuses,
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