TITLES IN TECLA:
NEW EDITION NOVEMBER 2008, THE FIRST MODERN
RE-ENGRAVED EDITION OF THIS FINE WORK:
Two Rondos for guitar and keyboard, op. 68 a brand new Tecla edition, re-engraved not facsimile, score and
separate guitar part, ready for performers. A fine work.
Dances of 1810
Sonatina for guitar, op. 71 no. 3. AUGUST 2008 A new Tecla re-engraved edition, prescribed in the
new Associated Board 2009-10 syllabus.
for Guitar, op. 48. Edited by Brian Jeffery.
NEW TECLA PUBLICATION JUNE 2006.
Complete Studies for guitar a NEW
re-engraved edition for students November 2002
Works (39 volumes). We publish Giuliani's Complete
Works in 39 volumes, in facsimiles of the original editions,
containing about 3700 pages. Many of the
individual works are
also published separately. Here are a few of the separate
works (there are many more):
15. RE-ENGRAVED separate edition. (Free on request to
purchasers of Volume 3 of the
Rossiniane, complete in one book
Grande Ouverture, op. 61
eroica, op. 150
Giuliani's three concerti and other works
We have a few copies for sale of a very fine CD from Italy
which is very hard to get, containing works by Giuliani for
guitar and string quartet, played by Eros Roselli and the
Ensemble Urs Mächler. This is an exceptionally beautiful
recording, real music. These few copies are probably the last
Studies (Esercizio) op. 48 (the new re-engraved edition)
A comment from a customer, on the Tecla
edition of Giuliani's Sonata, op. 15:
received my order today and I am delighted with the
editions. Thank you! Having studied the Giuliani Opus
15 I can appreciate the quality of the urtext edition. It
is a true joy to read from this score, as I now only have 1 page
turn, which occurs at the best possible location in the piece.
Also, the score is faithful to the original 1808 edition which
saved me many, many hours of work given the urtext readability.
In my master class studies with [a teacher], he
pointed out the many errors and re-writes in the modern edition
I was using. The 1808 version has many subtle yet critical
differences in dynamics, markings, slurs, etc., which have made
me completely rethink the interpretation, phrasing, and
fingerings. Even the opening melody line is corrupted in a
later edition's error in the tie marking, which has been
carried forward to countless modern editions and copies. Just
shows once again the value of a primary source. It is a
welcome change to play uncorrupted period music."
Tecla main page.
Copyright 2003 by Tecla Editions. Errors
and omissions excepted.
Mauro Giuliani (1781-1829)
If you're looking for a particular work of
Giuliani, try the list of
individual works published separately.
If it isn't there, it will certainly be
somewhere in Giuliani's Complete Works published by Tecla. Look
in the list of contents of the
Mauro Giuliani, guitar virtuoso, heir to the
lutenists of old, friend of Beethoven and Rossini, composed
concerti, chamber music, and songs, as well as guitar solos and
A Dutchman who heard him in 1808 when he had
first arrived in Vienna from Italy, had a perceptive insight
into the nature of Giuliani's work. He wrote: "Then I heard
a guitarist who played so perfectly that he often reminded me of
the fine old time of true lute playing". I think that those
words give a clue to approaching this music in terms of the
lighter early 19th century instrument, with its clear sound and
lower string tension: virtuoso playing with cascades of notes on
the upper strings and lyrical passages on the lower ones:
brilliant and dazzling music. Of course today's instrument can
play Giuliani's music, but today's instrument has greater weight
and greater string tension. I used to play this music often on a
Lacote of about 1830, with gut strings and without nails, and I
can testify to the greater flexibility and immediate response
which it offered.
What is Giuliani's achievement as a composer?
It falls into several periods. First are the virtuoso pieces of
the time when he had first arrived, from about 1808 to 1812.
Then (without a clear break) the period of consolidation in
Vienna when he composed hundreds of pieces, his second and third
concertos and many songs and pieces for guitar and flute or
violin. Finally, the music composed after he left Vienna for
Italy in 1819. Let us look at these in turn.
I am writing this piece as the editor of all
of Giuliani's music - and I mean all, without exception. Back in
1981-83 I did extensive bibliographical work starting from
Thomas Heck's invaluable Yale thesis The Birth of the Classic
Guitar (1970). I obtained copies of all the early editions
(and that means many, many thousands of pages of them).
Librarians all over the world were tremendously helpful. Some
copies came even from the then Yugoslavia. Some arrived soaked
in the rain (unprotected alas by the British Post Office). I
sorted out which editions were the primary sources. There were a
good many additions to Heck. I then published all Giuliani's
music, every piece with new bibliographical notes establishing
the original text and often giving lists of suggestions for
performance - while making absolutely clear that any such lists
were only a starting point for performers. All the 39 volumes
are still easily available to performers and scholars today from
my firm Tecla and many pieces are available individually. The
references in this small essay are to that edition, the Complete Works.
First, Giuliani's early and virtuoso period.
He composed a Sonata for solo
guitar; his first concerto, op. 30;
and his Studio for the guitar,
a tutor which was much prized and whose right and left hand
exercises have never ceased to be used since that time.
After that brilliant beginning, Giuliani
settled down to composing steadily for many years in Vienna. He
moved in the thick of Viennese musical society: Beethoven,
Hummel, Mayseder, etc. He played in the first performance of
Beethoven's Sixth Symphony. There is no sharp dividing line
between the first period and this one, but one could say that
this second period has two characteristics. First, it is a
consolidation: an achievement which established Giuliani as the
principal guitarist in Vienna and one with a serious and solid
reputation. Secondly, it established him as an all-round
musician, as a composer not only for the guitar but for guitar
and flute or violin, guitar and voice, as well as two more
guitar concertos. From this period is his Grande Ouverture in the Italian
During all this time, he had Italian influence
on his music. Now in 1819 he left Vienna for Italy. First to
Venice (where he stayed in the Hotel de Gran Bretania, still in
existence). In this later period he composed some fine works.
Particularly strong was the influence of Rossini. There are his Rossiniane, which are fine
potpourris based on themes from Rossini, and splendid arrangements for two guitars of
overtures to Rossini operas. Others are strongly Italian as
well, such as the Potpourri
Nazionale Romano op. 108 or the Variations on Neapolitan
folksongs opp. 140 etc. These later works are not often played
today but would repay attention.
I come back to the question: what is
Giuliani's achievement? It's more than just historical: this is
tremendous, virtuoso music. Personally, I hear something akin to
a fortepiano played with great energy, lightness and musicality:
nothing heavy at all. Surely the Dutchman had the right insight
when he wrote that this musician recalled to him the lutenists
who had gone before.