Mauro Giuliani - Scelta di studi per chitarra
EDIZIONI SUVINI ZERBONI - MILANO | English | PDF | 94 pages | 60 MB
Mauro Giuliani (Bisceglie 1781 - Naples 1829) wrote works for the guitar in a wide variety of genres: sonatas, variations, dances, rondos, pot-pourris, studies, fantasies and transcriptions of vocal and instrumental compositions of his time. He also used the guitar as the solo instrument in three important orchestral concertos as well as in chamber works, including duos with violin, flute, voice, piano and second guitar.
All these works, ranging from the technically simple to the most exacting tests of virtuosity, constitute the perfect expression of Giuliani’s masterful knowledge of the instrument, on which he was also an accomplished performer. And they all bear the stamp of his fertile creative genius. Among the musicians of his day Giuliani must be acknowledged not only as one of the major composers for guitar, but also as one of the most representative in the current that ran parallel and contemporary with the greatest composers of the early Romantic period. Moreover, if we consider Giuliani from the standpoint of his position as an exponent of the Italian school, we will realize that he was one of the few, along with Paganini and certain other minor guitar composers, endowed with the necessary qualities to keep the instrumental tradition alive in Italy during the years that witnessed the overwhelming primacy of opera.
This new edition of our collection of 80 Studies by Giuliani, selected from his best-known teaching works, incorporates several changes with respect to the preceding version. The first and most important innovation in this edition is its strict adherence to the original, made possible by the fact that we have gained access to editions of the period. We have thus been able to discard sources that have proved ambiguous or inaccurate. Secondly, in order to provide a complete philological picture of the Studies, we have retained Giuliani’s original notation, even though certain voices might have been realized more completely. And finally, we have changed some of our former fingering criteria, especially those regarding right hand fingerings (almost entirely lacking in the originals), in the interest of following the composer’s style more closely. We also decided to eliminate our own indications of «rest stroke» and suggestions for dynamics, leaving such delicate choices to the interpreter’s discretion. The order of the Studies is the same as in the previous version, except for a few minor changes due to problems of pagination.
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