Mvt. 1: Allegro moderato	7:07	
Mvt. 2: Andante molto sostenuto	4:55	 play
Mvt. 3: Scherzo: Vivace	3:52	
Mvt. 4: Allegretto espressivo	5:39

Anne Pajon - flute
Rafael Alcántara - guitar

Michaelhouse, Cambridge
2010-06-19

Mauro Giuliani (ur. 27 lipca 1781 w Bisceglie, zm. 8 maja 1829 w Neapolu) - włoski kompozytor i wirtuoz gitary. Twórca prawdopodobnie pierwszego w historii koncertu gitarowego (Koncert na gitarę i orkiestrę smyczkową A-dur, Op. 30 z 1808 roku). Mauro Giuliani był jednym z największych przedstawicieli okresu klasycznego gitary. Po sukcesie na estradach Włoch i Francji przybył w 1807 do Wiednia, gdzie działał jako pedagog, kompozytor i wirtuoz. Do jego uczniów należeli również m.in. także Polacy: Feliks Horecki, Jan Nepomucen Bobrowicz. W 1819 wrócił do Włoch, gdzie występował z Rossinim i Paganinim. Ostatnie lata spędził w Neapolu, korzystając z opieki władców Królestwa Obojga Sycylii. Jako wirtuoz należał do najlepszych gitarzystów europejskich; jego pełna temperamentu gra wywoływała podziw i zachwyt słuchaczy.

Mauro Giuseppe Sergio Pantaleo Giuliani (July 27, 1781 – May 8, 1829) was an Italian guitarist and composer, and is considered by many to be one of the leading guitar virtuosi of the early 19th century. 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.

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Disc 1

Duo, WoO
1.   		No. 1. Allegro 00:10:49
2.   		No. 2. Menuetto 00:04:49
3.   		No. 3. Rondo: Allegro moderato 00:04:49
Gran Duetto Concertante, Op. 52
4.   		I. Andante sostenuto 00:03:58
5.   		II. Menuetto: Allegro vivace 00:03:47
6.   		III. Rondo militaire: Allegretto 00:06:54
Grand Duo Concertant, Op. 85
7.   		I. Allegro maestoso 00:06:54
8.   		II. Andante molto sostenuto 00:03:53
9.   		III. Scherzo: Vivace 00:03:47
10.   		IV. Allegretto espressivo 00:05:42
12 Landler samt Coda, Op. 75
11.   		12 Landler samt Coda, Op. 75 00:08:03
Duettino facile, Op. 77
12.   		I. Andantino maestoso 00:01:19
13.   		II. Minuetto scherzoso: Con brio 00:02:44
14.   		III. Rondo 00:02:34

Disc 2

1.   		Grand Potpourri, Op. 53 00:10:09
Pieces faciles et agreables, Op. 74
2.   		No. 1. Sostenuto 00:01:47
3.   		No. 2. Menuetto - Trio 00:02:26
4.   		No. 3. Grazioso 00:01:00
5.   		No. 4. Allegretto - Trio 00:01:51
6.   		No. 5. Maestoso sostenuto 00:02:09
7.   		No. 6. Menuetto: Allegro - Trio 00:02:21
8.   		No. 7. Allegretto spiritoso 00:01:43
9.   		No. 8. Andantino grazioso 00:01:24
10.   		No. 9. Tempo di marcia 00:01:50
11.   		No. 10. Allegro scherzoso 00:02:15
12.   		No. 11. Maestoso cantabile 00:01:53
13.   		No. 12. Grazioso 00:01:32
14.   		No. 13. Menuetto: Allegro - Trio 00:01:49
15.   		No. 14. Bolero: Andantino 00:01:28
16.   		No. 15. Andantino grazioso 00:01:09
17.   		No. 16. Vivace 00:00:35
Potpourri tire de l'opera Tancredi, Op. 76
18.   		Potpourri tire de l'opera Tancredi, Op. 76 00:14:18
6 Variations, Op. 81
19.   		6 Variations, Op. 81 00:06:32
Gran Pot-Pourri, Op. 126
20.   		I. Introduzione: Maestoso 00:02:21
21.   		II. Tema: Allegro - Variations 1 - 2 00:02:49
22.   		III. Andante 00:01:18
23.   		IV. Tema: Allegro sostenuto - Variations 1 - 2 00:02:52
24.   		V. Tema: Maestoso - Variation - Finale 00:02:33

Disc 3

Grande Serenade, Op. 82
1.   		I. Theme and Variations 00:03:48
2.   		II. Menuetto - Trio 00:02:49
3.   		III. Allegro brillante 00:04:04
4.   		IV. Marcia: Maestoso 00:04:38
Variations, Op. 84
5.   		Introduzione: Andantino sostenuto 00:01:12
6.   		Theme and Variations 1 - 6: Allegretto 00:07:41
18 Divertimenti Notturni, Op. 86
7.   		No. 1. Andantino 00:01:42
8.   		No. 2. Allegro 00:01:47
9.   		No. 3. Andantino 00:01:14
10.   		No. 4. Allegretto 00:02:13
11.   		No. 5. Andantino 00:01:46
12.   		No. 6. Allegretto 00:01:15
13.   		No. 7. Andante 00:01:27
14.   		No. 8. Allegretto 00:00:52
15.   		No. 9. Grazioso 00:01:49
16.   		No. 10. Allegretto 00:01:39
17.   		No. 11. Larghetto 00:01:51
18.   		No. 12. Allegro 00:01:44
19.   		No. 13. Maestoso 00:01:17
20.   		No. 14. Allegro 00:01:03
21.   		No. 15. Andante 00:03:31
22.   		No. 16. Allegro 00:01:48
23.   		No. 17. Grazioso 00:02:43
24.   		No. 18. Allegretto 00:02:01
Serenade, Op. 127
25.   		I. Maestoso 00:03:00
26.   		II. Minuetto: Allegretto 00:03:33
27.   		III. Theme and Variations 1 - 3: Andantino mosso 00:06:13
28.   		IV. Rondo: Allegro 00:02:50

Mikael Helasvuo – flute
Jukka Savijoki – guitar

In the beginning of the nineteenth century the guitar enjoyed a wide popularity, partly as a result of the rise of domestic music-making. Besides solo music, a great amount of chamber music was being composed for guitar with voice, violin, piano or flute. The most celebrated of the several composer-guitarists active at this time was Mauro Giuliani, born in 1781 in southern Italy. Giuliani came to Vienna in 1806 and left the city a good decade later, enjoying close contacts with many musical celebrities of the era, among them Hummel, Salieri, Weber and Beethoven. He is also said to have played trios with Rossini and Paganini. Giuliani’s production is largely unknown to audiences of today, with a few notable exceptions, such as the Duo Concertante, Op.85. This three-disc set includes his complete original works for flute and guitar, a collection so extensive that it in fact also makes Giuliani one of the most prolific flute composers of the early 19th century! As a composer, Giuliani is highly skilful, with more than a touch of Italian charm and a perfect sense of style and proportion. These works feature all the forms in fashion during the period, for example sonata form, rondo, variation, potpourri and minuet. As was customary, Giuliani borrows freely, especially from composers such as Rossini and Donizetti, but he also possessed great melodic skills of his own, and attractive tunes seem to have flown from his pen almost as easily as they did from Mozart’s. This lighthearted music is given wings by the flutist Mikael Helasvuo and guitarist Jukka Savijoki, both from Finland, in performances that were praised at the time of the original release – as three single discs – in for instance Classical Guitar, whose reviewer wrote: ‘Helasvuo and Savijoki achieve an ensemble that at times reaches near perfection … this is what good chamber music playing is all about.’ --- music-island.pl

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CD1

Guitar Concerto No. 1 in A Major, Op. 30
01. I. Allegro maestoso
02. II. Siciliana - Andantino
03. III. Polonaise - Allegretto

Claudio Maccari - guitar

Guitar Concerto No. 3 in F Major, Op. 70
04. I. Allegro moderato
05. II. Andantino alla siciliana con variazioni
06. III. Polonaise - Allegretto

Paulo Pagliese - guitar

CD2

Guitar Concerto No. 2 in A Major, Op. 36
01. I. Maestoso
02. II. Andantino
03. III. Rondo - Allegretto

Claudio Maccari - guitar

Grand Quintet for Guitar and Strings in C Major, Op. 65
04. I. Introduzione
05. II. Theme and Variations on "Nel cor più non mi sento"
06. III. Polonaise

Paulo Pagliese - guitar

Variations for Guitar and Sting Quartet, Op. 102, on "Nume perdonami in tale istante" from Generali's Baccanali di Roma
07. I. Introduzione, thema, Variations

Orchestra Ensemble Ottocento

An acclaimed Italian guitar virtuoso and composer, Mauro Giuliani, along with Fernando Sor, was one of the last great classical proponents of his instrument 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 remains the most familiar today), but few of them could make a living because of the public's preoccupation with opera. So Giuliani embarked on a successful tour of Europe when he was 19, and in 1806 he settled in Vienna, where he entered the musical circle of Diabelli, Moscheles, and Hummel. He solidified his reputation with the 1808 premiere of his Guitar Concerto in A major, Op. 30, and was soon heralded as the greatest living guitar virtuoso. Even Beethoven noticed Giuliani, and wrote a few guitar pieces especially for him. Perhaps to return the favor, Giuliani played cello in the 1813 premiere of Beethoven's Symphony 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 to Italy in 1819. An 1823 trip to London brought him acclaim in the English-speaking world, and resulted in a short-lived fan publication called The Giulianiad. After this visit, the guitarist settled in Naples, enjoying the patronage of the court of the Kingdom of Two Sicilies. He became adept on an obscure instrument called the lyre-guitar (which was marketed mainly to female amateurs), and perfected the design of the "ghitarra di terza," an instrument with 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, for solo guitar, the Grand Overture, Op. 61, and a series of six sometimes long-winded suites, Le Rossiniane, based on tunes by Gioacchino Rossini. As a special help to other players, Giuliani notated his works on the treble clef in an innovative manner, with the rests and note-stem directions distinguishing the melody from the bass line and inner voices. ---James Reel, All Music Guide

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