yoagho: >rof, Orlando Frage, 10309© 1979 by Faber Music | Mirth fe 1777 by Pade Mee, Foon ‘London WCIN 3AU Pere een ty Shiiey Tucker, phomgraph by Engraved by Jack Thompson in England by West Central Printing Lid All rights reservedthe most celebrated guitarist of his generation and ‘composer for the instrument. He lived for some years in ed to Rome where he met Rossini, then at the height of his The two men evidently got on well together, for Giuliani Ricordi announcing a new work, a ‘Gran Pot-Pourri for ?.A This was the first of the six substantial fantasies on 's operas, known as Le Rossiniane, Op. 119-124, They are ull of inventive writing for the guitar, and so constructed that it ‘to tell where Rossini ends and Giuliani begin: the first of the set for performance, I could not help feeling that ons —based, in fact, on themes from L?Italiana in Algeri ~ were ierous in length. To substitute the fine allegro maestoso March Rossiniana (Op. 122) seemed in keeping with the pot-pourri style sk was conceived. It is therefore this modified version that is printed following many requests for its publication. Those wishing to consult the Julian Bream ’s recording of this work is available on RCA ARL 0711. (1781-1829) war der beriihmteste Gitarrenspicler seiner Generation sserordentlich fruchtbarer Komponist fiir sein Instrument, Er lebte einige fien, zog dann aber 1820 nach Rom, wo er mit Rossini zusammentraf, ‘den Hohepunkt seiner Laufbahn als Opernkomponist erreicht hatte. Die er kamen offensichtlich gut miteinander aus, denn Giuliani kindigte sr Ricordi ein neues Werk an, ein ‘Gran Pot-Pourri? fiir Gitarre 19-124 bekannten Fantasien iiber Themen aus Rossinis Opern. Sie jungsreiche Gitarrenkompositionen und so angelegt, dass es oft , wo Rossini aufhért und Giuliani anfingt. ste der sechs Fantasien fir ein Konzert vorbereitete, hatte ich hl, dass die Mittelteile, die auf Themen aus L'Italiana in Algeri g lang seien, Im Sinne des Potpurristils, in dem das schien es mir daher berechtigt, daftir den feinen allegro moderato iniana Nr. 4 (op. 122) einzusetzen. Auf vielfachen Wunsch erscheint hhier im Druck. Wer das Original einsehen will, sei auf die die fiir die Guitar Foundation of America bei Belwin No.2). Julian Bream ufnahme des Werkes st unter RCA ARL 0711 erhiltlich. Bt wins juced here by courtesy of Robert Spencer. The computation of the purchase prices quoted by high for Ricordi; it was subsequently licher Erlaubnis von Robert ‘um Ricordis Berechnung der La Rossiniana muss Ricordi zuKena b ebeaf (824 Care Avie ff Aoirh fi vise che 0 Hlinral em anes 178 spray’ ow prop L vag po Mian, ade dene gual che cenaerl, 0) i ermmunicarme wn ypiane yor fans) la mie farlera) ..2 lee Gu 7 pned men tint Li, LP he wren tilt Duc in mantete Dire for rmcs 0ccole Pour aude ow pytivne cla be fre L fome Lo precutate 3 Jertvere Ne soup Mat ivald OF une Cb. Pimmat conotciats, oltve ver alle Comovin ng spent colame 3 Weft I gral. ne fa Jere one erripnal onde. fradurme Celt xi’ te wre agg rade; 76 , i Xe con clutont geese snattoar (0 verretgratiicane) vee 040 offre a ppt amiehevedey ed 1h yee 210 cot pub rrforne 4 © hgare datiene,e che C ricthng foe mgr rate! pre! G00 la porfya) pvr tal a7 Sram aul. Mab Gosia’ por Uverra, dele fe fpnetara Leper che me eben me mist’ Concert" 19 oLeayys Bf ~ Variaggert poor Chi arre oe V4 in Foy iodie G0 Ctttatio) 9 um gull arinad Gu xv 4g — fran hard Militar. 0. Shs Ormco fu 5 Sa fran Sinale Crorca por Chitasras dy, ya gg.) Aon. por Me lans atremo prs! occatiine volnt|e mal vendreSade piceke cate om en pemere: mom matte ra Catiagg, be gunk a : ws Gre LF remanls ot pr melt. oe, elle pronta. rigor. ot darete/ Catt €¢ gxanko rare a (iilans ler mnereme mer mello om mira the crventtanga hee wwe Fp!) BE mae ep hse eiSererel cssme ! gpremer. detia 5 vara! Sy mele uli. vyndeme a gucet cf ~ pa beenna th sel, delle :onege ret chi. deste’ Dy it paccds Ja kis wvi, LPoeiinge Feit framne Wal vrewdal Una/ mrgeercd cali. Dirarvodeate rripoite, pwdrcanemt la. alle. * Rare / ma netcrrle Ee ip Cc wire oe oH faver rece , vtineze) abe tow = Soctw Lorrie Mawr fisettainsRome, 6 February 1821 T remember that in Vienna you proposed in an esteemed letter that I should make "a journey to Milan where I could give some concerts and where you would tell me a plan which would make my fortune. Tam proposing a different plan to you which does not attempt more than to allow us both to live in a most discreet manner, and here it is. During my sojourn in Rome I have written some musical pieces of a style never before known, resulting, moreover, from my special acquaintance with Rossini who thas favoured me with many originals from which I could arrange whatever suited me. Conclusion: I would like to publish this music, I make you the most friendly offer of it, and following my return to Milan we shall have occasion to make a binding agreement, 4 No, 1 Gran Pot-Pourri for guitar, called La Rossiniana — a piece I use =p in my concerts 10 Luigi 2 Variations for guitar 4 ditto 3 Rapsodie for guitar in an original style 6 ditto 4 Gran Rondo Militare in concerto style 7 ditto 5 Gran Sonata Eroica for guitar of great dimension, and never before heard 2B ditto 40 Beyond these a quantity of other small things in a new and gallant style which I will ‘not enumerate but which are at your disposal. T would require 50 Luigi for the moment and I will send you everything I have according to your prompt reply, and when I shall be in Milan we shall settle all our accounts. _—_T shall not give exact details about the circumstances which oblige me to appeal to You but in the future you will find me to be the most attentive man on this earth. Ie will be very useful for you to sell to these publishers in Vienna half the property. of my manuscripts, as since my departure they have not received a single musical note from me. Besides you will setle with them according to your wise counsel. __ 1 beg you to reply quickly, indicating a person to whom I could hand over the uscripts here in Rome and who would get them to in with all esteem and affectionr ‘Explanation of the following signs may be useful: ‘Die Erklarung der folgenden Zeichen mag fur den Spielér von Nutzen sein Lrexplication des signes suivants pourra @tre utile: LH legato or slur. Linke Hand: legato oder Bindebogen. MG. legato ou liaison LH finger indicated should remain on the Die angedeuteten linken Finger sollen auf string. Pressure should be released for a der Saite bleiben. Bei Bundwechsel soll der shift to another fret. Druck aufhéren. MG. le doigtindiqué dot rester sur la corde. La pression doit cesser au changement de case. LH fingers must be positioned before the Bevor die nichste Phrase gespielt wird, muss enming phrase is played. die Fingerstellung der linken Hand einge nommen werden, Lesdoigu de la M.G. doivent @tre en postion avant de jouer la phrase suivante Grand barré Gromer Quergriff (barré) Om Grand barré, mm BATE topping 5 tings or les Quergriff ber 3 oder weniger Saiten Barré étouffant 3 cordes au moins. Momentary barré, stopping the strings Kurzer Quergriff tiber die durch die indicated by the bracket Klammer bezeichneten Sait Barré momentané, étouffant les cordes {ndiquées entre parenth?ses Natural harmonics areshown by diamond Natirliche Flageolettine werden mit note-head at their true pitch, with fret and viereckigen Notenképfen in der richtigen string numbers indicated. For artificial har- Tonhishe angezeigt, mit vorgeschriebenes monics, the diamond note-head shows the Bund und Saitennummern. Fir kiinstliche note to be stopped, while the forefinger of Flageolettine zeigt der viereck ge the RH touches the string above the fret Notenkopf den mu stoppenden Ton, wihrend indicated. der rechte Vorderfinger die Saite tiber dem bezeichneten Bund berihrt Les harmoniques naturelles sont indiquées dans leur hauteur exacte par une tte de note carrée. Pourles harmoniquesartificielles, latéte de note carée indique la note a arréter, tamdis que l'index droit se poser sur la corde au-dessus de la case indiquee. Notes indicated by the bracket to be pluck- Noten, die mit Klammemn versehen sind, ed simultaneously by the RH thumb. sollen gleichzeitig mit dem rechten Daumen gespielt werden. Les notes pourvues de parenthises sont 3 pincer simultanément avec le pouce droitete" ROSSINIANA No.1 Revised and edited by MAURO GIULIANI JULIAN BREAM. Op.119 Introduzione Andantino 4 2 ie a ae so A oe a PP SSS VE lis 2 B a) il 088 ia Dita: sh af 4 == SAS = 2, gaa ey pa 7 ee ret ee © 1979 by Faber Music Ltd. I ea da.‘a piacereW Oras, UD ode conf Ques SS ;5 = ovulvin——Andante grazioso Sa MPEREa sage At beds or, Shacv bRimami pimad ri! ny pim ia unms a iPr aaaoes = es a4 z : yee ape oA af ia Tiers yas it 7 i; = @ - of ee pit paaaee. n perese.9 E SS 2 isisietelg aS Besse aeOe tl se Bue. st a =a — = rene re leer lore leiee Sees #4. Ut® # AQMIPA, al-T. Allegro vivace 5,fs Male =