THE COMPLETE WORKS IN FACSIMILES OF THE ORIGINAL EDITIONS EDITED BY BRIAN JEFFERY MAURO GIULIANI 3s VOLUME 8 #& Guitar solos: Opus numbers 61, 62, 64, 70, 71, 72, and 73 TECLA EDITIONSTE6S Here for the first time is the complete collection of all the known works of the guitar composer and | virtuoso Mauro Giuliani (1781-1829). Guitar solos, guitar duets, concerti, chamber music with guitar, and songs, are all included. The music is carefully photographed to the highest possible standards from the original editions.3s* TECLA EDITIONS SOAR CHAPEL - PENDERYN SOUTH WALES | GB-CF44 9I¥PREFACE ‘The principles guiding this edition are set out in full in volume 1, but a brief note may be helpful to those ‘who have before them only the present volume. First of all, [ am glad to acknowledge the debt of this edition to the work of Dr Thomas F. Heck, in his dissertation The Birth ofthe Classic Guitar and its cultivation in Viena, reflected én the career and compositions of Mauro Giuliani (1970). For much biographical and bibliographical information abour Giuliani, the reader is referred to that work. ‘This edition presents facsimiles of the earliest known editions. As Dr Heck wrote already in 1970 (op. cit,, vol. L, p. 26); “In general it can be said that without careful attention ta the dynamics of the earliest editions, itis quite impossible to gain an understanding and true appreciation of classic guitar music”: and to. dynamics, Twould add the many other details of the notation of the period, Thusthis edition presentsthe musician of today with the matcrial needed for the informed performance of Giuliani's music. However, it must be remembered that the earliest editions are now more than acentury and 4 halfold and some of them are faded. In this edition the publishers and printers have done [we believe) the best that can be done, but sometimes it is necessary to be patient with the appearance of the music. Brief lists are provided of misprints which have been noticed. Usually they are few in number. Itis not aimed that these lists are complete, Performers are recommended, before playing this music, to go through the lists and pencil in the corrections. Some notes and commentary are provided. But again, they are in no way intended 10 be exhaustive. Quite the conwary: the aim of this edition is to provide material not only for performers but also for scholars. In research into guitar music of the early 19th century, we stand.at a very early stage, and I hope that this edition will help in future work to illuminate this as yer little-known area of music. ‘You are asked not to make any phatocopies from this edition. Photocopying contravenes the rights of the publisher and also of the libraries and collectors by whose permission this musicis published. Please remember that copics of this edition are available at a reasonable price world-wide from music shops or direct fromi the publishér. The cooperation of teachers and of teaching institutions is requested in discouraging students from ms such copies. Brian JErFeey The publishers are grateful to the following for permission to reprint the works in this volume, and for their kind cooperation: Mr Jiro Nakano Robert Spencer Copenhagen, Royal Library Stockholm, Musikaliska Akademiens BibliotekOpus 61: Opus 62: Opus 64: Opus 70: Opus 71; ‘Opus 72; Opus 78; CONTENTS Grande Ouverture Six variations on an original theme Six variations on the Russian air “Poschaluite sudarina" Variations (from the Third Guitar Concerto, op. 70) Three Sonatinas Eight variations on a duct from the opera “Jeannot et Colin’ BagatellesNOTES ON THE PIECES Opus 61. Grande Ouverture Giuliani's celebrated Grande Ouverture, opus 61, was first published by Ricordi in Milan in about late 1814. It was, indeed, the first work by Giuliani to be published outside Vienna, for until then all his works had appeared with Viennese publishers, The dedicate, Louis or Luigi Agliati, was a composer some of whose works Ricordi published. The dedication is specifically Ricordi’s, not Giuliani's, The passage at the foot of page 1 and top of page 2 was quoted by Giuliani in his own Grave Pot-Pourri for wo guitars, op.67 Page 5, line 9, bar 1: the third note in the treble shauld be G, not A. Page 6, line 5, last bar, last chord: the D is natural. Page 6, line 6, last bar: in che second chord in the treble the top note is C. Page 6, line 7: the second D in the treble is natural. Copy: London, collection of Robert Spencer. Photographed at actual size. Mr Spencer's copy is unfortunately damaged or badly faded in four places, and so for the sake of legibility those four places have been restored in this edition from a copy in the Royal Library, Copenhagen, which has been closely compared and which is identical in the details of the music. One such place is the title-page, which in Mr Spencer’s copy is damaged apparently through a pasted label having been affixed at some time and then later removed, and so in the present edition everything below the words “Qeuvre 61” is supplied from the Copenhagen capy. The other three places are page 2, line 5, last bar; page 8, line 5, first bar; and page 4, line 1, last bar, the last three notes. Opus 62, Six variations on an original theme First published in Milan by Rieordi in about late 1814. The dedicatce, Mattco Leonesi, as Heck points out (The Birth... , 11,73), was “the famed extemporaneous poet... who appeared in soirées for the Neapolitan nobility. One of them is reviewed in the Giornaie delle Bue Sicilic of 10 May 1825.” The dedication was specifically Ricordi’s, not Giuliani’s A manuscript copy ofthe work, probably of the nineteenth century, isin the Liceo Musicale, Modena. Another manuscript of an arrangement of the work for guitar with orchestral accompaniment is in the Bibliotcea Civica “L. Ricca", Codogno, Italy; this manuscript is of the early nineteenth century and probably in the hand of Giuseppe Ricea. Page 3, line 8, bar 2, third beat: the treble nore should probably be G sharp, not E. Page 4, line 5, bar 2, last beat: the Gshould be sharp, as un unknown hand has marked in the copy used for this edition. Page 6, bottom line, bar 2: at the second beat, the G and A in the bass should be under the D, not under the € sharp. Similarly at che fourth beat. age 7, line 2, bar 8: the third chord in the treble should be a crochet, not a quaver, A modern edition of this work, edited by Ruggero Chiesa, was published by Suvini Zerboni in 1975. Copy: Stockholm, Musikaliska Akademiens Bibliotek. Photographed at actual size.Opus 64. Six variations on the Russian air “Poschaliute sudarina” This lively work, which combines the popular nature of the Russian tune with Giuliani's inventiveness, was first published in Vienna by Artaria and advertised in the Wiener Zeitung on 8 December 1814. ‘The Russian words can be translated: “Please, lady, sit near me. Please, lady, reward me with your glance "Go away, goaway, leave me alone, youare a nuisance. Go away, goaway, leave me alone, you are not worth my love." Heck writes (The Birth. ., Il, 74): “This is a brilliant set of variations. The last one (Var. 6) isa polonaise. ‘The sametheme ... was ‘varied’ by that master ofthe theme and variation form (who never wroteanything else), and music tutor to the empress, Abbé Gelinek, as his op, 85." ‘Two states of the first edition are known. The earlier is represented by a copy in the collection of Mr Jiro Nakano, Japan, which is reproduced in the present edition: here no opus number is printed (although it has been added by hand on Mr Nakano's copy), and there is no price. A copy of another state is in the Mi aliska Akademicns Bibliotek, Stockholm: here “Op. 64" and “Pr. 20 X. C.M.” have been added (printed) on the title-page. am grateful to the staff of the Soviet Embassy, London, for assistance with the Russian text. Copy: collection of Mr Jiro Nakano, by kind permission. Photographed at 96% of actual size, ‘Opus 70. Variations (from the Third Guitar Concerto, op. 70) F ‘These variations for solo guitar are an arrangement from the second movement of Giuliani's concerto for guitar and orchestra, op. 70. [ts not known whether the arrangement was made by Giuliani himself or not Tk was advertised in the Wiener Zeitung on 9 August 1822 (cf, Alexander Weinmann, Verlagsverzeichnis Peter Cappi und Capp & Diabelli, Vienna, 1983, p. 94). Copy: Stockholm, Musikaliska Akademiens Bibliotck. Photographed at actual size, Opus 71, Three Sonatinas ‘These sonatinas ate relatively easy, having been composed specifically for beginners on the guitar. They were first published in Vienna by Peter Cappi, and were advertised by him in the Wiever Zeitung an 30 July 1816 (cf, Alexander Weinmann, Verlagsverzeichnis Peter Captpi wud Cappi @ Diabelli, Vienna, 1983, pp. 2-8). No copy of that issue has been found. ‘The copy used for this edition was published not by Cappi bur by Pictro Mechetti, in about 1819 ( Alexander Weinmann, Verlagsverzeichnis Pitre Mechett quomdam Carlo, Vienna, 1966, p. 20). The copy stil shows traces of the old Cappi plate number, “No. 7 P: C:" (for example particularly clearly on pages 12 and 16); this shows that Cappi and Mechetti printed from the same plates. Mechetti, on issuing the work, added his own new plate number, 625. As Weinmann pointed out (ibid) Cappi and Mechetti published several items at this period under both their names. ‘These three sonatinas became popular and went through several editions both in the nineteenth century and in our own time. They are specifically for beginners: the title-page says that they are "d’una facilita progressiva ad uso de principianti" (“of progressive case for the use of beginners") Copy: Copenhagen, Royal Library. Photographed at 96% of actual size.Opus 72: Eight variations on a duet from the opera “Jeannot et Colin” ‘The publication of this work followed the same course as apus 71: namely, first published by Peter Cappi (traces of whose plate number, "No. 8 P:C:", can still be seen om the copy used for this edition) and advertised by him on 80 July 1816, and then issued by Pietro Mechetti in about 1819 with a new plate number (626). (See the notes to op. 71 abave). The opcra Jeannot ef Cofin has not been identified. Page 2, line 4, bar 2: the D should doubiless be sharp. Copy: Stockholm, Musikaliska Akademiens Bibliotek. Photographed at 96% of actual size. Opus 78. Bagatelles Again first published in Vienna by Peter Cappi and advertised bby hinn in the Wiener Zeitung, this time on 80 September 1816; traces of his plate number, “No. 9 P:C:", can be seen on the copy used for this edition, Subsequently published by Pietro Mechetti with a new plate number (627) in about 1819. 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