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    GIULIANI VOL 9

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    499 views67 pages

    Giuliani Vol 9

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    joribanez

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    © All Rights Reserved
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    of 67
    THE COMPLETE WORKS IN FACSIMILES OF THE ORIGINAL EDITIONS EDITED BY BRIAN JEFFERY MAURO GIULIANI + VOLUME 9 & Opus numbers 78, 83, 87, 88, 90, 91, 96, and 97 TECLA EDITIONS TE 69 Here is volume 9 in the complete collection of all the known works of the guitar composer and virtuoso Mauro Giuliani (1781-1829). It contains eight works for solo guitar, among them the well known Six Preludes, opus 83. The music is presented in complete reprints of the first and early editions, carefully photographed to the highest possible standards. The text is clear and legible for performance. 3%" TECLA EDITIONS SOAR CHAPEL » PENDERYN SOUTH WALES - GB-CF44 9J¥ 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, Lam glad to acknowledge the debt of this edition to the work of Dr Thomas F. Heck, in his dissertation The Birth of the Classie Guitar and sts cultivation in Vienna, reflected in the eareer and compositions of Mauro ‘Giuliant (1970), For much biographical and bibliographical information about Giuliani, the reader is referred to that work. Thisedition presents facsimiles of the earliest known editions. As Dr Heck wrotealready in 1970 (op. cit., vol. L, p. 26}; “Ingeneral it can be said that without careful attention to the dynamics of the earliest editions, it is quite impossible to gain an understanding and true appreciation of classic guitar music”: and to dynamics, I would add the many other details of the notation of the period. Thus this edition presents the musician of today with the material needed for the informed performance of Giuliani's music. However, it must be remembered thatthe earliest editions are now more than a century and a half old and some afthem 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. It is not daimed 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 to be exhaustive. Quite the contrary: the aim of this edition is to provide material nat only for performers but also for scholars. In research into guitar music of the early 19th century, we stand ata very early stage, and 1 hope that this edition will help in future work to illuminate this as yet little-known area of music. ‘You are asked noc to make any photocopies from this edition. Phatocopying contravenes the rights of the publisher and also of the libraries and collectors by whose permission this music is published. Please remember that copies of this edition are available at a reasonable price world-wide from music shops or direct from the publisher. The cooperation of teachers and of teaching institutions is requested in discouraging students from making such copies, BRIAN JEFTERY ‘Cover design by the Philidor Press, Boston. ‘Cover picture from an original in the collection of Robert Spencer, Landon. Original nineteenth-century type and ornaments from the T. J. Lyons Collection, Boston. Reproduced and printed by Oxford University Press Printing House. © Brian Jeffery 1987. This edition contains new and original material and is strictly copyright. No part of it may be reproduced, stored in a retrieval system, or transmitted, by any form or by any means, electronic, mechanical, photacopying or otherwise, except brief extracts for the purpose of review, without the prior written permission of the copyrightowner and publisher. Photocopying any part of this edition is ILLEGAL and is prohibited. Opus 78: Opus 83; Opus 87: Opus 88 Opus 90 Opus 91: Opus 96: Opus 97: CONTENTS Divertissemenss Six Preludes Six variations on “Di tanti palpiti”* from Rossini's Tancredi Grandes Variations sur la Romance favorite de VO péra Fanchon 12 Walzer Variations on “La Sentinelle” Trois sonates brillantes, faciles et agréables Variations on “Ich bin liederlich — Du bist liederlich” NOTES ON THE PIECES Opus 78. Divertissements Some of the pieces in this work are developments of pieces previously published. Heck pointed out (The Birk... 1,89) some ofthese similarities, comparing, for example, op. 78 no. L with op. 50 no, 19, and ap. 78 no. 2 with op. 50 no. 23. It was first published in Vienna by Mecheati quondam Carlo and advertised in the Wiener Zrtung on 13 September 1817. ‘Page 2, line 6, bar S: the sharp on the A should be deleted, ‘Copy: Copenhagen, Royal Library, by kind permission. Photographed at 95% of actual size. Opus 83, Six Preludes These six preludes are among Giuliani's best known works and have been republished in a number of nineteenth century and modem editions. They were first published in Vienna by Thadé Weigl probably in: 1817 (cf. Alexander Weinmann, Verzeichnis der Musikalien des Verlages Thadé Weigh, Vienna, 1982, p. 90), with plate number 1649, A copy of thar first issuc is in the collection of Mr Jiro Nakano, Japan. The work was reissued from. the same plates by Artaria probably in 1882 (ef. Alexander Weinmann, Volltindiges Verlageverseihnds Artaria & Camp, sccond edition, Vienna, 1978, p. 138), and itis the Arvaria issue which is reproduced in the present edition, from a copy in the Mustkaliska Akademiens Bibliotck, Stockholm, by kind permission. Ithas been photographed at 95% of actual size. Notice the right hand fingering, certainly Giuliani's, in the first bar of Preludeno. 4. One dot stands for the index finger, two dots for the middle finger, and for the right hand thumb. Page 8, line 6, bar 1, second beat: the last note in the treble should be G, not A. Page 4, line 2, bar 1, first beat: the last note in the treble should be A, nor C, Page 4, line 4, bar 3, first beat: the last note in the weble should be G, not A. Page 5, line 8, bar Ir the last note should be C, not F. Page 5, line 6, bat 3: the last note of the first beat should be D,.as an unkriown hand has marked on the copy used for this edition. Page 5, line7, bar 2: thefourth to last noteshould doubeless be B, as an unknown hand has marked in the copy used for this edition. Page 5: the wording at the foot of the page is “diminuendo e slargandosi poco a poco” Page 6, line 5, bar 3: the first repeated notes should doubtless be E, not D Page 6, line 10, bar 2: the sixth to last note should be C, not D. Page 8, line 4, bar 8: the last note in the first half of the bar should be B, nat C. Page 10, line 10, bar 3: a sicm sboulld be added to the third bass note Opus 87. Six variations on “Di tanti palpiti” from Rossini’s Taneredi Rossini's opera Tanceedi, from which the famous aria “Di tanti palpiti” comes, was first performed This set of variations on it by Giuliani was published in Vienna only a few years later, in 1817 advertised by its publisher, Mechetti quondam Carlo, in the Wiener Zeiturig on 13 September 1817. Also in 1817, on | May, Wiener Zeéttung carried an advertisement for Giuliani's op. 79, which is an extensive elaboration by Giuliani on “Di tant palpiti", for voice and guitar with alternative piano accompaniment. It is published in the present edition as part of vol. 97, and also separarcly. Copy: Copenhagen, Royal Library, by kind permission. Photographed at 97% of actual size Opus 88. Grandes Variations sur la Romance favorite de !Opéra’Fanichon ‘This work followed the same course of publication asapp. 71, 72, and 73: first published by Peter Cappi, it was later reissued by Mechetti from the same plates. The Cappi issue, with platenumber 40, was advertised by him in the Wiener Zeitung on 20 September 1817 (cf. Alexander Weinmann, Veslagsuerzeichris Peter Cappi und Capp & Diabelli, Vienna, 1983, p. 5) (this date represents revision of that given in Heck, The Bivth..., 11, p- 99). No copy is known to survive of the Cappi issue, however. Mechetti brought out his issue with anew plate number, 629, probably early in 1819 (cf, Alexander Weinmann, Verlagsuerzeichnis Piro Mechetti quondara Carlo, Vienna, 1966, p. 20}, and it is a copy of that which is reproduced in the present editian, by kind permission of the Oesterrcichische Natonalbibliothek, Vienna. Ichas been photographed at 95% of actual size. Regarding thetheme, Heckwrote {The Birth..., II, p. 99): “Himmel wrote the music to the opera Fanchon, das Leiermédchen, which was premiered in Berlin, 15 May 1804. Its Vienna premiere was 15 July 1808, but it was revived there in 1817. Giuliani's variations must have been inspired by the revival.” ‘The variations themselves are virtuo: in the title. character, as is indicated by the word Grands (sic, for Grandes) Page 2, line 6: in the eighth group of notes, the last note should be € sharp, not B. Opus 90. 12 Walzer ‘This was first published in Vienna by Mechewi quondam Carlo and advertised by him in the Wiener Zeitung on 13 September 1817. Itisindeed Giuliani’s op, 90; the number “op. 80" on the titte-page is an error by the publisher and was corrected on a later issue from the same plates Copy: Vienna, Wiener Stadt-und Landesbibliothek, by kind permission. Photographed at 96% of actual size. Opus 91. Variations on “La Sentinelle” ‘The theme of this set of variations was a popular French romance on a military subject, The romance was perhaps originally composed by Alexandre Etienne Choron, but seems to have become quickly regarded as traditional material. This was noc uncommon in the nineveenth century, when there was a blurred fine between genuinely popular melodies and melodies which were composed in the same style and were subsequently thought to be popular. For further discussion of the authorship of “La Sentinelle”, see Matanya Ophee’s article “Who wrote “La Sentinelle'?”, Ssundboand, May 1981. Giuliani also set “La Sentinelle” for voice and guitar, with alternative accompaniment for piano, in Le ‘Troubsdour du Nord, Cahier I (Vienna, 1810}, and I published that setting in its guitar version in my anthology Songs for Voice and Guitar (London, Tecla Editions, 1985), no. 5. Giuléani’s opus'92 was first published in Vienna by Tranquillo Mollo and.advertised in the Wiener Zeitung on 90 October 1818. No copy of that first edition was located by Heck, buta copy of itis naw in the British Library, London, shelfmark h.259.ff-4, The full title of ic is (Grand [sic] Variations pour fa Guitarre seu foc} str la Reimance favorite La Sentinelte par Mata Giuliané. Opre fc} 91. Vieveie chet Tranguilfa Molio a la Place de S. Michet No. 262. However, the British Library copyis faded, For practical reasons, therefore, alater edition is reproduced hete, published in London by Clementi, perhaps in the 1820s, Itwas certainly copied from the Molle edition, and no differences in the musical text have been noticed after a close comparison, This Clementi edition has some curious bibliographical features, The first is the publisher's address: “London chés Clementi & Co. Colborn Strcet™. This address is not listed for Clementi in the standard reference work Music Publishing ix the Brtesh Isles by Charles Humphries and William C, Smith, second edition, Oxford, 1970, Then these is the plate number, 63: 0. W. Ncighbourand Alan Tyson, in their book English Music Publishers" Plate Numbers in the First Haif of the Nineteenth Century, London, 1965, listno known plate number for Clementi before nn, $26 which isdarable at 1828. No explanation can be offered for these fearures. ~ In addition, the title-page of the Clementi edition affers an unusual aspect, in that it has been copied (save only for the publisher's name and address and the correction of “Grand” to“"Grandes") in the smallest details from Mollo's title-page. This was not usual in early nineteenth century reprints: usually a new title-page was designed, as Hofmeister did, for example, when copying Ricordi editions, or in practically all the other cases known to me. Here, however, the graphic details of the Clementi title-page ~ its dimensions, its exact choice of type-faces, the oval setting of “Opre 91" - have been copied so closely from Molle that it is only by che minutest examination that ie is possible to tell that they have not been printed actually from thesame plates. Some form of tracing process was probably used. Again, there is no obvious explanation far this unusual fact Page 2, bowam line, bar 2, third and fourth beats: an unknown hand has suggested two additional accidentals on the copy used for this edition, and chese suggestions are probably correct Page 8, line 1, bar 1, third beat: the F should be sharp. Page 4, line 6, bar 2: the first note, E, is natural, Page 4, line 8, bar 3, third beat: the G is sharp. Copy: Copenhagen, Royal Library, by kind permission. Photographed at actual size. Opus 96. Trois sonates brillantes, faciles et agréables These three litle two-mevement works are not difficult and were doubtless imended for the amateur market. Inatleastone later edition, thatof Meissonnicr in Paris, they were called not sonatas but “sonatines”. ‘The firstedition was published in Vienna by Sprenger and advertised in the Wiener Zeitung on 30 October ISIS. Acopy of that first issue isin the British Library, London; ithas plate number D.S, 568. In about 1838 the work was reissued by Diabelli from Sprenger’s plates (ef. Alexander Weinmann, Verlagwverzeichais Anion Diabelli @ Ca, Vienna, 1985, p. 301), and it isa copy of that issue which is reproduced here. Diabelli gave the work a new plate number, 4649 Page 4, line 4, bar 3: the last note in the treble should be C, as an unknown hand has marked inthe copy Page 4, line, bar 1: the Last note in the treble should be C, as an unknown hand has marked in the copy used for this edition Page 6, line 3, bars 1-4: all C’s in these bars should be sharp, as an unknown hand has marked in the copy used for this edition, Page §, last line, bar 4: add a quaver rest ‘Copy: Copenhagen, Royal Library, by kind permission. Photographed ar actual size, Opus 97. Variations on “Ich bin liederlich - Du bist liederlich” First published in Vienna by J. Bermann and advertised in the Wiener Zeitung on 7 November 1818. ‘The tide-page indicated that che theme is from a popular theaurical entertainment: “aus dem Zauberspiel Der Schatten von Faust’s Weib”. Page 2, line 1, bar 2: add a crotchet rest at the first beat in the bass. Copy: Copenhagen, Royal Library, by kind permission, Photographed at 95% of actual size, [Opus 78] me CY a ei “MM (Sy) A Sree aes Ws Gt Mtl TD PULV: 1.) ee! O ao Cop enbague? wher CC Looe cre Magatin de Museiguce dArte et diIustreomente Prose 702.06 £3, N'S. LER GRO NEE, ANDANTINOS 3,4 = 57 = eee Deet GN? 6649, Roofs Pm or iz = : : GUITARRIE el Grarioso Ila Ha Hie Ss eerpee PPErEr Feesre Ce 4640, Com GUITARRE ? Diet C.Nt #649, QULTARRE _ con ee = ee dee z= sits fe tt m =, = . = ei “an = 5 = == = — a e = = oJ e —— o Fe eee Se - os _ pay me CN 649, Diet GUITARRE e at Diet CNP 4649, GUITARRE jefe fae Bs a I Ul BE | in WS) == ==riae = Wii}||- wil|i/- a Sa ches = TEs Deer C.N2 4649. SVITARRE s 20 =< t# ie Bhd Wi (hi 11} ff} Ne — hl on I ee SUITARRE GePTARRE 3 "55 7 = i eR ES Dect C.Nt 4649. GUITARRE i “Lips “eee os ie ‘Z a4 —~_/ i “2 as pezinps® DY oO aed

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