Giuliani

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71-16,249
HECK, Thomas FitzSimons, 1943-
THE BIRTH OF THE CLASSIC GUITAR AND ITS
CULTIVATION IN VIENNA, REFLECTED IN THE CAREER
AND COMPOSITIONS OF MAURO GIULIANI (d. 1829)
[with] VOLUME II: THEMATIC CATALOGUE OF THE
COMPLETE WORKS OF MAURO GIULIANI.
Yale University, Ph.D., 1970
Music
Xerox University Microfilms, Ann Arbor, Michigan 48106
0 1971
THOMAS FITZSIMONS HECK
ALL RIGHTS RESERVED
Dias. No. 71-16249 / Thomas F. Heck E R R A T A
"The Birth of the Classic Guitar..." Submitted. January 1976
To the reader:
One of the problems in doing a dissertation under deadline

pressure (in my case, military service at the height of the Vietnam ear) is
the fact that the author must serve also as editor, proofreader, and (in my
case) typist of final copy. My advisor was conscientious, but worked with
typed drafts which I then had to revise and retype for final submission.
Had I realized how widely this dissertation would be read, I might have held
off releasing it for a year or two, pending a thorough final editing. In
looking back over it, I have noted that the prose is often overpunctuated.
Spelling is generally oorrect, except for the repeated use of "correspondaaae"
(proper French spelling!) when correspondence (right in English) was
intended. Other suggested emendations follow:
Volume I
p.8, 1.10 & 12: bowed, not stringed, instruments.
p.32, line 10 and throughout Ch. Ill: I now prefer the word "staff"
notation to "mensural" notation in this context, although the
latter still makes sense,
p.33» line 3: The tablature never called for more than ten
frets. (Some Spanish sources did, however, exhibit Roman numeral
eleven "xi” or higher in rare instances. Special ciphers in
reduced size were sometimes cut for these numerals.)
p.57, footnote 28: The relevant Deutsch catalogue number is No. 821.
p.77, footnote 22: Giuliani's baptismal act was discovered in
Bisceglie, 22 km. from Bari, by Rev. Donato Lionetti of Barletta
working in close cooperation with the author. The act states
that Giuliani was born in Bisceglie on 27 July 1781. Full
particulars appear in Guitar Review, no. 37 (New York, 1972),
14-15. My "Giuliani" articles for MGG Supplement and Grove VI
also contain the correct information,
p.77-84 and 128-148: The biographical data regarding Giuliani's
life in Italy are fully developed in my 3-part article, "Giuliani
in Italia" in the Italian periodical il 'Fronimo'. no. 8-10
(1974-75).
p.213, second line from bottom: Delete "monothematic" and the
reference to Haydn.
p.216, line 2: delete fortissimo reference. There are many pas
sages in Op. 150 which in my opinion must be played loudly,
but ff does not appear in the first edition.
Volume II
p.19, delete 'inonothematic" from the comments to Op. 15. The piece
is obviously in standard sonata form.
NOTE: Several Giuliani works not located during my search, 1968-70, were
subsequently sent to me by well-wishers from around the world. My Giuliani
collection now forms the core of the Archive of the Guitar Foundation of
America, Inc., and is available to the public. For more information write
to me at the address provided in the annual membership list of the American
Musioological Society, or to GFA Archivist, Box 4323, Santa Barbara, CA 93103.
Thomas F. Heck
THE BIRTH OF THE CLASSIC GUITAR
AND ITS CULTIVATION IN VIENNA, REFLECTED IN
THE CAREER AND COMPOSITIONS OF
MAURO GIULIANI (d. 1829)
■ 6"
Thomas F* Heck
Baccalaur6at, Paris, I960
B.A. University of Notre Dame, 1965
M.PKil. Yale University, 1968
A Dissertation Presented to the Faculty of
The Graduate School of Yale University
in Candidacy for the Degree of
Doctor of Philosophy
New Haven, Connecticut

19 7 0
SUMMARY
The thesis begins, after pertinent introductory remarks, with an

illustrated history of the six-string guitar, based on photographs and
measurements of dated, unaltered instruments. It attempts to show that the
classic guitar emerged in Italy in the latter 18th century. The earliest
unaltered prototypes known to the author are from 1787 and 1791.
Mauro Giuliani (c.1780 - 8 May 1829) was perhaps the first guitar
virtuoso of his generation (which included Sor, Aguado, Carulli & Carcassi)
to compose for his instrument in what we of today would consider con
ventional guitar notation. He established himself in Vienna already in
1806} the others were active in Paris somewhat later, around 1820-30.
His musical "calligraphy" was much superior to the primitive, violinistic
notation used for the guitar in Italy and Austria around 1800, for he al
ways distinguished the various parts of his music (melody and accompaniment)
by the direction of note stems, and by the consistent use of rests.
During his Vienna years (1806 - 1819), Giuliani was not only recog
nized as the greatest living guitarist, but also had over a hundred works
published there. He. fostered a great vogue of the guitar in that city. He
appeared in numerous concerts in conjunction with Hummel, Moscheles, May-
seder, and the other Viennese musical personalities of the period. Giuli
ani was in Rome between 1820 and 1823, where he continued giving concerts
and composing. He then went to Naples, where he was patronized by the
nobility of the Court of the Kingdom of the Two Sicilies until his death
in that city in 1829.
Giuliani's works faithfully reflect the musical environment in which
he flourished. Viennese musical life, in particular, left its mark on the
genres and forms of his compositions. Classic concertos for guitar and
orchestra, ensemble pieces, sonata movements, many themes with variations,
sets of handler. studies, character pieces, in brief, all of the instru
mental types which were current in Vienna at the time were incorporated
into this artist's musical legacy. They were adapted to the peculiar exi
gencies of the solo guitar with a grace, a balance, and an apparent ease
which are the marks of true genius. A large research bibliography for the
classic guitar completes Volume I. ~
Volume II is a thematic catalogue of Giuliani's works, with and with

out opus numoer. Based on the precedents of the Clementi and Beethoven
catalogues, it provides for each available work a musical incipit, a
transcription of the title page of the autograph and/or first edition,
some type of authentication, a library location, an approximate date of
publication of the first edition, derived from the printer's plate number,
information on republications, and comments (which may include writings
about the work, reviews, or other pertinent remarks). A dated catalogue
of the works of Giuliani published by Ricordi of Milan, a thematic index
of Op. 1 - 102, a song file, a list of dedicatees and other persons
associated with Giuliani, and a systematic index of1compositional genres
conclude this volume.
ii
A C K N O W L E D G M E N T S
This thesis could not have come into being without the good will and
support of personal friends and thoughtful colleagues throughout North
America and Europe. It has "been the author’s extreme good fortune to be
able to collect, catalogue, and organize the contributions of a great many
generous, spontaneous, and tireless souls.
Starting from the West and working toward the East, I am happy to
acknowledge the financial assistance of Mrs. H. de S. Lehman of California.
Her generosity is a constant inspiration. Mrs. Heloise Mikkelsen of St.
Louis, Missouri, in her capacity as custodian of the Krick Collection of
classic guitar music, was able to provide me with several of Giuliani’s
works which are no longer available anywhere in Europe?, East Coast librar
ies having equally rare editions include the Music Division of the Library
of Congress, and that of the New York Public Library. Their staffs were
most helpful. —
The music faculty of Yale University did not discourage my research
into such an unexplored and unconventional area as the history of the gui
tar. Rather, Professors Waite, Velimirovi6, and Palisca gave me support
and sound advice,at every turn. The very existence of this dissertation
is a tribute to the academic freedom which they have fostered. Special
recognition is due to my thesis advisor, Prof. Leon B. Plantinga, for his
ill
sound criticism of my manuscript in various stages of preparation. The
Graduate School of Yale University contributed to my support during the
final year of preparation and typing, 1969/70.
Western Europe is the birthplace of the classic guitar, and its many
libraries are the happy hunting ground of music historians of all persua
sions. Most helpful to me were the British Museum, the Biblioth&que
Nationale in Paris, the Biblioth&que Royale in Brussels, the Bayerlsche
Staatsbibliothek in Munich, the Deutsche Staatsbibliothek and Stiftung
Preussischer Kulturbesitz of Berlin, the Oesterreichische Nationalbiblio-
thek (thanks to Dr. Leopold Novak), Archiv der Gesellschaft der Musik-
freunde (Prau Dr. Mitringer), and the Stadtbibliothek of Vienna (Dr. Ratcek
and Dr. RLlmar). Italian libraries (and librarians) were particularly
valuable for my research: the Biblioteca Nazionale Braidense and the
Conservatory Library of Milan, the Municipal Library of Bologna, the Civic
Library of Codogno (Sig. Salvatore Tranquillo), the Liceo Musicals of
Modena, the Centro Nazionale di Informazioni Bibliografiche of Rome, and
the Biblioteca Nazionale of Naples. Across the Adriatic, Yugoslavian
libraries to which I am indebted include that of the Franciscan Cloister
in Dubrovnik (P. Ivo Peran), and the library of the Conservatory in
Zagreb (Algarotti Collection, Prof. Greta Zelis Svrina).
I could never have known about the valuable holdings of these librar
ies without the assistance of the various collaborators of the RISM project
in Europe. Dr. Alexander Weinmann of Vienna, whose friendly advice and
Reproduced with permission o f the copyright owner. Further reproduction prohibited without permission.
iv
continuing help lias made possible the thematic catalogue in Volume II
(duly dedicated to him), was one of many thoughtful professional music
bibliographers who lightened my research load. Dr. Ernst Hilmar, Music
Division of the Stadtbibliothek, Vienna; Dr. Mariangela Donh of the Ufficio
Bicerca Fondi Musicali, Biblioteca Nazionale Braidense, Milan; Dr. Anna
Mondolfi of the Conservatory Library, Naples; and Mine, Simone Wallon of
the Fonds ancien3 du conservatoire. B. N., Paris, deserve sincerest thanks.
There were numerous guitarists who did their shSrS"to-hasten -the.
completion of this thesis. Most helpful among them were (again, from
vest to east): Mr. Sophocles Papas of Washington, D.C.; Mr. Abel Nagy-
tothy-Toth of Montreal, Canada; Mr. Wilfrid M. Appleby, editor of Guitar
News. Cheltenham, England; Prof. Raymond Dussart, Quievrain, Belgium;
Prof. Siegfried Behrend, Berlin; Mr, Josef Eitele, Munich; Messrs. Mirko
Caffagni and Eber Romani, Modena; Prof. Alvaro Company and Paolo Paolini,
Florence; Prof. Karl Scheit and Dr. Josef Klima of Vienna; Prof. Marga
Bauml-KLasinc of Graz; Mr. Emil Hladky of Prague; Prof. Djordje Gracin of
Zadar, Yugoslavia; Prof. Jozef Powrozniak of Katowice, Poland; and Prof.
Boris Vol’man of Leningrad, U.S.S.R.
Musical instrument collections which have important holdings of
classic guitars, and very cooperative administrations, include the Musik-
historiska Museet of Stockholm, and the Sammlung alter Musikinstrumente

\
of Vienna (Dr. Kurt Wegerer and Mr. Peter Kukelka deserve special mention).
1
V
.. ' The Austro-American Educational Commission (Fulbright Commission),

.y
under the administration of Dr. Anton Porhansl, provided financial and
personal assistance which was of great benefit to me and my family. I-
wish to.thank him and his staff heartily.
C0FYEIG3T NOTICE: Copyright 1971 by University Microfilms, Ann Arbor,

Michigan, USA', in the author's name. The author hereby grants per
mission to anyone to reproduce small portions of the contents of
this volume for use in audio commentary, concert program notes,
record jackets, and scholarly writing, provided that acknowledgment
of the source of such information is given.
vi
D E D I C A T I O N
To my dear, patient wife, Anne Elizabeth,
who had to share me with this dissertation,
day and night, for the first twojrears of
our married life* Such a menage & trois
wasn't exactly bigamy • . .
vii
TA B L E OP C O N T E N T S
TITLE
ACKNOWLEDGMENTS Page
DEDICATION
PORTRAIT of Mauro Giuliani .......... ix
PREFACE................ x
INTRODUCTORY REMARKS................... 1
CHAPTER I - THE BIRTH OP THE CLASSIC GUITAR:
AN ILLUSTRATED HISTORY ...................... 50
The Guitar's Sixth String ............... 59
The Earliest Classic Guitar ....... 42
The Construction of Classic Guitars in Vienna....... 46
String Length .... 54
CHAPTER'II - MAURO GIULIANI:
A BIOGRAPHY ................... '.65
Part One: The Early Years in Italy ........ 77
Part Two: Giuliani in Vienna, 1806-1819............. 84
Part Three: Giuliani in Italy, 1819-1829............ 128
CHAPTER III - MENSURAL NOTATION AND THE GUITAR: SOME
NOTATIONAL ASPECTS OP GIULIANI'S MUSIC ...... 149
"Primitive” Mensural Notation for the Guitar .......... 153
Toward Accuracy in Guitar Notation -

The Intermediate Stags ....... .................... 161
The Advanced Stage of Guitar Notation............... 168
Giuliani's Notation and the Guitar's

Idiomatic Resources ........ ................... 171
CHAPTER IV - THE MUSICAL ACHIEVEMENT
OP MAURO GIULIANI................................. 183
Compositional Genres in Which Giuliani Excelled ..... 200
Musical Textures and the Guitar ............. 221
Conclusion .................. *. 225
APPENDIX I - Foreign Language Citations............ 229
APPENDIX II - Autograph Letter of Mauro Giuliani's ....... 250
APPENDIX III - Formal Analyses of the First Movements

of Giuliani ’s Three Guitar Concertos........ 253
APPENDIX IV - Facsimile of the First Edition of

.Giuliani?s Op. 49 256
RESEARCH BIBLIOGRAPHY................................ 262
Reproduced with permission o f the copyright owner. Further reproduction prohibited without permission
iac
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X
PREFACE
This dissertation has been conceived from the start as a contribu
tion to the present state of man's knowledge of the development of the
guitar as an instrument of art music. It is in a very real sense a
•status report, designed to close the lid on certain long-standing points
of confusion, such as the true age of the classic guitar, and at the
same time to open the door to new areas of speculation, and fresh prob
lems (see, for example, pp. 181-82). The reader will notice that the
convention against the use of the first person has been disregarded
throughout (with the approval of my advisor), not in brash defiance of
the virtues of modesty and objectivity, but rather in order to achieve
an honest presentation. It is often more helpful, for example, for a
writer to state that he has not found something, than to write that it
is not available. Thus, years from now people will be able to read these
chapters and know the problems that I was not able to solve. Often there
.are indications (as in footnote 22, p. 77) of exactly how far my research
has proceeded in certain areas. I hope that this kind of presentation
will motivate others to pursue the questions I have left articulated, but
unanswered. A musicologist could ask for no greater satisfaction.
Bozman, Maryland
July 1970
with permission o f the copyright owner. Further reproduction prohibited without permission.
1
I N T R O D U C T O R Y
REMARKS
Mauro Giuliani (c.1780 - 1829) was a pivotal figure in the history
of the guitar. Any serious attempt to write about him must embrace the
overall picture of the development of the classic instrument, so as to pro
vide a context in which to evaluate and appreciate his achievement. But
no comprehensive idea of this development can be gotten without reading and
studying the many secondary sources dealing with the subject. My prolonged
contact with these writings has convinced me that there are several highly
questionable trends in them which deserve articulation, and svitical
consideration, before another word is written about the guitar.
2
I, The Evolutionists
A traditional approach to the history of the guitar has heen to start
with the vibrating string of a hunting bow, and to swaddle these lowly be
ginnings in a robe of florid and perhaps naive prose;
Somewhere in the beginnings of things a primitive man, striving

towards his heritage of immortality, found that certain sounds fell
kindly on his ears, and went about the business of creating them for
his own pleasure.
He stretched an animal's sinew from end to end of a bent stick
and created the bow. He made crude arrows for his bow, and used the
two in combination to kill things-he afterwards ate in unbecoming
ravenousness.
One day, perhaps to attract the attention of his gods for he
was on intimate, if terrified terms with the deities «— he twanged the
string of his bow. No doubt the sound pleased him (whether or not it
met with the satisfaction of the gods!) and he most likely sat and
twanged his monotonous note until the very rocks and heaven must have
grown weary of hearing it.
From that crude and remote parentage the shrine was fashioned
for every stringed instrument in use today. 1
The next step in this hypothetical evolution of the guitar is invariably
chiseled out of ancient Egyptian or Hittite stone, in the form of a bas-relief
representation of someone standing and holding a stringed instrument rather
horizontally, in a manner which suggests the use of a plectrum. Many writers
have dwelt on such archeological finds with varying degrees of success, the
latest being Hr. Michael Kasha (a physical chemist by profession) in his

J>
article, "A New Look at the History of the Classic Guitar.” Hex’c is his
^From the chapter entitled "History” in A. P. Sharpe, The Story of the

Snani3h Guitar. 2d ed. (London, 1959), 5.
ft
Guitar Review. No. 30 (Aug 1968), 3 - 12. An earlier writer-to take
the same basic approach was Ernst Biemath, in Die Gitarre seit dem III.
Jahrtausend vor Christus (Berlin, 1907).
attempt to define the instrument: "We shall define a guitar as a (l) fret
ted long-neck t£r, (2) having a fla*: wooden top or soundboard, (3) with a
flat back, and (4) usually having incurved sides."
In an admirably methodical way, Kasha develops four postulates or
principles governing the evolution of musical instruments. They deal with
accordatura. morphology, complexity. and geographical continuity. Each is
doubtless worthy of serious consideration, but for the present we shall
select just one to illustrate some of the difficulties inherent in even the
best "scientific" approach to the so-called evolution of the guitar.
The morphology postulate states that "the structural form of instru
ments changes very slowly with time, permitting tracing of the evolution of
instruments through the centuries, and even millenia... The morphology
postulate underlines the improbability of the ancient Greek and Homan kithara,
with its large square frame and limbs with tuning cross bar, as having'
4
served in any way as a step in the evolution of the guitar,"
This may be true from the evolutionist's point of view. Yet such
1311 & priori consideration risks blinding the music historian to the posi
tion which the lyre-shaped kithara occupied in the cultural history of
France around 1800, One of the more pleasant side-effects of the Napoleonic
expedition to the Mideast was the opportunity it afforded the French to
v •
3
Ibid.. 4 . Notice how this definition has nothing to do with music. It
is purely a statement of certain structural attributes which serve the purpose
of the article.
4Ibid.. 3.
excavate ancient ruins, and to bring back to Prance a considerable number
of artifacts, including various depictions of lyres and kitharas. It was
undoubtedly these finds which created a demand for a modem cognate. French
instrument makers soon were building dozens of instruments called "Lyre-

5
Guitares," 3uch as the one pictured below. Furthermore, the kithara enters
directly into the etymology of the word "guitar."
French lyre-guitar by Miche-

If
lot, built in Paris c. 1800.
It was once played by Schu
bert. according to an at
testation in the Sammlung
alter Musikinstrumente,
Vienna, where the instrument
is now located. Catalogue

wm,
number GdM 64,
Ingres (1780-1867) depicted a lyre-guitar in appropriate surroundings in

his drawing, "La Famille de Lucien Bonaparte," in the Fogg Museum of Harvard
University, Cambridge, Mass, The Doisy Prinoipes G6n6raux de la Guitare
dedies & Madame Bonaparte (Paris, c.1805), although basically a tutor in the
5-course guitar, often mentions the lyre-guitar, and includes an illustration
of it. In the 1820's Giuliani played the lyre-guitar in concert in Naples
— a city very aware of antiquity through the Pompeiian excavations.
Kasha continues, "On the other hand, the existence of literally ac
curate guitar-like shaped instruments before, and contemporaneous with the
Greek and Roman instruments, emphasizes the independence of the guitar.9'*’
No doubt a case can be made for studying "literally accurate guitar-like
shaped instruments" (j) when tracing the remote ancestry of the incurred
shape of the guitar's body. As a music historian interested in the guitar,
however, my position is that various depictions of figure-8-shaped instru
ments in bas-reliefs and painted vases are extremely peripheral to my
discipline for the time being.
I conceive of music history as inseparable from music. The meaning
ful study of musical instruments, and the transformations which they
undergo from age to age, presupposes a knowledge of the music performed
on them. Until we know more about Greek, Egyptian, and Roman instrumental
music, I see no real point in attempting to be the equivalent of an
anthropologist in the area of plucked fretted instruments — perhaps an
"octologist" (one who specializes in the "shape of 8") working in the
shrouded silence of ages past. The one postulate which all dedicated evo
lutionists have so far overlooked is the musical postulate, which states that
the music and the means of producing it (the instrument) are in a state of dy
namic equilibrium at all times, A change in one will bring about a change
in the other, and the interactions can be traced objectively. Of course,
one cannot begin to study the problem until he has access to both the instru
60p . cit.. 5.
ments and the music of a given period. It might be wise to dwell for a
moment on this matter.
Interesting examples of the influence of given instruments on the music
of their era are not difficult to find. The pianoforte, stemming from the
first quarter of the 18th century, offered considerable improvement over the
harpsichord in the area of dynamics. It soon drew to itself composerj who
exploited at first timidly with Haydn and Mozart, and later dramatically
with B e e t h o v e n i t s expanded dynamic range. The loud-and-soft nuances of
classic and romantic keyboard music would be unthinkable without the piano
forte to set dynamics free.
At times, conversely, the available instrument would limit the musical
idiom until such limitations could be overcome. Thus the horn parts in
classic symphonies are specifically written to exploit the upper modes of
vibration of the air column in the basically simple, valveless cor de chasse
When valves were added to. horns and trumpets, orchestral music was freed
from the severe key restrictions previously placed on it by such instruments
The language of the early romantic symphony was much enriched by these
advances.
But musical idioms also did their part to influence instruments at
various times. The demand for louder violin music may have brought about
the adoption of reverse arching of the bow, and the use of metal strings.
The steel-frame piano, the "hook" harp, the pedal timpani, the Boehm flute,
7
the addition of dozens of stops to the "romantic" organ (such as Franck's
Cavailll-Coll) — these are easily understood transformations of old instru
ments to meet the demands of new music, and to reestablish the equilibrium
between the music and the means of producing it,
A perfect example of evolving musical style operating to transform an
instrument is found within the lute family. The addition of bass strings
to the renaissance, 6-course lute, to meet the demands of an all-important
basso continuo in emerging baroque music, gave birth to the many-stringed
archlute (and variants like the chitarrone and theorbo). The added compli—
r
cations of so many bass strings made such an instrument unwieldy, and put
too much tensile strain on its bridge and neck, assuring warpage sooner or
later. Unfortunately, in spite of the added strings, the archlute was still
quite inadequate to the requirements of the continuo something which no
writer, as far as I know, has yet openly recognized. The musical inadequacy
stems from (a) the fact that the bass strings were mounted on such an unsub
stantial frame, that their sound was all but absorbed by the very same nut
and bridge which supported them, and (b) each note of the bass range had
its own separate string (or course). A stepwise passage in the bass would
require jumping from one string to.the next fairly rapidly. The only way
to make a musical line emerge under these conditions is to dampen each string
before proceeding to the next. The dampening would have to be effected with
the thumb of the right hand — the same thumb that did the plucking. This
confronted even the best lutenist with an impossible situation for which there
was no solution. The archlute thus became extinct, being vanquished by the
8
music which it was forced to serve, and easily being replaced by keyboard
instruments, in all but the most "precious” of circles.
The foregoing excursion illustrates the basic difference between a
music historian's approach to the musical instrument, in the context of
its music, and that of the sincere and dedicated "octologist," his eye
bent on antiquity, armed with evolutionary preconceptions and postulates
which might operate perfectly well in a musical vacuum. Such evolutionists
would learn much from a careful consideration of Werner Bachmann's Die
Anfange des StreichihstrumentensT)iel3 (Leipzig, 1966). Bachmann is a
music historian concerned with the playing of stringed instruments from
the earliest relevant beginnings. His photographic documentation consists
of 97 plates, the overwhelming majority depicting stringed-instrument play
ers in manuscript illuminations from the tenth through the fourteenth
centuries. Only three illustrations are provided from before the tenth'
century, and of these none is earlier than the first century A,D. We know
something about the music from the tenth century on, since it is approxi
mately then that manuscripts of vocal music begin to be transcribable. The
relatively close connection of instrumental with vocal musical activity can
be conjectured from the many instances of untexted voices in medieval manu
scripts of polyphony from the thirteenth century forward.
Thus the music historian can study and reconstruct medieval rebecs,
lutes and flutes with some idea of how to use them authentically in the per
formance of medieval music, The problem becomes much simpler in the 16th'
9
century, when vocal and instrumental notation begin to lead separate
existences. But to reach backwards in time to several centuries B.C. is
to forego the fundamental raison d’etre of the musical instrument, which
is music. And to attempt to trace the transformations which any instrument
undergoes from age to age without the knowledge of the music performed on
that instrument is like trying to study fish out of water. The influence
of the musical environment for the instrument is as central as that of warm,
or cold, or salty, or fresh water for the fish. Clearly it is pointless
to study any type of evolution, be it that of an animal, or of a musical
instrument, without taking note of environmental factors.
II. The Nationalists
The first doctoral dissertation ever attempted in the area of the
guitar and its history was done by the late Josef Zuth of Vienna. It is
entitled Simon Molitor und die Wiener Gitarristik Cum 1800). and was pub
lished in Vienna in 1920. It was of decisive importance as a background
study for the present dissertation on Giuliani, yet in its own small way
typifies a trend which grew to unacceptable proportions in the years 1929-
1945. German nationalism (then at its worst) was strongly felt in such
"approved1* music nistory studies as W. Trienes, "Cesar Franck, ein deutsch-
stammiger Komponist," Rheinlandische Blatter (l94P), 138f. Foreshadowings
of this acute German nationalistic spirit, conscious or otherwise, permeate
the literature for the guitar already from c. 1920 forward, and require
that any serious music historian consider all German studies from this period
10
very critically* There was nothing unusual or sinister about one's giving
one's own country a privileged place in one’s studies. But Germany was
both more scholarly, and understandably more introverted between the wars,
than any other country.
It was then that the guitar became a kind of folk instrument for "das
Volk," and found itself in the mainstream of "Hausmusik" and "Volksrausik"
for about two decades. Periodicals such as Die Gitarre. Monatsschrift zur
Pflege des Gitarre- und Lautensniels und der Hausmusik. ed. Erwin Schwarz-
Reiflingen (Berlin, 1919-1933[?])» contain a number of valuable articles.
But it takes careful consideration to ferret out the genuine scholarship
from the contributions inspired only by nationalistic or folk fervor. The
longest-lived guitar periodical, Per Gitarrefreund (Munich, 1900-1930[?]),
records within its thirty-odd JahrgSnge the almost tragic rise o:? German
nationalism from 1899 through the first three decades of this century, by
its format alone.
The latter begins its existence as a handwritten, mimeographed news
letter in German, French, and English, entitled Mitteilung des Intemational-
en Guitarristen-Verbands (e.V.). Its international orientation is evident
from the many small articles contributed by a broad base of subscribers liv
ing all over Europe. It calls for a cooperative effort by all the member
ship to build a library of guitar music. With Vol. I, No.5 (September 1900),
a new title is adopted: Der Guitarrefround (a latinate rather than Germanic
spelling of "guitar,” reminiscent of the practice of early-19th-century
11
publishers), subtitled Mitteilung... etc. At the same time the journal
acquired a printed format, with Roman, type. No. 7 (Feb 190l) is published
in parallel French and German columns, thus showing that the interests of
an international readership are still being served, although Munich remains
the place of publication.
By volume 5 (Feb 1902) one finds Der Guitarrcfreund entirely in German,
but still in easy-to-read Roman type face. In number ? of the 6th volume
(May 1905), a first catalogue of the society's lending library of guitar
music is published. Volume 11, No.? (May 1910) sees the Germanization of
the spelling of the title come into effect: Der Gitarrefreund will be its
name henceforth. The outbreak of 1 I hardly affects the publication of
Der Gitarrefreund. Occasionally letters from the Russian front are printed,
giving testimonies of soldiers who are grateful to have a guitar to while
away the times of repose. One soldier asks for the addresses of Russian
members of the society, so that he can call on them when the German army
•takes such-and-such a cityI
With the year 1921 the whole picture changes. Modelling themselves
after the Berlin periodical, Die Gitarre. the publishers of Der Gitarre
freund adopt an identical subtitle. No longer is theirs the "Newsletter
of the International Guitar Society," but rather a "Monatsschrift zur Pflege
des Gitarre- und Lautenspiels und der Hausmusik." Per Gitarrefreund actual
ly abandons its easy-to-read Roman type in favor of German Fraktur
thenceforth.
The Berlin and Munich guitar journals were joined in 1921 by a Vien
nese organ, Zeitschrift ftir die Gitarre. the first volume of which was en
titled Zeitschrift der Arbeitsgemeinschaft zur Pflege und Iffrderung des
Gitarrensniels. The publication ran for five volumes until 1926, and was
succeeded in 1927 by Musik im Haus. Vol. VI. Together these three journals
constitute a considerable body of scholarship at a privileged period, when

t
19th-century classic guitar music could still be had virtually by the kilo.
As was mentioned earlier, they must be read critically, the reader being
fully aware of the nationalistic influences which operated all over Europe
7
at that epoch.
Let us return briefly to the year 1920, and to the very idea of a
dissertation on Molitor and the "Wiener Gitarristik" (translatable as the
cult or cultivation of the guitar in Vienna), The chief weakness of the
work is its geographical (or even municipal) limitation of subject matter.
This is not surprising, since it has been the rule instead of the exception
to study music in terms of places since the beginnings of the discipline of
music history. The "Burgundian School," for example, as a designation of
a generation of composers within the "Netherlands School," is part of the
19th-centuiy legacy of the pioneering German music historians W. Ambros and

8
R. G. Kiesewetter. In the 20th century, dozens of articles have turned up
on the Italian madrigal, the French suite, the English virginalists, the
— ■ -
I have read through all three periodicals in the preparation of this
dissertation, and many articles from them are included in my bibliography..
Q
Kiesewetter coined the term "Netherlands School" in his Die Verdienste
der Niederlander urn die Tonkunst (1826), while Ambros1 Geschichte der Musik.
Ill (1891) introduces the term "Burgundian School" for first-generation
"Netherlanders" such as Dufay and Binchois (early 15th c.).
t
13
Florentine opera, German dances, Austrian symphonies, and so forth* The
problem with geographical boundaries is that terrain stays put, whereas
composers travel about. In fact, the influence of Italy on the "Netherlands"
(or preferably "Flemish") composers can hardly be overestimated. The lyric
and light-hearted Italian musical spirit made inroads into the style of
9
every major North European composer from Josquin through Gluck.
At no time was the Italian influence more strongly felt than in the
classic period. Thus, when Rousseau said in 1753 that the French "have no
music, and cannot have any; or if they ever have it, it will be so much
the worse for them!, he was merely stating, among other things, that
Italian opera in Paris was a blessing. He believed that ary attempt to
cultivate a native French opera, which would contrast poorly with the
Italian, would be a fiasco. He was speaking forcefully against petty
nationalism in music, in his own incisive way, and for this we must give
him credit.
The cross-fertilization of musical cultures within Europe from gener
ation to generation is a continuous development, worthy of deep study. The
9
By "North European" here I mean the lands north of Italy. My thesis
advisor, Mr. L. B. Plantinga, feels that "the lyric and light-hearted Italian
musical spirit" may exist more in my mind than it did in reality. Never
theless, I do believe in national (or cultural) musical characteristics as a
reflection of sociological temperaments. J.S, Bach could not have come from
Italy, and Rossini could not possibly have written .the way he did if he were■
a native of North Germany. I have found traces of the "Italian" style in
the music of many composers who went to Italy, and then returned to their,
northern homelands.
See the "Lettre sur la musique fran$aise"(Paris, 1753), tr. Oliver Strunk,
in Source Readings in Music History ~ The Classical Era (New York, 1965), 80.
14
phenomenon of classicism in music, for example, is comparable to a "warm
front," meteorologically speaking, sweeping up from Naples in the first
half of the 18th century.^ It extends gradually over the Alps, and to the
farthest reaches of Northern Germany, The Italian idiom left its mark on
several generations of 18th-century German (or Austrian) symphonists, and
did not fail to influence the sons of J.S, Bach. The keyboard music of
Rameau, of course, may also in a small way have abetted the trend in North
German composition away from the severe and learned contrapuntal style of
12
the high Baroque. Be that as it may, a balanced view of the waxing and
waning of various musical influences from the several quarters of Europe
cannot be gotten by focusing one's efforts on just one city, or one nation.
By the late 18th century Europe is awash in the cross-currents of a fully
developed classic idiom which is no respecter of political boundaries, nor
of language. And it is at this time that the classic guitar is bom.
On principle, then, is the territorial approach to music history a
blessing or a handicap? The answer may depend to a large extent on how
skilfully the historian handles the parameters of -place and time. Or per
haps more, it depends on whether the topic or subject under study is rightly,
and by its very nature a "place-topic," as distinct from a "time-topic.11
We understand, of course, that the who, what, and how of an essay on music
^Gordana Lazarevich articulated "The Role of the Neapolitan Intermezzo

in the Evolution of the Symphonic Idiom" in a paper read to the American
Musicological Society, St, Louis, Mo.- 27 Dec 1969. She pointed out how
the idiom of the classic symphony derives certain of its traits from the
Neapolitan opera buffa.
12
Rameau, however, went to Italy as a youth. He was undoubtedly influ
enced by the musical styles he.found there, prior to writing his major
musical and theoretical works.
15
can never be omitted, that is, the composer and his work, and the circum
stances surrounding both, constitute the central issues for this discipline.
To continue our speculation, does just any musical event or develop
ment lend itself to geographical localization? Certainly there are a few
that do. The "Notre Dame School" of Leonin and Perotin would seem to be a
textbook example, despite the fact that Wi was copied in St. Andrew’s Abbey,
Scotland. On the other hand, the "Worcester Fragments," a collection of
English flyleaves, binder’s scraps, and artificially contrived and bound
liturgical "books," has no definite connection with the medieval Worcester

13
monastery, and is misrepresented by that appellation. European national
ism is unfortunately responsible for the localization of many musicological
concepts during the post-1920 decades. It seems that as the years of the
19th century were assimilated by 20th-century historians, the tendency
arose to treat music history of all periods under geographical headings.
Composers, too, were nationalized. The English claimed Handel, the Germans
claimed both him and Franck, the Belgians (Flemish) vied with the Germans
and the Viennese for the possession of Beethoven, figuratively speaking.
Perhaps no other instrument has been so maligned as to its origins and
development, either by ignorance or by nationalistic fervor, as the classic
guitar. Both the instrument and the early examples of mensural notation for
it have been all too often needlessly and pointlessly misrepresented by the
Denis Stevens presented what he considered important evidence of the.

arbitrary and groundless association of Worcester with the fragments in a
paper read at the A. M. S. convention in Washington, D.C., December 1964,
"Worcester Revisited."
16
localization of a historian's efforts to a particular place. Zuth's Simon
Molitor und die Wiener Gitarristik. to return after a long, explanatory
digression, is a case in point. It may be argued that the author put a
limit on the parameter of place in order to confine the subject matter.
But the classic guitar is not'of its nature a "place-topic." It may be
excusable to lose the vision of the crucial developments which occurred
in the history of the guitar around 1800 in order to make a small con
tribution to a particular phase or facet of the overall histoiy. But such
installments are best done in the form of articles. A doctoral dissertation,
on the other hand, offers a golden opportunity for the historian to approach
a topic on that topic's own terms, freely transcending geographical bound
aries when called for. It should, by its scope, reflect the true breadth
of the historical problem under discussion, and should under no circum
stances be crippled by shortsightedness under the pretext of limiting the
subject matter. If, in fact, a topic is by its very nature truly too large,
then there are ways of situating the core of one's study within the overall
context of whatever is being considered. The context is most definitely
lacking in the Zuth dissertation, —
Taking as his point of departure the beginnings of the cultivation
of the guitar in Germany, he states the theme which echoes and reechoes
through practically all of the German writings that deal with the guitar
at this period:
The archduchess Anna Amalia of Weimar, a* devotee of the arts,

transplanted the instrument which then went by the name Spanish guitar
from Italy to her court upon her return trip in the year 1788, The •
instrument subsequently was ardently cultivated. The example of the
courtly society was imitated in the circles of the bourgeoisie, and soon
17
the guitar was popular among the folk. The year 1788 stands as
the crucial one for the introduction of guitar playing into Germany. 14
Zuth cites as his authority the treatise by an instrument maker of
the Weimar Court at that time, Jakob August Otto. The section entitled,
"Ueber die Guitarre," in his Ueber den Bau der Bogeninstrumente und ttber
die Arbeiten der vorzttglichsten Instrumentenmacher (Weimar, 1828) certainly
deserves critical consideration. The pertinent section of this "source
reading" in the history of the guitar reads as follows:
This instrument came to us from Italy. The duchess Amalia of

Weimar brought the first guitar back to Weimar with her in 1788, and
it was taken then for a new Italian instrument. Immediately it was
greeted with general approval. Chamberlain von Einsiedel commissioned
me to build a similar instrument for him. Then I had to do the same
for many other gentlemen, and soon the guitar was known and loved in
several large cities: Dresden, Leipzig, and Berlin. From this point
on I had so many orders over the next ten years, that I could scarcely
keep up with them. But then more and more instrument makers were be
ginning to build guitars, until finally they were mass produced in
great numbers, for example, in Vienna, NeukLrchen, and the Tyrol.
Those first Italian guitars differed, however, from the present
ones, in that they had only five strings, and only one wound string —
the low A, Since the d-string sounded very dull, I tried to eliminate
this inconvenience by making it a wound string, and in this I
succeeded.
Approximately 30 years ago [i.e. circa 1798] Kapellmeister [Johann
Gottlieb] Naumann received a guitar of this type, with five strings,
in Dresden. Soon thereafter he had me make a guitar for six strings,
by the addition of one more string for the low E; I now built many
with this improvement, and soon obtained the broadest recognition...^5
Zuth, Simon Molitor... (Vienna, 1920), 5.

15
See Appendix I, 2 for the German version which I am using. Never
having located a copy of Otto’s Ueber den Bau der Bogeninstrumente.... I
have had to rely on a republication of the text in a German guitar periodi
cal of the 1920’s or 30’s. I had the relevant passage xeroxed, but some
how failed to note which periodical it came from, I have no reason whatso
ever to suspect that the text in question is not authentic, despite my
oversight in not copying its precise provenience.
18
Fortunately Zuth does not take Otto’s story at face value with
respect to the introduction of the guitar into •'Germany" in 1788. He goes
on to cite the last will and testament of the Viennese lutenist Andreas
Bohr von Bohrenfels (1662-1728), which lists no fewer than four guitars,
Zuth cites also the intabulated compositions for Baroque guitar by losy von
Losimtal (c. 1645-1721).^ Without paying the slightest attention to the
question of the emergence of the 6-string guitar (about which Otto had
something, albeit inadequate, to say), the author devotes himself in his
introduction exclusively to the cultivation of the guitar by German-speaking
musicians north of the Alps prior to the activities of the German-born,
Vienna-based Simon Molitor.
Such an approach may at first appear consistent, on the theory that
there was some kind of continuity between Bohr von Bohrenfels, Losy von
Losimtal, and Molitor. But Zuth neither found nor presented evidence that
the progression from reading tablature on the Baroque lute and guitar to
reading mensural notation on the 6-3tring guitar was an internal develop
ment in-"Germany" in the 18th century. He inexplicably avoids discussing
this important issue.
Surely Zuth must have read Otto's statement: "This instrument came
to us from Italy." He was also aware that a number of excellent Italian
guitarists (among whom Giuliani, Carulli, Legnani, and Zani de Ferranti)
16
Zuth, Op, cit.. 6.
19
went north in the beginning of the 19th century, and fostered the culti
vation of the guitar wherever they settled. The fact that Simon Molitor
was an "Orchesterdirektor" in Venice in 1796-97, before ever starting his
guitar playing, teaching, and composing activities in Vienna has tremendous
implications of which Zuth makes absolutely nothing. What a pity that the
arbitrary limitation of the scope of his dissertation to the work of an
unacclaimed German amateur guitarist living in Vienna prevented Zuth from
grasping the true development of the classic guitar and its mensural notation
And what were some of the landmarks in this development? In the matter
of the emergence of the classic, 6-string guitar, I have so far found no
evidence that such instruments existed prior to i787. Mensural notation
for the same hardly existed prior to the last two decades of the 18th cen-
17
tury. Every item of testimony and evidence points to Italy' as the country
of origin of both the musical idiom and the instrument in question. We
may suppose the earliest phase of the latter's cultivation to center around
1770, probably in Naples, The first known incidents of printed music for
the guitar occur rather simultaneously along the North-South axis connect-
1ft
ing Vienna with Italy (as far south as Naples) just after 1800. The
17
The earliest mensural notation I have found for the guitar is in
methods and tutors, such as the Neapolitan Federico Moretti's Principios
para tocar la guitarra de seis ordenes (Madrid, 1799), based on his earlier
Principios.... publ. Harescalchi (Naples. 1787), which sets forth the new .
concept of mensural notation for the guitar. The music was, of course,
still intended for an instrument having double-strings tuned E a d g b 1 ef.
But ’the notation on the violin clef i3 of prime importance. Another method,
incorporating both tablature and mensural notation-, is Antonio Abreu's Es-
cuela para tocar con perfeccion la guitarra de cinco v seis ordenes (Sala-
raonca, 1799). Femandiere1s Arte de tocar la Guitarra espanola por mu3ica
(Madrid, 1799) is intended for a 6-course, 11-string instrument.
18
See my article, ’’The Role of Italy in the Early History of the Classic
Guitar: A Sidelight on the House of Ricordi. Part I: The Earliest Music for
Classic Guitar,” to be publ. in The Guitar Review, tentatively in 1971.
20
dissertation by Zuth places unwarranted emphasis on the German, or native
Viennese contribution to the history of the guitar, totally overlooking
such questions as: (l) What is the earliest extant six-string guitar?
(2) What is the earliest music for the instrument? If his scope had em
braced the whole Austro-Italian picture, Zuth would have made a more valu
able contribution. In fact, he probably would have chosen Giuliani instead
of Molitor as his dissertation topic.
One may well ask, then, why the present dissertation features in its
title the guitar’s "cultivation in Vienna." Or why, when the topic was
first approved, was it slated to be a study of the "Viennese School of
Guitarists?" Is this not a capitulation to the same geographic localization
to which Zuth fell victim? The answer is that the choice of this topic
originally was influenced by the pre-existent work in the field, which only
now is understood to suffer from a considerable nationalistic bias. I hope
through this introduction to dispel any impression that my dissertation is
a victim of the same influences.
It is most important to put the contributions of various nations and
individuals to the history of the guitar into proper perspective. If Zuth
thought that the German, or Viennese contribution was central to the devel
opment of the classic instrument, how much more have the Spanish (or Hispano-
philes) overemphasized that nation’s role in this regard! Before giving
specific instances of Spanish chauvinism, let me make a short resume of the
developments which occurred in Spain at the end of the last century.
21
Spain witnessed a revival of the guitar, as an instrument of art
music, late in the 19th century. It was due on the one hand to the talented
luthier, Antonio Torres, working in extreme southern Spain (Almeria), who
began building an instrument larger and louder than the classic guitars
which Sor and Aguado knew. On the other hand there was a talented musician
by the name of Francisco Eixea Tarrega (b.1854 - d. Barcelona, 1909), who
became a great virtuoso, recitalist, and guitar teacher. Being also a
conservatory-trained pianist, Tarrega spent much time and effort transcrib
ing appropriate keyboard works for the guitar. It was not uncommon to find
transcriptions of Gottschalk, Prudent and Thalberg on his programs. He also

19
delved into the opera and zarzuela repertory in search of fresh material.
But it would be naive to assume that the rebirth of the guitar in this
century was due solely to the pioneering activities of Torres and Tarrega.
The revival of the instrument in Germany dates from at least as early
as 1899, with the founding of "Der intemationale Guitarristen-Verband,"
in Munich. By 1900, when Tarrega, Pujol and Segovia were still unknown
outside of Spain, personalities like Heinrich Albert (b. 1870, Wurzburg),
who was thoroughly grounded in music conservatories on such instruments as
violin and piano, were taking up the guitar professionally.

20 The nature
of the guitar revival in Germany was primarily one of resurrecting the
enormous wealth of the preceding century, and therefore classic guitars
19
I discovered a program of a Tarrega recital featuring guitar transcrip
tions of these composers' works, given in Cadiz on 10 May 1888. The program
was among the papers of the late Romolo Ferrari. See my short article,
"Historical Notes to a Tarrega Recital of 1888," Guitar News. No. 107
(Gloucester, 1970), 24-27.
20
See "ALBERT, Heinrich" article, Handbuch der Laute und Gitarre. ed.
Josef Zuth (Vienna, 1926).
22
based on the early-19th-century Viennese and Italian prototypes were
reconstructed in large numbers. The old "terz"-guitar (tuned a minor
third higher than the "prim"-guitar) was revived, as well as the "Quint-
Bass-Gitarre," and the zither-like "Kontra-Bass-Gitarre." Albert founded
the Munich Guitar Quartet, which was succeeded by the "Gitarre-Kammer-
Trio." This revival owed absolutely nothing to Spain.
One hastens to admit, however, that the Spanish school, exemplified by
Sainz de la Maza, Pujol, and Segovia, decisively changed the status of the
guitar in this century, chiefly after 1920, by infusing a strong new Medi
terranean "warm front," to borrow again from the meteorologist, into guitar
circles as far north as Leningrad. This infusion made itself felt in three
ways: (l) by the introduction of a larger, louder instrument, (2) by the
development of a truly superior technique, and (3) by bringing to the fore
entirely new compositions no longer in the pure, classic idiom. The original
works for guitar by Tarrega and his followers represent a particularly
studied kind of music, eminently suited to the nature of the instrument.
This was a tremendous achievement on the part of these true sons of Spain.
Nevertheless, historical problems arise when one reads passages like
this, from as early as 1928: "That the concert guitar is a Catalonian in
vention is further supported by the fact that all of its significant artists
were educated in Catalonia. Fernando Sor, more than any other Catalonian,
.clearly demonstrated in his works what the guitar, in its greatly improved
23
21
form, can produce in the way of an artistic performance.” The following
excerpt from a speech given in 1969 does not give the music historian
cause to rejoice that the truth is known and acknowledged. The element of
national pride is, indeed, still with us: ”Allow me to say with pride that
the guitar by being deeply Spanish is becoming universal. Spain took the
guitar because the Spaniard has so rich an individuality that he is a
society in himself, and the guitar by her rich polyphonies and tone colors
22
is an orchestra in itself,”
The six-string .guitar certainly was universal before Tarrega, yes,
even before the time of Sor and Aguado. While Spain had a role in the
history of the guitar, especially in the twentieth century, its position
seems to me never to have been as central, either geographically or his
torically, as that of Italy in the development of the instrument from the
17th through the 19th centuries.
So far, in very general terms, two rather questionable approaches to
the history of the guitar have been discussed. The first is the tendency
of many to regard the instrument as an autonomous, figure-8-shaped, linear
ly evolving artifact coming down to us from the silent and veiled centuries
of the pre-Christian era. The music historian foregoes music, and steps
out of his domain when he reaches back that far. The second is to arm one-
21
Alfredo Romea, "Ferdinand Sor," Die Gitarre (Berlin, 1928), 80. Un
less otherwise noted, all translations are mine.
22
From the transcript of Andres Segovia's acceptance speech upon receiving
an honorary Doctor of Music degree at Florida State University, Tallahassee,
27 Feb 1969. Guitar Review. No.32 (New York, 1969), 3.
24
self with a territorial imperative, so to speak, as a precondition for
the study of the guitar. European nationalism was a detrimental force
which rendered many of the music historians of the period c.1920 forward
incapable of grasping the historical emergence of the instrument as it
really happened.
Ill, The Emotionalists
One could argue that in this century the guitar has become something
more than just a respectable musical instrument. It has become an emotional
issue in certain circles, eliciting not merely a "take it or leave it" re
sponse, but rather too often a "love it or hate it" reaction. There are
some, it must be acknowledged, who react adversely to the many guitar tran
scriptions of works conceived for harpsichord, piano, or violin. One can
sympathize with those who recoil from such fare as Chopin Etudes and Prl-
23
ludes being transcribed for two guitars. Otherwise, the question of gui
tar transcriptions is simply a matter of musical taste. Those who dislike
the guitar, however, generally leave it at that, and do not publish wishful
versions of its history and literature in order to support their position.
Unfortunately the converse is too frequently true, A large number of
articles in guitarists' journals are what one can only describe as "labors
of love." They rest on false premises, and convey false information. Their
authors make no effort to document or substantiate•their assertions. It
23
As in "The Incredible Guitar of Jorge Sevilla," Verve MG VS-6103.
25
would be impossible find uncharitable to list here the historically worth-
less articles which have been published in the U,S. alone in the past two
decades. The most that can be hoped for from the present discussion is the
development of awareness in the reader of the usual errors to be found in
amateur writings about the guitar.
The first is the tendency of uncritical and untrained guitar fanatics
to push back the dates of otherwise undated guitars roughly a hundred years
on their own authority. As if antiquity were a criterion for legitimacy,
these enthusiasts gleefully affirm that ornamented and inlaid guitars from
the 18th and 19th centuries were actually made in the 17th and 18th centuries
respectively. Even in the most prestigious journals devoted to the guitar
one often finds evidence of exaggerated views of the instrument's antiquity.
Chapter I of the present dissertation should help to establish the true age
of the six-string guitar.
The second great flaw in untrained guitar enthusiasts' attempts at
historiography is their practice of basing their beliefs on sources which

24
m many instances are simply not credible. The relating of false or hear
say information is admittedly an occupational hazard incurred by anyone who
attempts to write (or rewrite) history. The dates of Giuliani's birth and
death are a case in point, and show how easily not just guitar enthusiasts,
but lexicographers in general will borrow information from any convenient
24 '
Such as Philip J. Bone's The Guitar and the Mandolin. Biographies of
Celebrated Players and Composers. 1st ed. (London. 1915) and 2d ed. ^London,
1954). Thio is one of very few such handbooks which we have today. The
prudent historian of the guitar double-checks all the assertions and assump
tions found in this work.
26
secondary source, rather than stating that something is unknown to them,
A full discussion of the Giuliani dates and how they have come down to us,
at the beginning of Chapter II, will amply illustrate this point.
The third (predictable) difficulty encountered in dealing with the
writings of many dauntless guitar enthusiasts is a certain non-professional
ism which results from lack of attention to detail. Most articles about
the guitar and many modem publications of guitar music beg for editorial
revision of a most basic type. Comparison of a modem edition with the
original of a Giuliani work, such as Op. 45 or Op. 85, will too often reveal
the omission of slurs and dynamic markings of great importance to the texture
and sense of the music. In general it can be said that without careful at
tention to the dynamics of the earliest editions, it is quite impossible to
gain an understanding and true appreciation of classic guitar music. Chap
ter III of the present work discusses the refinements found in many of the
original Giuliani editions. It is hoped that the guitar amateurs who read
it will develop a respect for the Urtext approach to guitar notation, and
by extension, to all srasieal notation, including of course tablature.
* * * *
No introductory discussion of the histories of the guitar would be
complete without some mention of the "Gitarre" article in Die Musik in
Geschichte und Gegenwart. ^ The fact that it is composed of three distinct
25Volume V, ed. F. Blume (Kassel/Basel, 1956), 174-202.
27
contributions suggests either that no single scholar volunteered to write
the whole article, or that no individual was deemed competent by the editors
to produce it.
The traditional modes of thought about the guitar are evident in the
first part of "Gitarre," by Hans Hickmann, entitled "Pre-history and Extra-
European Forms." Such vague concepts as "Lauten-Familie zugeordnete In
struments," or simply "Lauteninstrumente," pervade this chapter. By thus
broadening the concept of the guitar to include in its history practically
any ancient plucked chordophone with a fingerboard, one is guaranteed of
having much to discuss in general terms about ancient instruments which
have little or no bearing on the guitar as we know it.
The second installment in MGQ. "Gitarre," is by Kurt Reinhard, and
goes by the heading, "The Guitar in the Occident," It proceeds from the
second half of the 13th century forward to the 20th-century Hawaiian guitar
• (l), without paying sufficient attention to details in the construction of
the classic instrument. As might be expected, credence is given to i;he
story of the addition of the sixth string to the guitar in Weimar by —

26
not Jakob August Otto, but "der Weimarer Geigenbauer J. G. Naumanni"
Wolfgang Boetticher wrote the concluding section of the MGG article,

27
Like Hickmann and Reinhard, he is no authority on the guitar and its history.
26
Col. 179* Kapellmeister Naumann may have commissioned Otto to add a
sixth string, but the former was certainly no "GeigenbauerI"
27
Boetticher cites just one article which he claims to have authored, in
the Literatur section of MGG, "Gitarre": "Quellenkritische ErgKnzungen zur
Gitarrentabulatur des 16. und 17. Jh.," Die Musikforschung. IX (1956), (page?).
28
It is also difficult to see why someone specializing in the music and
writings of Schumann and of Lasso should have been selected to contribute
the section on "Gitarrenmusik," and perhaps more important, the principal

OQ
bibliography for the whole "Gitarre” article. The latter, which for
its size can only be classified as a "love of labor,” is riddled with
inaccuracies, and is certainly one of the worst-organized efforts of this

29
type ever to find its way into print. Whoever cares at all about the
guitar and its history can do nothing but condemn this needlessly shoddy
bibliography in so central a reference encyclopedia.
The point of the present discussion, and of this entire introduction,
is that a writer's attitudes and preconceptions, as well as his own rap
port with the subject matter, will often influence very decisively the
kind of contribution he makes to the history of music. Nationalism, cer
tain evolutionary modes of thought, emotionalism (often found in "labors
of love"), and even at times the "love of labor," have often been draw-
There is no such article in that journal for the years 1954-59, nor is the
work mentioned in the Music Index. We conclude that the "Erganzungen" at
tributed by Boetticher to himself constitutes a serious typographical
error, at the very least.
28
Leon Plantinga, in Schumann as Critic (New Haven, 1967), xii, says
the following about Boetticher's work: "The most extensive research on
Schumann of the last forty years is represented by the two books of Wolf
gang Boetticher, Robert Schumann. Einftfhrung... (Berlin, 1941) and Robert
Schumann in seinen Schriften und Briefen (Berlin, 1942). These books offer
a wealth of previously unpublished documentaiy matter (copious extracts,
particularly, from Schumann's diaries), and one should, I suppose, be grate
ful for them. But nothing in these wartime publications can be taken on
faith.,, they are badly marred by distortions and suppressions."
29
I have been in correspondance with the editors of MGG from time to
time since beginning my research, contributing lists of errata from columns
199-202, "Neueres Spezialschrifttum." In response to my criticism of that
bibliography, Dr, Ruth Blume wrote (letter of 14 Feb 1969): "Ihre Kritik
an der Literatur zum Artikei Gitarre ist leider berechtigt, und die Mangel
sind uns wohlbekannt.,. Leider ist der Abschnitt Literatur des Artikels
29
backs in past writings about the guitar# Thi3 situation should not be
allowed to continue. The editors of journals devoted to the guitar should
demand an improvement in the quality of articles they consider for pub
lication. Scholars of ability should begin to appreciate the vast litera
ture for fretted instruments in an integral way, in the light of the re
sources which those instruments have, and not necessarily always in a
comparative way, in relation, for example, to what a Mozart or a Beethoven
was writing for the piano.

r
The history of music should, and shall, be broadened and deepened
to include the fertile valleys as well as the awesome peaks. Indeed, the
history of fretted instruments is a very long, rich valley, little ex
plored, and full of fascinating surprises. I hope that my examination of
the life and works of Mauro Giuliani will convince the reader that the
rise ofrthe classic guitar, in particular, is worth knowing something about,
and is worthy of the best efforts of scholars around the world.
* * * *
Gitarre nicht das einzige, was in MGG unzureichend und daher dringend
revisionsbedilrftig ist."
30
C H A P T E R I
THE BIRTH OP THE
CLASSIC GUITAR:
AN ILLUSTRATED HISTORY
There are so many factors which are of significance in the historical
development of the six-string guitar, that one hardly knows where to begin.
Should the instrument be traced backwards in time from the era of the fully
developed classic prototype of circa 1820? Or should an effort be made to
identify the modifications which the lute family underwent, on the assump
tion that the guitar somehow derives from the lute and/or the vihuela? There
are very real problems of methodology and format. Is it well to discuss
the variables of construction, stringing, tuning, the fingerboard, etc.
simultaneously? Or should one concentrate on each detail in turn, tracing
its transformations from the 16th through the 19th centuries? Is it pref
erable first to give a skeleton survey of the entire evolution of the
guitar, and only then go on for pages fleshing it out with crucial details?
31
One could approach the problem as a purist in matters of semantics,
and limit the catch-all noun "guitar” to a very precise meaning. One could
justifiably discuss pressing h. priori questions relating to the mutations
which a given instrument will undergo in the course of centuries. For
example, is it proper to speak of instrumental evolution in the first place?
Geographic (not necessarily nationalistic) qualifications also seem de
sirable when speaking of the guitar. The developments which took place in
Spain and France were not the same as those which took place in Italy and
Austria in the 17th through the 19th centuries.
For the present a sort of compromise approach seems best. Our con-
.sideration of the guitar will start with the five-course instrument which
was in general use in Europe from c.1600 through c,1800, and which is
often referred to as the baroque guitar. What did the baroque guitar in
herit from the renaissance lute and guitar? And what characteristics, if
any, did it pass on to the classic instrument?
To begin with, the baroque guitar was not merely a folk instrument.
Serious composer-performers from Spain and Italy wrote very respectable
and refined music for it, and kept it alive as a solo instrument in the
courts of the nobility through the 17th and 18th centuries, when compe
tition from keyboard instruments caused the baroque lute to become all
but extinct. A figure like Francesco Corbetta (b. Pavia, c.1615 - d.
Paris, 1681),^ who composed books of music entitled La Guitarre Royalle
Ân excellent summary of the life and works of Corbetta can be found
in Richard Keith’s "*La Guitare Royale,' A Study of.the Career and Compo
sitions of Francesco Corbetta," Recherches sur la musique francaise
clossique. VI (1966), 73-93.
32
p
in 1671 and 1674, enjoyed.the patronage of Louis XIV, Mine, la Duchesse d’
Orleans, Charles II, the Duke of York (who became King James II), the
Princess Anne (later Queen) and many lesser aristocrats.^
If one were to name the most popular types of fretted instruments
used by literate musicians from the 16th century forward, one would begin
with the renaissance lute, then proceed to the baroque guitar (cultivated
more widely than the baroque lute) during the 17th and 18th centuries. The
classic guitar was the last such serious instrument to appear, in the late
18th and early 19th .centuries. The musical notation of both lute and
baroque guitar was tablature, while mensural notation alone was nsed for
the classic guitar. The term "mensural notation" applied to the guitar is
understood throughout this dissertation to mean conventional musical pitch/
duration symbols (notes) on a five-line musical staff.
What were some of the important characteristics of the baroque guitar?
The fact that its notation was tablature tells us something significant
about its structure and proportions. The ciphers in the Italian system,
common to Italy and Spain, represented frets on the fingerboard, starting
with aero at the nut and working upwards until 9 (See figure 14). But the
tenth position could not be represented clearly with a "1" and a "0" next
to each other, for fear of the digits being read separately. It was con
ventional to use the Homan numeral X. But that just put off until the
Richard Keith, "The Guitar Cult in the Courts of Louis XIV and Charles
II," Guitar Review. No. 26 (1962), 7.
5Keith, "Guitar Cult," 7.
33
eleventh (or XI) fret the problem of what to do with an extra column of
digits. This may well explain why baroque guitars in Italy and Spain
rarely had more than ten frets. The tablature simply did not call for it
It is useful when discussing this subject to distinguish between
"neck-frets" and "body-frets." The former could be tied on, and were, as
I understand it, wholly supported by the neck of a lute or guitar. The
"body-frets" were located above the table of the instrument, in a position
which precluded their being tied on (See Pig. l).
"neck-frets" i"body-frets"
(Figure l)
In keeping with the limitations of tablature notation, Italian
and Spanish fretted instruments from the 16th through the 18th centuries
almost always had shorter necks, vis-a-vis string length, than the classic
guitars of the early 19th century. The former would typically have up to
10 neck-frets, or alternately something like 6 neck-frets and 4 inlaid body-
frets. There were no apparent geographic or chronological factors influ-

4
encing the choice of one arrangement over the other. Both types would
come out of the same luthier’s shop.
Later (mensural) notation did not preclude, as did Italian tablature,
4
An example of the 6 + 4 fret arrangement is guitar ff8 in the "Gallery of
Great Guitars," Guitar Review. No. 30 (New York, 1968), 19. It is by
Matteo Sellas, Venice, early 17th century.
34
writing passages playable an octave or more above the open strings of
the guitar. So in general, late-lSth-centuiy and early-19th-century guitars
have more than 12 frets, while their earlier tablature-bound cousins have
typically no more than 9 or 10.
In my introductory remarks (p. 19) I alluded to my belief that the
classic guitar emerged in the last two decades of the 18th century along
the axis running from Italy to Austria. Prior to this there were very
interesting developments which the baroque guitar underwent along a similar
axis connecting Spain with France. These, I believe, paved the way for the
universal adoption of the guitar's relatively flat back — a shape which
has come down to us today. In effect, baroque five-course guitars, although
everywhere exhibiting a figure-8 shape, differed somewhat from one axis to
the other in the construction of the body. Those in France and Spain were
modelled on the vihuela. as a rule, and exhibited shallow bodies as well as
flat backs. They were appropriately called guitarras esnanolas. or in
Italian, chitarre spagnuole.
The Guitar in Italy
The chitarra spagnuola was probably first introduced into Italy through
Naples during the period 1504-1647, when the Spanish Hapsburgs controlled the
Kingdom of the Two Sicilies, that is, all of Italy south of the Papal States.^
5
The Spaniards also controlled the Duchy of Mian, which included Pavia,
from which Francesco Corbetta came.
35
But it seems that Italian luthiers built their own version of it, blending
the traditional and graceful arches of the lute’s back with the seductive
frontal contours of the Spanish guitar. The resulting instrument was a
marvel of arches and curves, -the intersection of the back with the sides
being one of the most beautiful, continuously undulating joints to be found
anywhere in the world of musical instruments. A fine early-17th-century
example of this type is pictured in Figure 2. The influence of Italian
8.3
(Figure 2)
Inscription on the face of the peghead: "Matteo Sellas alia/ Corona

in Venetia." All measurements in this dissertation are in centimeters.
String length 71* body length 47.5. Vienna, Sammlung alter Musikinstru-
mente #2447. This instrument accommodates ten tied frets, and has no
inlaid body frets.
36
£
lute construction is evident.
The baroque 5-course guitar in common use in Italy in the 17th and 18th
centuries went alternately by the name chitarra snagnuola and chitarra bat-
tfente. The latter term could either derive from the fact that it was con
structed out of wood lattices or leaves (un batt&nte in Italian is a cognate
of the English "batten," meaning a light strip of wood), or from the fact
that such instruments were strummed (battere in Italian means "to strike").
The name chitarra snagnuola. however, was preferred, undoubtedly for its
exotic flavor (like "Spanish" pavan). It appears on the covers of about

7
200 intavolature published during that epoch. It may be argued that only
the steel-stringed variety of the baroque guitar is properly called the
"striking guitar," for there is little else one can do with such instruments.
It differed from the gat~3tringed guitar in that the table was typically
canted downward at the point where the bridge would rest, while the steel
strings, merely supported by the bridge, were anchored with pins into the
edge of the body (v. Fig. 5) • The table of the mandolin has very similar
construction. Steel-stringed instruments such as these had to have solid,

Q
durable frets, made of steel, ebony or ivory. Soon all guitars would be
built with such frets, in preference to the soft, sound-absorbing, unreliable
front view of the same is in the "Gallery of Great Guitars," Guitar

Review. No.50 (New York, 1968), 19. The captions for many of the guitars in
that "illustrated history" relay incorrect information. For ex., this one
is not dated 1650, and the neck is for ten, not nine gut frets. Several of
the guitars said to be for six strings were modified probably in the 19th c.,'
and were originally for 5 double courses: Guitar #12, Ibid.. p.21; #26, 29
(shortened peghead), 58 & 59, G.R.. No,52 (1969).
7
Keith, "Guitar Cult," Guitar Review. No.26 (1962), 5.
Q ~ " ' 1
A good illustration of the chitarra battfente with steel strings (5 per
37
gut frets.
(Figure 3)
The majority of the baroque guitars made along the Franco-Spanish
axis were, as was mentioned earlier, influenced by the flat-backed vihuela

q
prototype. Many of them were elaborately decorated with inlay work,
especially by French makers, and have come down to us as anonymous museum
pieces. Labeled and dated French baroque guitars are extremely rare,
but one is in the Yale musical instrument collection, and bears the in
scription, "Claude Boivin, 1749 •
At some time just before 1700 a significant development was to occur
in Italy, A few guitars began to be made with necks a full octave in length,
and with 12 inlaid neck-frets on the fingerboard. The great violin maker
Antonio Stradivarius himself may have been responsible for this innovation,
for the earliest dated one of this type known to me bears his name, and the
year 1680. One should remember that up to 18 frets were in no way called
for in Italian guitar tablature. Stradivarius at that time must have con
sidered the problem solely from the viewpoint of a luthier interested in the
perfection of whatever instruments he made, regardless of earlier norms and
course, although 2 was the norm) is found in Guitar Review. No,32 (New York,
1969), 29.
^Photographs of a Spanish vihuela appear in the Guitar Review. No-. 30 (1968),
14. An exception to the flat-backed norm is the 5-course guitar signed, "Jean
Frbre Ruess, Martin au Presoir d'Or a Paris 1667.” Vienna., Sammlung alter
Musikinstrumente, Rothschild #973.
^Belle Skinner Collection, No. 265.
58
practices. Two of his austere, virtually flat-hacked, and quite unomamented
baroque guitars are pictured in Guitar Review. No. 32 (1969), 20-21. They
show a departure from the lute-like body construction which was common to
the chitarra battbnte. In fact, unmistakable traces of violin construction
are evident in these instruments, particularly in the choice of maple for
the back and sides.
Pew contemporary Italian or Austrian luthiers were as gifted as Stradi
varius, and few appreciated his prophetic vision. The overwhelming majority
of guitars continued .through the 18th century to have necks less than an
octave in length. Likewise, no progress at all toward the reform of guitar
construction along the Franco-Spanish axis during this period seems to have
been made, even by violin makers. As late as c.1805 one can find this care
fully drawn, 10-fret, 5-course guitar (Fig. 4) in a Parisian guitar tutor:^
djSa'bleatt cIcj ,
w in o n u p i A i , c / e i i t iL t e j e t a jijirJ c e .ib U j e t
fe u r ra p p o rt, it-vec, A/o Tgj o j-c lm a n v j ou c jo iu -iie ite r a fc u r c c ).
A:£bianur,on rcmiere
This "table of harmonics" is found on p. 65 of-the Principes Generaux

de la Guitare dedies a Madame Bonaparte, par Poisv. Professeur (Paris, c.
1805). This method mentions the existence of the classic, 6-string guitar-
as well as the lyre-guitar. But it speaks of the 5-course instrument as
being still the norm in Paris at that time.
39
The Guitar’s Sixth String
Toward the middle of the 18th century thoroughbass texture, and its
notation, began to decline. A new style of music became popular, having a
homophonic, treble-dominated texture which contrasted rather markedly with,
for example, the usual contrapuntal style of a Bach or a Telemann. This new
style, which we call classic, exhibited generally a slower harmonic rhythm
than was the case with baroque music. It compensated for its de-emphasis of
the bass line and inner voices by requiring a great deal in the way of
motion, range, and ornamentation in the principal melody (often rendered by
a solo instrument, or the human voice). Many scholars think that the seeds
of this new musical style are to be found in such works as the late operas
of the Neapolitan Alessandro Scarlatti (d.1725), or in those of Pergolesi
(d.1736). An important witness — certainly not a cause — of the style,
to my mind,, is the theoretical recognition of the tonic, subdominant and

12
dominant chord functions as of 1726. This is not to imply that such chords
existed in classic music, but not in baroque music. Rather, it is to em
phasize that from then on people were beginning to think and talk in terms
of chords and chord functions. These, in effect, were beginning to be dealt
with as entities in their own right, and not merely as offshoots of counter
point.
Ttameau did this in his Nouveau systkme de musique theorique (Paris,

1726). It should not be forgotten that Rameau (b. Dijon, 1683)was raised
in the south of France, and traveled to Italy in 1701. He thus had his
"southern exposure" before writing about music theory.
40
Being by its very nature a chord-oriented instrument, the guitar was
destined to become deeply involved in, and influenced by, the new classic
musical style, especially in Italy. It may very well have been this clas
sicism in music which ultimately induced the addition of a low E, or 6th
string, to the guitar at the interval of a perfect fourth below the A-string.
Was this not the minimum improvement necessary to achieve the roots I, IV,
and V in the lowest three strings (in several keys), while at the same time
allowing for triadic, melodic, and ornamental use of the upper three strings?
The low E completed the double-octave with the first string, e', as well,
thereby giving the classic guitar a kind of perfection which the five-course
baroque guitar had resisted for about 200 years.
The graphs below illustrate how easy it is to obtain I - IV - V chord
roots in the bass range of the classic guitar, with respect to various ton
ics. Note how the open (o) bass strings favor keys with one to four sharps:
o o ooo o o o o o
E A d r b e E A d r b e
(<
o <> 41 41 <<
V 132 V IE V I E V IE V IE 135I
(V)
in C in G in D in A in E
o = open string
• = stopped string
The six-string guitar was (and is) clearly an instrument oriented toward
and favoring particular keys, especially D and A. Furthermore, its music was
41
written in a distinctively instrumental style, one which had little to do
with vocal polyphony. Where the lute once had its strings named after voice
ranges, such as "canto (Fr. chanterelle), sottana, mezzana, tenore, bordon,

13
and contrabasso," guitar strings or courses were simply numbered in order
of descending pitch. Even the courses of the 17th-century baroque guitar
were typically called, "las primeras, las segundas, . . . las quintas,"^
the plural reflecting the fact that they were double strings. But there
was no implied or real correspondence of guitar strings with vocal ranges.
Does all this mean that the connection of the lute with the voice
was more intimate than the association of the guitar with the same? It may
be true, but only in the sense that various types of renaissance vocal
polyphony (such as chansons i 3, 4> 5> etc.) were intabulated on the lute.
Needless to say, the one-to-one association of lute string (for ex., "tenore")
with the corresponding voice of a madrigal or chanson was impossible to. main
tain, regardless of the symbolic nomenclature. The six-string guitar, on
the other hand, was only rarely, if ever, used for transcriptions of vocal
15
polyphony. Most early guitarists thought of it from the start as a solo
13
Lawrence Hoe, "Dance Music in Printed Italian Lute Tablatures from 1507
to 1611," TJnpubl, Ph.D. Thesis, Harvard, 1956), 17.
^ A s in Gaspar Sanz, Instruccion de Musica 3obre la guitarra espanola...
(1674), ed. Luis Garcia-Abrines (Zaragoza, 1966), fol. 8v: "Regia segunda
del templar: . . . Comenyaras por las terceras... despues las quintas en
vacio..." etc,
15
The only kind of polyphonic vocal pieces arranged for classic guitar,
to my knowledge, are early-19th-century operatic ensembles. These are usual
ly treble-dominated, anyway, so they amount to vocal homophony, with prac
tically no motion in the lower and inner voices. See my thematic catalogue
in Vol. II, V/oO, G-6, and YfoO(posth), G-6, 7, 8 and 12.
instrument for the performance of classic, thoroughly tonal instrumental
music of a more-oivless homophonic texture. The functional ordering of
its strings (from a harmonic point of view), not to mention their prosaic
names, assure us that, although its body shape may have existed in the
renaissance and earlier, the six-string guitar itself is peculiarly adapted
to the musical style commonly called classic. Its configurations, nomen
clature, and tuning all add up to making it highly unlikely that the so-
called classic guitar could have existed prior to the mid-18th century.
The Earliest Classic Guitar
Probably the earliest surviving, datable, unaltered six-string guitar
is now sitting totally unknown in a dusty storage room annexed to some
musical instrument collection. It may be so unattractive as to be un
worthy of display. The instrument pictured in Figure 5 is the earliest ■
classic guitar known to me at the time of submission of this thesis, and
nothing much can be said for its eye-appeal. I made a ’’working’1 photograph
of it, complete with centimeter ruler, in the basement of the Musikhistoris-
ka Museet in Stockholm, not so much for its looks as for its label: "Lippy
a Marseille 1787.”
Among the details of this instrument which recall the baroque guitar
are: (l) the neck is less than an octave in length, (b) the fingerboard is
flush with the table, and (c) the bridge has no blade, and is thus no dif
ferent from a lute bridge. The overall shape of the body (especially the '
flat back) is typical of guitars made along the Franco-Spanish axis, with
43
"Lippy a Marseille 1737”
(Figure 5)
Stockholm, Musikhistoriska
Museet, #202. Flush, 11-fret
fingerboard. String length
64*5 cm. Table widths:
greater 29.3* lesser 24.5*
waist 20.3. Depth of body
12.4 uniformly.
one exception: Its depth (12.4 cm) is reminiscent of Italian prototypes.
The maximum depth of the Sellas guitar pictured in Figure 2 is about 12 cm.
The vihuela. on the other hand, had a very shallow body, only some 7.2 cm.
16
in depth. This Lippy guitar situates itself somewhere between, having
both Spanish and Italian body characteristics.
17
Its maker, Pietro Lippi, was an Italian living in Marseille presumably
^See Guitar Review. No. 30 (1968), 14, for a picture of a Spanish vihuela.
17
These entries are taken from Henri Poidras, Dict.ionnaire des Luthieis...,
Tome additif (Rouen, 1929): "LIPPI (Piietro) - Marseille 1770 env. Un luth
ier italien etabli a Marseille fabricant d 1instruments a archet et b. cordes
pincees, habitait sur le Port pres la Legs ]>ro. 2. Son travail est excellent."
According to the Bibliographie muslcale He In France et de I'etranger...
(Paris, 1822), there was also an Andre Lippi in the family.
44
as early as 1770. He \ised to attach the following label to the music he
sold in his shop: "Lippi, Luthier, sur le Port, pr&s la Place-Neuve, A
Marseille, tient magasin de toute sorte d'Instrument, Cordes de Nanles. et
un Assortissement de Musique vocale et instrumentale, On s'abonne chez

18
lui pour toute sorte de Musique," His classic guitar pictured here hard
ly resembled in any way other than stringing and fingerboard the better
looking and better proportioned classic guitars which would soon be appearing
at the hands of Giovanni Battista Fabricatore of Naples.
The very same year, 1787, another instrument which appears to qualify
as an unaltered 6-string guitar was constructed in Vienna. It bears the
Label, "Michael Ignatius/ Stadlmann/ Kayseri. Konigerl,/ Hof Lauten und
Geigen/ macher [crest] in Wien 1787." (See Fig. 6.) It was probably
made in a shop which tradition
ally turned out guitars for 11
tied-on neck-frets. The body-
frets (nos. 12-15) may have been
inlaid around 1800 to keep up
with the trends of the times.
The crucial detail which might
have been altered is the peg-
head, which could have been
shortened soon after the instru-
18
The label is pasted to the bot
tom of a guitar method by a certain
"Philis, Professeur," entitled, Etu
de nouvelle p. la Guitare... COPY: Figure 6. Vienna, Sammlung alter
Dubrovnik, Franciscan cloister. Musikinstrumente, GdM #67. String
length 62.6.
45
ment was made, to accommodate only six instead of the original (?) ten
pegs. But it could just as easily have been constructed from the start
this way, for the guitar with six single strings was definitely emerging
along the Austro-Italian axis in the 1780's and 90's.
Positive proof of a guitar being made exactly for 6 strings can be
found only in an instrument whose peghead and pegs are perfectly integrated
with themselves and with the rest of the instrument, making the existence
Gio. Battista Fabricatore fecit

An 1791 in S.M. del Ajuto
Napoli
Figure 7. Stockholm, Musikhistoriska Museet, uncata

logued. Flush, 11-fret fingerboard, 62.8 cm string
length. Table widths: greater 29.4, lesser 23*7,
waist 17.8. Depth of body: 6.4 to 9.5.
46
of a larger number of pegs at an earlier date impossible. One such guitar
is pictured in Figure 7, and its peghead is a kind of reduced mirror image
of its figure-8-shaped body. Most Austro-Italian guitars would incorpo
rate this type of peghead for generations to come.
The Construction of Classic Guitars in Vienna
The first Viennese luthier to make classic guitars on the Fabricatore
model seems to have been Johann Georg Stauffer (1778-1853). He was an
(Figure 8)
Both instruments are in the Sammlung alter Musikinstrumente, Vienna,

the Fabricatore guitar (left) catalogued as #488, while the Stauffer
(right) has the number GdM 375. Flush, 11-neck-frot fingerboards.
String length 64 cm for both. The patterning of the Stauffer after
the more ornate Italian instrument is obvious.
47
apprentice of Franz Geissenhoff, and took over the shop of Ignaz Parti
19
when the latter died in 1819. Exactly how much Stauffer owed to Fabri
catore is clear from the photographs in Figure 8, which show a Fabricatore
guitar (left) of 1811 next to an undated Stauffer (right) of circa 1820.
An essentially accurate (if somewhat fanciful) depiction of the type of
guitar shown in Figure 8 occurs in the frontispiece to Matiegka’s Sonate.
Op. 15, published in Vienna by Artaria (plate number 2013), and first
advertised in the Wiener Zeitung #63 (3 August 1808). (See Fig. 9.)
The guitars illustrated in Figures 7 to 9 cover the years 1791 through
at least 1819, that is, the period during which Giuliani and a host of
other Italian and Viennese guitarists generated a considerable body of clas
sic music for this type of instrument. Its characteristics were: (l) a
fingerboard flush with the table, slightly less than an octave in length,
generally with 11 neck-frets and with inlaid body-frets making a total of
14-18 frets, (2) a string length of 59-64 cm., (3) a pegged bridge with a
bridge-blade, especially after the turn of the century, (4) a pine or
spruce table, and maple sides and back, reminiscent of violin construction,
(5) a fairly flat back, made either of one sheet of wood, or of two matched
halves, (6) a body depth of 6-9 cm. A seventh feature of all guitars from
this era is cross-grain bracing found under the table. This was a definite
carry-over from the lute, and assured a relatively loud, but rapidly de
caying sound. Unfortunately, it also assured non-uniform swelling and con-
19
See Emil Karl Bltfinml, "Der Wiener Geiger- und Gitarrenmacher Johann
Georg Staufer," Zeitschrift fUr die Gitarre. Ill, Heft 1 (Vienna, Sep 1923),
6-9; Heft 2 (Nov 1923), 3-5; Heft 3 "(Jan 1924), 2-5; Heft 4 (Mar 1924), 2-
5; and Heft 5 (May 1924), 2-4.
48
tracting of the wood fiber with changes in humidity, thereby making the
likelihood of cracking and deterioration with the changing seasons very
1’u b lir V :i Vii*nn«* c h r/. , \ r l ;n i:i r t (*<Mn|>;i<yju*.
49
great. Figure 10 shows the tracing beneath the table of a Stauffer guitar
in just such a state of disintegration.
(Figure 10)
Stockholm, Musikhistoriska
Museet, #29
The classic Austro-Italian guitar did not attain its ultimate state,
and final configurations, with the 11-fret model described on previous
pages. It went on to acquire the viclin=like characteristic of a finger
board projecting over the table. The first luthier to produce such an
instrument was the Neapolitan Luigi Legnani (1790-1877), who was also a
?0
guitar virtuoso, and friend of Paganini.* Legnani appeared in Vienna as
a concert artist_several _times in the 18?0's, and was hailed as the greatest
~ 21
guitarist ever to play in that city. Already by the mid-1820's Johann
^Sharpe, The Story of the Spanish Guitar (London, 1959). 29•

21
"Es ist wohl kaum denkbar, mehr auf diesem beschrankten Instrumente zu
leisten, als uns dieser in seiner Art einzige Kunstler [Legnani] zu horen
1
50
Georg Stauffer was making the type of instrument pictured in Figure 11,
with a neck a full octave in length.
(Figure ll)
"Nach dem Modell des Luigi Legnani,

Johann Georg Stauffer anno 1829 in
Wien Nr. 480."
Vienna, Sammlung alter Musik-
instrumente, #513*
An accurate drawing of the same was published in 1825 by Diabelli &
Comp., in a so-called Scala per chitarra. which showed what notes were
played on which strings (Fig. 12). A variant Scala from an earlier date
is given in Figure 9.
Surprisingly, the Legnani model guitar (Fig. 10 - 12) had a shorter
string lengths by almost 8 cm., than previous instruments (as in Fig. 7 - 9 ) .
gab, und keiner seiner Nebcnbtihler, selbst Giuliani nicht ausgenommen, kann
mit ihm in die Schranken trcien." AmZ, XXIV (1822), 796. The Legnani model
guitar had an adjiistable neck, a screw for this purpose being located just at
the base of the neck. This alloi:ed the performer to adjust the "action" of
his guitar, that is, the dir.tar.ee from the strings to the fingerboard, at any
time. Such guitars are still made- by the firm of Klein, Koblenz, Germany.
51
In effect, this virtuoso advocated a guitar which, by its size, would be
(Figure 12)
Wto/av/ >
'/. >. '

--
» /^N
f # ;t‘f
\l>n
/ m f / / if - s ft/r /n f/t / / ' i / iy . / 'n
52
situated just between a viola and a ’cello. The strings of the aforemen
tioned Legnani model guitar (Pig. 11) were only 55.8 cm. long, compared
with a viola's approximately 54-37.5 cm., and a 'cello's 69-70 cm,
speaking string length.
The influence of the violin maker's art on the classic guitar would
attain its apogee in Vienna by 1830. A refinement of the above type of
instrument was introduced then, having sloping "shoulders" (for lack of a
better word) at the point where the
sides intersect with the neck, rem
iniscent of the string bass. This
guitar also had a tuning head whose
profile was modeled on the violin's
scroll, and which incorporated a se
ries of machined, worm-gear tuning
pegs (Pig. 13).
Johann Georg Stauffer, like
many seemingly successful figures
in the Viennese musical world (in
cluding Giuliani), fell into debt
at what seemed to be the height of
his career. He was placed under
"Schuldenarrest" in December 1831» (Figure 13)
and in April 1832, for violating
53
patent rights. According to Blumml (Op. cit.). he couldn't pay his year
ly tax of 20 Florins in 1831 because of bankruptcy. He sold his shop to
his son, Johann Anton, in 1833, but the latter began signing guitars with
his own name only in 1836. He continued making guitars based on his
father's fine instruments through the 1840's, but at the same time, Johann
Anton made his "Legnani model" guitars somewhat larger, giving them typ-
22
ically a string length of 60.8 cm. By the 1840's, the trend was again
toward larger guitars all over Europe.
The Stauffers were indisputably the masters of guitar making in Vienna,
but they were in the company of a number of lesser luthiers who supplied
guitars for countless amateurs in the Imperial City between c.1800 and c.
23 24
1830, These included Ambrosius Josephus Bogner, Anton Fischer, and
Nikolaus Georg Ries, to name a few. The latter made guitars on the Legnani
model, but larger than the early Johann Georg Stauffer prototypes. One of
Ries' guitars lias the label, "Nach dem Mode11/ des Luigi Legnani/ von Niko
laus Georg Ries/ in Wien," and a string length of 63 cm. ^
op
All information on the Stauffer family is taken from Blumml's article
cited in footnote 19. A Johann Anton Stauffer guitar having a string length
of 60.8 cm. is in Stockholm, Musikhistoriska Museet, catalogue number 64/65/
16. It dates from 1846-47, although no date appears on the label. We know
this from the address on the label (Wien //1100), where Johann Anton was
living during those years,
23
One of Bcgner's guitars has the label, "Ambrosius Josephus Bogner fecit
Viennae Anno 1802." It has a 62 cm. string length, 10 neck-frets, and a
flush fingerboard. Vienna, Samml. alter Musikinstr., #464.
Ône of Fischer'3 guitars has the label, "Anton Fischer/ biirgerl, Gitarre-
und Geigen-macher,/ hat sein Gewolb in der Selzergasse nachst/ der Polizei-
Direction." 12-fret raised fingerboard, 56 cm, string length. Loc. cit..#575.
25
The Ries guitar is in Vienna, Loc. cit., #451.
54
String Length
Why must one consider so carefully string length in a history of the
guitar? Unfortunately, most people, even most guitarists, do not realize
the importance of this variable as it relates to the instrument’s play
ability. A guitarist’s control of a certain portion of the fingerboard
is directly linked to the spacing of the frets, which in turn is a function
of string length. Most music for the lute required that the player be able
to stretch and maintain a distance of a major third, or four half-steps,
between the index and the little finger of the left hand. To meet the de
mands of the music, most lutes had a string length of less than 60 cm. Here
is an example of this technical requirement, from La intabolatura de lauto
dell'excellente P.Paualo Borrono da Milano... (Venice, 1563):“^
(ligure 14)
QQl--------- h- Q
4,
Pietro Pauolo Borrono. F

t
^Here there is a five-position stretch between frets 3 and 7.
Music for classic guitar also demanded at times that the performer be
able to maintain a 5-position stretch in the left hand — something that
was generally possible only with instruments having suitably short string
2(5 16
RISM catalogue no. 1563 . Brown no. 15633. The example is from
"Canzon franzese Ala venture," p.41.
55
lengths, on the order of 55-62 cm. Here are two examples of this re
quirement, one from Giuliani, and the other from Carcassi:
Mauro Giuliani, Op, 118, 6 Variazi- Matteo Carcassi, No,11 in "50 Exs,
oni per chitarra, measure 2 of the Progressing in Difficulty," from the
theme. Method, republ. Carl Fischer (New
York, 1962).
In order to execute the above passages on a modern, Torres-model
Spanish guitar (having a 65 cm, string length) such as is used in concert
today, one must be endowed with extremely large hands, and one must have
played the guitar seriously for years. The stretch required between the
index (l) and the little finger (4) of the left hand here is exactly equi
valent to playing an octave on the piano with the same fingers, i.e., a
distance of 16 cm. Most students, and most women, cannot span better than
14.5 cm. between the index and the little finger. Let us bear in mind that
the same music performed on a Viennese classic guitar having, say, a 58 cm.
string length, would require a stretch in the left hand of only about 14 cm.
— one which is entirely within reason.
Why, then, did a certain luthier named Torres start making guitars in
Almeria, Spain, in the late 19th century, with strings 64-65 cm. long?
Surely he must have been aware of the centuries-old technical requirement
for the left hand: spanning five frets at once. What Torres, working in
extreme southern Spain, gained with his new, large guitar was supposedly
56
loudness, and greater resonance. What he lost was an important measure
of versatility. He, and the Spanish school of luthiers in general, denied
future generations of amateurs the technical mastery of five-position play
ing, that is, of simultaneities involving the controlled use of the first
and fourth fingers of the left hand five frets apart. For there is hardly
one amateur guitarist in a hundred today who can easily execute such
simultaneities on the modem Spanish concert guitar.
Only one previous writer, so far as I know, has addressed himself to
this problem, viz. Emil Gamer, in his short article, "Die Mensur der Instru
ments in ihrer Beziehung zur Handspanne," Der Guitarrefreund. VII (Munich,
1905/06), 58, Here Gamer develops the idea that small instruments, such
as violins and mandolins, are "Quinteninstrumente," while the guitar is
considered a "Quarteninstrument." The ideal string length of the latter,
according to Gamer, is 59.92 cm. A "Fourth-instrument" is one in which
the interval between the strings is generally a perfect fourth. But it
likewise implies that an average performer should be able to reach the
interval of a fourth above the open string without removing the index fin
ger from the first position. Obviously the modem Spanish concert guitar
disqualifies itself from the "Quarteninstrument" ideal in this regard, for
all but a handful of dedicated virtuosi with veiy large hands.
Historically, guitar size was not always so rigid a thing, especially
at the time of the first flowering of the classic 'guitar in Vienna (1800-
1820). Instrument makers there produced a great many sizes and shapes of
guitar, depending on the needs of the customer. There were "Meistergitarren,11
57
which tended to be larger, relatively speaking, and "Damengitarren," which
were smaller and had thinner necks than average. There were "Terz-Gitarren,"
which had a shorter string length by three frets than the normal guitar,
27
and which could just as easily have passed for "Damengitarren," One
could, of course, buy lighter strings for a normal guitar, and tune them
up to the level of a terz-guitar with no difficulty. There was even a
,lStreichgitarre" (alternately called "Bogengitarre," and "Arpeggione")
made in Vienna; it was something like a viola da gamba tuned h. la guitare
and bowed. It was a logical cross between the guitar family and the violin
family,., and was almost certainly destined to have appeared in Vienna at
this time, given the tremendous role played by violin makers in producing
28
the Austro-Italian classic guitar in the first place.
Conclusion
The testimonies of numerous 18th- and 19th-century music lexica may
easily be added to the evidence already presented, in order to reaffirm and
reinforce the various concepts that serve usefully to articulate the emergence
of the classic guitar. Most lexicographers did address themselves to the
adjective "Spanish" which so often qualified the guitar, and tried to recon-
27
I have never found a terz-guitar actually labeled as such.
28
Sachs, in his Real-Lexicon der Musikinstrumente. points out that the
Arpeggione was invented by Georg Stauffer in 1825, and states that Schubert
wrote a sonata for it. I have been unable to locate the latter in Deutsch's
catalogue of Schubert's works, however. Vincenz Schuster's timely Streich-
gitarre method was entitled, "Anleitung zur Erlemung des von Ilrn, Georg
Staufer neu erfundenen Guitare-Violoncells..." Vienna: A.Diabelli & Co.,
pi.nr. D.& C. N° 2052.
58
cile it with the generally acknowledged fact of the guitar's emanation
from Italy. Already by the beginning of the 18th centuiy Ballard had
written in his Dictionnaire de Musique (Paris, 1703):
GUITARRA veut dire GfUITTARE. Esplce d 1Instrument & cinq rangs

doubles de cordes, dont la plus basse est au milieu, a moins qu'il
n'y ait un Bourdon une 8e plus bas. que la 4e. On y ajoute souvent
Spagnuola, parce que cet Instrument est venu d'Espagne en Italie.
et dan3 les autres Pays, et qu'il est trfes-commun en Espagne.
[Emphasis mine.]
Speaking from a point on the Franco-Spanish axis, Ballard did something
which strikes us as surprising in mentioning Italy at all. Why didn't he
simply write that one often adds "Spanish" because this instrument is very
common in Spain? Why was it known in Paris as a chitarra spagnuola. and
not as a guittare espagnole? Clearly he felt, even at this early date,
that his definition of the guitar would be inadequate without the deliberate
mention of Italy.
In his Kusikallsches Lexikon oder Musikalische Bibliothek... of 1732,
Johann Gottfried Walther does more than just mention Italy. He has only
one entry for the guitar, that is, the Italian — Chitarra. There is no
listing for Guitarre or Guitarra in this German-language dictionary.
Chitarra (ital.), Guitarre, Guiterre (gall.), Cithara Hispanica (lat.)...

ein mit 5 doppelten Darm-Saiten-Ch'dren bezogenes plattes, Lauten-
massiges Instrument, welches sonderlich vom Spanischen Frauenzimmer
gebraucht wird (daher auch das Wort Spagnuola offt dabey stehet), aus
Spanien nach Italien, und von da in andere Lander gekommen; . . .
Besides correctly observing the dimensions (lute-sized) and stringing of
the baroque guitar, Walther states his widely-shared belief that the instru
ment "is especially used in the chambers of Spanish ladies, whence the word
Spagnuola is often applied to it." Most important, he does not fail to
59
mention that the guitar "came from Spain to Italy, and from there into
other lands."
A plausible explanation of how the guitar and the art of playing it
might have spread from Italy elsewhere is found a few years later, in the
Kurzgefasstes Musicalisches Lexicon.... published by Johann Christoph and
Johann David StoBeln (Chemnitz, 1737). It includes this grammatically cor
rupt, yet interesting entry:
Chitarre oder Ouintema. ist ein musicalisches Instrument, mit 4.

Oder 5. Chor Darm-Saiten Uberzogen: hat kein runden, sondem einen
langlichten Bauch, wie die Geigen: darauf pflegen die Italianische
Com'odianten mit den Nageln zu scharren; einige aber auch als auf
einer Laute zu spielen.
The important elements in this definition are the likening of the guitar's
shape to that of the violin, with incurved sides and an elongated body (not
to mention the similarity of woods used), and the relating of how (wandering)
Italian comedians usually strummed it with their fingernails. "But," the
lexicographer hastens to add, "some of them play it as they would a lute."
The Italians were destined to popularize the "lute" style of playing
increasingly in the hundred years following the publication of the Kurz
gefasstes Musicalisches Lexicon... In fact, another entry in the same
source — this time for "Guitarre" — states, "Man nimmt es unter den Arm
und spielet mit den Fingem darauf," with no mention of the strumming tech
nique, The same short article concludes with the usual nod to Spain, but
equally stresses the role of Italy in the guitar's cultivation: "[Die Gui
tarre] ist zuer3t in Spanien erfunden worden, allwo und in Italien es zum
meisten gebraucht wird,"
60
In the beginning of the 19th century the trend in music lexicography
apparently became twofold: to inform in matters factual, and to advise the
reader in matters esthetic or susceptible to value judgment. As the middle
class grew both richer and more interested in music, large musical diction
aries comprising several volumes began to appear, tailored to their needs,
filled as much with anecdotes and the latest gossip as with succinct defini
tions. The aspiring amateur now was told not just what a guitar was, and
whence it came, but also what it was suited for, and what its place was in
the current musical hierarchy, if not in polite society.
Heinrich Christoph Koch provided one of the earliest "encyclopedic”
articles on the guitar, complete with value judgments and descriptions of
the latest gadgetry to afflict this noble instrument, in his Musikalisches
Lexikon. welches die theoretische und praktische Tonkunst. encvclonadisch
bearbeitet. alle alten und neuen Kunstworter erklart. und die alten und
neuen Instrumente beschrieben. enthSlt... (Frankfurt aâin, 1802),
GUITAR. A stringed instrument which, in view of the way it is handled,

belongs to the species of the lute or zither. It differs very marked
ly both from the lute and the usual zither in regard to the body. The
guitar’s body is similar to that of bowed instruments, but it has a
flat resonating table; and no F-holes, but rather a round sound-hole
in the middle. The back is also flat, and the ribs are higher in re
lation to the size of the table and back than is the case with the
violin family. The size of the body is approximately mid-way between
a violin and a 'cello. The neck of the guitar is wide, and the half
tones [Tongriffe] are described on the fingerboard with so-called
frets, which are of ivory, inlaid into the fingerboard. At the end of
the neck one finds not a pegbox, but a flat piece of wood tilted back
wards, in which the pegs are set. The bridge, wide and strong, but
also very low, is glued on to the resonating table. The instrument is
strung with six strings: the four highest are ordinary gut; on the two
basses one uses wound strings, however, which are prepared from "SchluB-
seide"[silk fibers or filament]. The tuning of these strings is G[sic]
61
A d g h e*. [Footnote in the Koch text: Some people string the

instrument with only five strings, which they tune a d g h d[sic].]
Inasmuch as the left hand determines the tones, the strings are plucked
with the fingers of the right hand, as is the case with the lute.
The instrument is suspended from a strap which is slung over the
shoulders, and it is held beneath the right arm.
The guitar is especially suited to the harmonic accompaniment of
solo song, and is employed most generally in Spain, Here in Germany
it has risen to being the ’’darling" instrument of the ladies for
some time.
This instrument has been provided with a kind of keyboard, by
a German musician in London, In relation to the left hand it remains
as a guitar, but for the right hand it is transformed by this [in
vention] into a pianoforte, for which reason it has been given the
name "Pianofortguitarre" . . .
. — Koch, 707-08. Original German in Appendix I, 3.
It is evident from the foregoing that Koch was a careful and thorough
observer. Ilis comments cover social, historical, musical, and physical
aspects of the instrument, and include the latest gossip on the "Piano-
fortguitarre" — a travesty if ever there was one. Of particular interest
is Koch's manner of noting in a comparative way the physical features of
the guitar. By 1800 the metal fret was in common use, as was the practice
of winding three bass strings (cf. Appendix I, 2). These innovations were
recent enough not to have come to Koch's attention. By the same token, the
art of playing the guitar as a solo instrument was something of which Koch
was apparently not aware. He would not have described the guitar as sup
ported by a shoulder strap (v. Fig. 9 & 12, where the strap is a musical
staff), and mentioned only its suitability to uccompany the voice, if he
had known better. Y/hat Koch innocently related as the guitar's musical
function (i.e. voice accompaniment) -out of lack of awareness of the finer
role of which the solo instrument was capable, succeeding generations of
62
lexicographers and music critics maintained with inflexibility. Their
stifling mentality was one with which the coming generations of classic
guitarists would have to contend, and against which few would prevail.
For example, Pietro Lictenthal writes in his Dizionario e Biblio-
grafia della Musica. Vol. I (Milan, 1826):
A cavatina, a nocturn, a romance, a duettino accompanied with the

guitar has a pleasing effect; its veiled and deep sonorities produce
very favorable •masses’ of haxmony, supporting the voice without
covering it. But this instrument is nearly reduced to silence when
it is made to sing. Its force consists in multiple vibrations of
the several strings, plucked successively or simultaneously. The
moment arpeggios are abandoned in favor of the unison, thereby
passing from the sonorous basses to the upper octave, consisting of
tones obtained through a shortened string, which no longer vibrates,
then the melody is feeble and languid, deprived of harmonic support,
and is no more than a meager and dry pizzicato, lacking any kind of
beauty.
- From the definition of Chitarra. Op. cit. Italian in
Appendix I, 4*
Lictenthal did not know much about the guitar, nor how, in competent hands,
its frets sustained the vibrations of the strings very satisfactorily. He
did, however, have quite a novel theory about "masses of harmony" produced
by "multiple vibrationsJ"
His theory was attractive enough to have been pirated by M, Castil-
Blaze. It appeared two years later in French, in literal translation, in
his Dictioxmaire de musique modeme (Brussels, 1828), But to Lictenthal:s
speculation Castil-Blaze added some advice for the bourgeois reader:
Nous conseillons aux guitaristes de consacrer. leurs talens precieux

a l'accompagnement, et de reserver pour les exercices de 1'etude, de
pretendues sonates dans lesquelles on trouve des traits, des trilles,
des coules, des gammes, des cadences, des points d'orgue qui n 1existent
reelment que sur le papier, et que l'on Icoute avec les oreilles
de la foi. sans aqu^rir la certitude de les avoir entendus,
Now Castil-Blaze was an astute music critic, as well as an eloquent writer.
But his diminutive knowledge of the guitar may be appreciated from the fact
that much of his article is stolen from Lictenthal, He apparently did take
the time to examine some pieces of solo guitar music, and may have heard
some second-rate guitarists in Paris in the late 1820's, But he obviously
knew no artists of the caliber of a Giuliani, as we shall see. The one
important criticism which Castil-Blaze makes of the guitar as an instru
ment is to decry its deceiving weakness of tone. It is regrettable that
neither he, nor most other lexicographers in the earlier 19th century, could
conceive of the guitar as an intimate chamber instrument, and understand it
for what it was, And yet, it is important to be aware of the cultural and
musical environment in which the guitar flourished and declined in the
preceding century. Public opinion was a factor of crucial importance, and
these latter-day encyclopedists were in no small way responsible for it.
The circumstances were such in Vienna in the early decades of the
19th century to favor the first flowering of the classic guitar north of
the Alps. Everything worked together the wealthy bourgeoisie, the
enterprising publishers, the popularity of light music in amateur circles,
the skillful guitar makers on whom we have dwelt at some length in this
chapter, and equally important, favorable and receptive public opinion.
No one man was more responsible for the latter than the remarkable Italian
64
virtuoso who guided and directed the formation of numerous amateur guitar
ists in Vienna, and who provided a superlative model of skill and musician
ship on his chosen instrument during the years 1806-1819: Mauro Giuliani.
He had the gift of knowing how to make the guitar speak credibly as a solo
instrument. 'When it was in Giuliani's hands, no one had to listen with
the "ears of faith!"
65
C H A P T E R II
MAURO GIULIANI: A BIOGRAPHY
(Kuliani’s Birth and Death Dates; A Study in Mass Confusion
As of the writing of this chapter, no birth or baptismal certificate
for Mauro Giuliani has been found. No one is yet certain where he came from
or when he was born. Different stories of his provenience were published in
German soon after his arrival in Vienna in 1806. Perhaps he was not aware of
them. If he did know of their existence, he appears not to have done anything
to reconcile the different opinions his contemporaries were forming vis-&-
vis his origins.
The most remarkable aspect of Giuliani's vita in this regard, from the
historian's point of view, is not that he should have died without calling
the world’s attention to the exact place and date of his birth, but rather
that succeeding "generations" of biographical dictionaries have not been
able to live with the ignorance of this data, and have "authoritatively"
fabricated various theories of his life. Nature may abhor a vacuum, but the
workings of nature are gentle and predictable compared to what the editors
66
of many biographical dictionaries have produced to fill in the unanswered
questions of Giuliani's life.
The inclinations which this writer may have possessed in the. area of
text criticism, stemmas, and other such exercises generally reserved for the
medievalist have found an ideal outlet in tracing the various theories of
Giuliani's dates to their sources. Anyone who takes such a job seriously
risks becoming quite disillusioned with the indispensable research tool
known as the biographical dictionary. As a result of the mass confusion
which I am about to outline, I include myself among the disillusioned I
There are two different, and not necessarily conflicting, testimonies
from Vienna in the year 1808 which purport to relate where Giuliani came
from, quite literally. They do not make clear whether the place to which
they refer is where he was boro, or where he last was prior to coming to•
Vienna:
The Neapolitan 0____0____ #
Johann Friedrich Reichardt was a latter-day Charles Burney,^ who, in a
style similar to the Englishman's, chronicled a "musical'1 journey which he
made to Vienna in 1808/09. His observations have a title which might be
translated, "Intimate Letters Written on a Trip to Vienna and the Austrian

2
States during latter 1808 and early 1809..." His thirteenth letter, dated
■'’Charles Burney, An Eighteenth~Centurv Musical Tour in France and Italy....

ed. Percy A. Scholes, 2 Vols. (London, 1959).
^Vertraute Briefe geschrieben auf einer Reise nach Wien und den Oester-
67
10 December 1808, includes this passage:
I have already attended an amateur concert here (one of a series)

which has begun the winter season, but which almost killed me because
of the seating arrangements, although the company was quite pleasant.
Into three quite small rooms, such as I have almost never seen here,
were crammed a large crowd of listeners of all ranks, and almost as
large a crowd of musicians, so that it was virtually impossible to breathe
or to hear. Luckily I could still see, for some very pretty ladies were
taking.part, and some of them sang very nicely, too. But very good
pieces by Beethoven, Romberg, Paer and others had no effect, for in the
limited space one was completely deafened by the sound of trumpets and
timpani and all sorts of wind instruments. Nevertheless I had something
quite ideal to listen to, which even here was completely fitting, and
thus worked all the better. There was a Neapolitan guitarist, who
played so perfectly that he frequently called to mind the marvelous old
era of genuine lute-playing, I have never heard anything so perfect on
so imperfect an instrument. Then two more Italians with pleasant tenor
and bass voices sang with him a little French romance: "La Sentinelle,"
standing at his post before the enemy on a bright night, tells to the
winds his desires and protestations for his lover, claiming that he
only watches, lives, fights, and dies for her. The fine Italian, who
is also a very handsome young man — a veritable AntinoUs — had very
skilfully arranged for guitar a beloved melody in march time, and en
riched it with animated interludes. This suited both the room and the
company, who were enchanted by it, but didn't seem to notice that this
wholly pleasant impression was again destroyed by Beethoven's over
powering, gigantic overture to Collins' Coriolanus . . .3
There is one reason to believe that this passage does not refer to
Giuliani; there are two reasons, plus internal evidence, to maintain that
it does. The basis for questioning any rapport between the anonymous Nea
politan described here and Giuliani would be in Reichardt's subsequent letter
of 1 March 1809, in which he describes an amateur concert held at the house
of Frau von Rittersburg (dedicatee of Giuliani's Op. 49). Reichardt writes
reichischen Staaten zu Ende des Jahre3 1808 und zu Anfang 1809. von Johann
Friedrich Reichardt. 2 Vols, (Amsterdam, 1810).
3
Ibid.. Vol. I, 218-20. German in Appendix I, 5. Emphasis on the
Neapolitan guitarist mine.
68
on this occasion, nI also heard the very popular guitarist Giuliani for the
4.
first time at this concert, and I longed very much to hear him again, often*"
Could Reichardt possibly have forgotten the man who made such an impression
at the concert of the previous December? Perhaps he didn't know Giuliani's
name on the earlier occasion, or couldn't really see him because of the
seating arrangements. Or perhaps he was paying too much attention to the
audience, particularly the ladies, as he was inclined to do.
One reason to believe that the "Neapolitan guitarist" was, in fact,
Giuliani, and that Reichardt later realized it, is found in the Table of
Contents of the original 1810 edition of Vertraute Briefe... . There one
encounters the following outline of the events mentioned in the thirteenth
letter (10 Dec 1808, pp. 204-224)* "Liebhaberkonzert. Giuliani. Guitarren-
spieler. La Sentinelle. Ouverture zu Coriolan von Beethoven..." Reichardt
may very well have composed or edited the Table of Contents himself, and
made this addition upon later recollection.
A second reason to believe that Giuliani is synonymous with Reichardt's
"Neapolitan" comes from an outside source. There is a passage in the intro
duction to a guitar method by Giuliani's contemporaries, Molitor and Klinger,

5
which refers to our composer as "Herr Mauro Giuliani, ein Neapolitaner..."
4
V, Appendix I, 18 for the full German passage. The source is On. cit.. 467.
5
Versuch einer vollstandigen methodischen Anleitung zum Guitarre-Spielen.♦..
Vol. I (Vienna, 1811-12[?j), 9. The introduction to this method is a central
document for any history of the cultivation of the guitar in Vienna. Ex
cerpts in the original German are reproduced in Appendix I, 10, and are
translated in this chapter, infra.
There can be no doubt that these men knew Giuliani personally. If we add
to this the fact that the anonymous guitarist was a "fine," handsome man
(corroborated by the Viennese correspondent of the Allgemeine musikalische
Zeitung. v. infra). that he was an exquisite guitar soloist, and that he
performed the romance "La Sentinelle,"^ then we are led to suspect strongly
that this indeed was Giuliani.
Nhat did it mean to be a "Neapolitan" at that time? The southern part
of Italy was then still called the Kingdom of the Two Sicilies, and it was
ruled from Naples, Thus a subject from anywhere in the kingdom could rightly
call himself a "Neapolitan.11 This appellation is much preferable to the al
ternatives of describing oneself as a "subject of the Kingdom of the Two
Sicilies," or a "Luo-SicilianJ" I believe that Giuliani was born in the
Kingdom of the Two Sicilies, and probably referred to himself as a "Nea
politan" for simplicity's sake for several years following his arrival in
Vienna (1806), that is, long enough to let it become common knowledge, among
those who cared to know, that he was originally from southern Italy. No one
in Vienna would have heard of the smaller towns in the province of Bari,
in the Kingdom of the Two Sicilies, anyway. There is credible testimony, as
we shall see, to the effect that Giuliani was b o m in that province on the
Adriatic coast, in the village of Barletta.
. . . Prom Bologna
^The relationship between Giuliani and this popular song is the subject
of extensive commentary to WoO, vocal-16. See Vol. II, pp. 182-85.
70
Giuliani’s Op. 5 is entitled Nuovo Rondb di Gusto Originale Compoeto
ad Tmitazione delle Campane di Bologna (Vienna: Contojo delle arte e d'
industria, pi.nr. 590). It was first advertised in the Viennese press in

7
October 1807, Both the title and the music of this work suggest that
Giuliani was within earshot of the bell-tower of Bologna when he was old
enough to remember its pealing sounds. No doubt the composer stayed in Bo
logna for a time on his journey from southern Italy to Vienna, Perhaps he
received his musical higher education in Bologna.
Opus 5 1 along with several other compositions by Giuliani, was anonymous
ly reviewed in the AmZ of 1808. The collective discussion of the works
themselves is preceded by introductory remarks on the composer — remarks
which constitute the source of the story that Giuliani was "from" Bologna:
Mauro Giuliani is a very nice fellow [guter Kopf], and a "fine"

and educated man, who, as far as this reader knows, recently came to
Vienna from Bologna [aus Bologna nach Wien kam]. He attracted the .
attention and then, easily, the goodwill of almost all the patrons of
music in Vienna through his unusual and varied talents, especially
through his good knowledge and (at times) distinctive view of music,
as well as through his truly wonderful playing, absolutely unique in
Germany, of an instrument which up to now has been used only a3 a fri
volous, jgalant music-box, or at most, as a pleasing accompaniment to
short, light vocal pieces, except in Naples and a few other big cities
of central and southern Italy, He has become, at least for a time, the
musical hero of the day among those who are known as high society; and
one has to admit that this society rarely chooses its heroes very in
eptly. His compositions for the guitar, which is so very much df a
hindrance to usual composers [dichtenden Musiker], ... reveal wit and
taste, and also display a new view and a unique handling of the in
strument — - but this last, of course, comes out especially clear and
charming because of his own masterly playing. For he doesn't just use
the guitar as an obbligato instrument, but also as one on which a full
voiced, regularly conducted harmony accompanies a pleasant, flowing
melody..,8
7
See Vol. II for full bibliographical information on Op. 5#
®AmZ, X (1808), 427 f. German in Appendix I, 6.
71
Thus, of the three earliest references to Giuliani's provenience
(two dated 1808, one appearing in 1811-12), two would have him from "Naples,”
and one from Bologna. These reports, which in no way can be construed as
attempts at biography, have in common the fact that all appeared in print
north of the Alps, in German. Later generations of German lexicographers
had easy access only to the above AmZ report of 1808, as might have been
expected, for few people look into Reichardt's Vertraute Briefe for bio
graphical hints, and still fewer in the introduction to an obscure Viennese
guitar method. What the anonymous reviewer for the AmZ innocently wrote
about Giuliani's coming, as far as he knew, "aus Bologna," was seized by
Gustav Schilling, and augmented by one little word, so that the crucial
g
phrase became, "aus Bologna gebUrtig" — literally, "bom in Bologna,"
From then on, a latter-day "manuscript tradition" generated itself, each
biographer copying what the previous had written, adding clarifications and
emendations as he saw fit. Here is the resulting stemma:
Giuliani's provenience and/or dates

Year Source according to the "German" tradition.
1808 AmZ. X, 427 f. "... aus Bologna..."
1836 Schilling, Encvclopadie.. "... aus Bologna gebUrtig..."
1847 Gassner, Universal-Lexikon.,. b.Bologna... (He literally reproduces

what Schilling wrote.)
1874 Mendel, Musikalisches Conver- Bologna 1796[j] - Vienna 1820.
sations-Lexikon...
1874 Fetis, Biographie Universelle.. Bologna 1780 - went to St, Peters
burg... (Fetis confused Mauro with his
brother Nicholas.)
[1882] Bremer, Hzmdlexikon..♦ Bologna 1796 - Vienna 1820.
Q
Encvclopadie der gesammten musicalischen Wissenschaften.... Ill
(Stuttgart, 1836), 241." ■■
■^Full citations are given in the bibliography.
72
1883 Viotta, Lexikon der Toonkunst... Bologna 1796 - Vienna 1820.
1900 Riemann, Musik-Lexikon.5th ed. Bologna c.1780 - Vienna 1820.
1919 Riemann, Musik-Lexikon.9th ed. Bologna c.1780 - Vienna c.1830.
1922 I-Riemanns Musik-Lex.. 10th ed., Bologna c.1780 - Still in Naples in

ed. Alfred Einstein, 1828.
1929 Riemanns Musik-Lex.. 11th ed. Bologna c.1780 - d.probably after 1840,
1932 Getllustreerd Muzieklexicon. ed, Keller & Kruseman, has two entries:
- GUILIANI [sic], Mauro. Bologna c.1780 - Vienna c.1830.
- GIULIANI, Mauro. Bologna c.1780 - Naples 1840.
1934 Ferrari, R, Mauro Giuliani. Bologna 1780 - Vienna 1840.
1954 Bonaccorsi, A. Nuovo Dizionario. Bologna c.1780-Vienna c.1830.
.1965 Zenei lexikon. ed. D.Bartha, c.1780 - c.1840.
The Barletta - Naples Thesis
While North-European lexicographers of the 19th century were busy
copying each other, gleefully promulgating Schilling's fatal (natal) error,
a different tradition was forming in and around Naples, where Giuliani died
on 8 May 1829. The central figure in the "Neapolitan" school of biographers
is ascertain Filippo Isnardi, who, we assume, was living in Naples during the
latter 1820*s and 1830's. He was an amateur of the guitar, and something of
an experimenter with the same, if his Two Grand V/altzes for Guitar tuned in
E ma.ior is any indication.'*'1 It is quite reasonable to assume that Isnardi
Îsnardi, Due gr. Walzer per Chitarra accordata in Mi magglore (Milan:

G. Ricordi, pi.nr. 11624, printed c. May 1840).
73
knew Mauro Giuliani personally, and took a keen interest in him. Two of
Giuliani's works (published posthumously): the Pastorale. Op. 149, and the
Gran Sonata Eroica, Op. 150, are dedicated to Isnardi by Ricordi — some
thing which may or may not reflect Giuliani’s intentions. On the title
page of Op. 150 the dedicatee is referred to as "the distinguished Signor
Filippo Isnardi, dilettante.”
The same year (1836) that Schilling promulgated in Germany his theory
of Giuliani's Bolognese birthplace, Isnardi published in Naples the first
known biography, in the strict sense of the word, of the famous guitarist:
"Cenni Eiografici intomo a Mauro Giuliano [sic], communicati per la parte
storica dal pregevole Sig, Filippo Isnardi, peritissimo della scienza

12
musicale,” His work appeared seven years after Giuliani's death, and it
has several typographical errors, yet it is the earliest, and certainly
seems the most credible, of the biographies which have come down to us;
Mauro Giulian[i] was born in Barletta in the province of Bari

in 1781. He studied in the fatherland, and loved the beaux-arts.
especially music. He learned counterpoint, and at the age of 16
composed a mass which did him much honor. At the age of 18, his ar
dent eagerness to have better instruction led him to travel. In
Vienna he perfected himself in counterpoint, in the art of playing
the 'cello, and above all the guitar, to which he gave himself com
pletely. He demonstrated the invention of the 6th string, due to
Maestro Fabbricatorello in Naples;!3 but'his greatest innovation was
1o
L*Omnibus, foglio ueriodico. IV, 3 (Saturday, 30 April 1836), 12. The
original Italian is in Appendix I, 1. The existence of this biography was
brought to my attention by Prof. J<5zef Powrozniak of Poland, who got the
citation of the article from Bruno Henze, who in turn obtained it from
Romolo Ferrari of Modena, .just before the latter's’death (1959). I am in
debted to Dr, Patrick Higonnet of Harvard for locating the article in the
Widener Library, and sending me a copy.
13
Isnardi refers here to Fabbricatore of Naples, a famous guitar maker,
one of whose early 6-string instruments (dated 1791) is shown in Ch. I,
Figure 7 (p.45).
74
that of adapting to the guitar any musical piece or chord whatever,

and of creating on [the guitar] an infinity of concertos and compo
sitions, not to mention his playing the instrument with a mastery,
with an elegance, and with a "vibrazione" [loudness?] which no one
before him had achieved. He earned through his virtuosity the praises
and friendship of illustrious personages. He was named "chamber
virtuoso" by Her Majesty Marie-Louise, who gave him the famous lyre-
guitar which Napoleon had ordered made just for her. She compensated
him with other sumptuous gifts, and obtained for him the title of
"Cavaliere del Giglio."14
He gave a concert for the assembled sovereigns at the congress of
Vienna, and this earned him the greatest applause.
He left Vienna destined for Naples, being most desirous of return
ing to his fatherland. Reaching Rome on 3 August 1819, he stopped
there, having found the famous Rossini and Paganini. With them he
gave such famous "divertimenti," that their union was called "the
musical triumvirate."15
Then he published many of his best works, combining perfect taste,
harmony, and feeling. He was the first to invent and apply to the
guitar a new musical orthography, reforming'[rewriting?] the notes of
[various] chords, and making them playable by anyone. This is now all
recognized, since his works have been published in Paris, Vienna,
Milan, and other capitals.
He left finally for Naples on the 8th of July 1823* After having
received universal applause in the various academies which he gave there,
especially in that held at Portici in the presence of His Majesty-
Francis I, he died there [Naples] on the 8th of May 1828.^
In these various academies he appeared often jointly with his
little daughter Emilia, then of very tender age, who even then showed
her desire to rival one day her father's skill in playing the guitar.
In announcing the loss of Mauro Giuliani, the Giomale di Napoli of the
14th of May 1829 mentions that he vias a famous guitarist. , .17
^Literally, a "Knight of the Lily," The lily (Fr.: lis) was a royal
emblem of the House of France, and Marie-louise was a Bourbon herself.
15
According to highly credible information supplied to me by Dr. Philip
Gossett of the University of Chicago, who did a recent dissertation on Ros
sini, the only time Rossini could have been in Rome long enough to give
concerts with Giuliani would have been Dec 1820 - Mar 1821. Paganini was
also in Rome Jan - Mar 1821, I have found no reference to these men being
called the "triumvirato musicale" in the Roman press, nor has Dr. Gossett.
Surely Isnardi erred in his date; but the substance of his testimony ha3 not
been disproved.
[typographical error,' The death date was 8 May 1829.
17
The original Italian is in Appendix I, 7, and the death notice is
reproduced in Appendix I, 50.
75
This testimony "by Isnardi fathered quite a "tradition" of its own,
starting with the literati of Southern Italy in the 19th century, and only
finding its way into musical reference books in the middle of the 20th
century:
Giuliani's dates according to the

"Neapolitan" tradition (incorrect
Year Source death date)
1836 Isnardi, "Cenni Biografici.." Barletta 1781 - Naples 8.V.1828.

18
1844 Minieri Riccio, Memorie,.. Barletta 1781 - (?) 8.V.1828.
1885 Belucci, "I musicisti Baresi." Barletta 1781 - (?) 8. V.1828.
1952 Della Corte, Dizionario di Mus. Bologna c.1780 - Naples 8.V.1828.
1954 Diccionario de la Musica Labor. Barletta 1781 - Naples 8.V.1828.
1958 Andreis, Muzi&ca Enciklopedia. Barletta 1781 - Naples 8.V.1828.
1959 Riemann Mu3ik Lexikon. 12th ed. Barletta 1781 - Naples 8.V. 1828.
1959 Sartori, Dizionario Ricordi... Barletta 1781 - Naples 8.V. 1828.
The incorrect death date of Giuliani (1828) might have gone on prop
agating itself in this way if Romolo Ferrari had not finally traced the
error to its source,, and deduced the correct death date (1829) just before
his own death in 1959. Ferrari published the emended date presumably in
19
the 1950’s, in the Italian periodical L ’Arte chitarristica. and Bruno
Henze picked up the correction and incorporated it into a biographical
sketch which he included in an edition of a Giuliani concerto which he had
edited. Here are the sources which relay the composer's correct death date:
18
Full citations are found in the bibliography.
19
I have not had access to this periodical, and am unable to cite the
Ferrari article by volume, date, and page. J6zef Powrozniak communicated
this information to me by letter early in 1970.
I
I
!
76
Giuliani’s dates aec. to the "Neapolitan1*

Year Source tradition, with correct death date
20
1959 Henze, "Biographische Notiz.." Barletta 1781 - Naples 8.V.1829.
1966 Powrozniak, Gitara od A do Z. Barletta 1781 — Naples 8.V.1829.
1968 Vol'man, Gitara i Gitaristy. Barletta 1781 - Naples 8.V.1829.
The foregoing survey necessarily omits, for considerations of space,
a number of biographical dictionaries, handbooks, and similar compendia
which did no better nor worse than copy from one of the main "traditions”
outlined above. One work deliberately excluded, but impossible to overlook,
is Baker’s Biographical Dictionary. 5th ed. (1965). It adheres to the in
correct Neapolitan thesis (Naples 1828), glibly adding, "In 1833 he [Giuli-
21
ani] visited London, where he won extraordinary acclaim." I might add,
he didn't even have to play his guitar. All he had to do was walk out on
the stage posthumously, and he brought the house down!
* * * *
20
Bruno Henze, "Biographische Notiz," in Mauro Giuliani: Studienkonzert
fUr Citarre (A-dur) mit Beprleitun/r von Streichinstrumenten. ed. Henze (Leip
zig, 1959). My thanks to.Prof. Powrozniak for sending me a copy of this
biography. It gave a false citation for the Isnardi article in L*Omnibus,
stating 1838 instead of the correct year, 1836,
21
Op. cit.. 568. This "information" was taken from Philip J. Bone,
"Mauro Giuliani, a Biographical Sketch," Guitar Review. No. 18 (1955).
Advice to the reader: Do not believe everything the late Bone wrote.
77
A New Look at Giuliani *s Life
Part One: The Early Years in Italy
The testimony of Filippo Isnardi that Mauro Giuliani was b o m in
Barletta (province of Bari) in 1781 has not yet been verified by a birth or
22
baptismal certificate, but it appears credible in the light of what we
know about Isnardi. Further support, albeit circumstantial, for the thesis
that Giuliani's family is from Bari is derived from the fact that the re
mains of St. Nicholas are in the Cathedral of Bari. Surprising as it may
seem, the city has been the object of pilgrimages by pious Russians — it
was a sort of Compostela-East — for centuries. Mauro Giuliani's brother
was named Nicholas (a common name for someone from the region of Bari), and
he ended up living most of his life as a composer and singing teacher in St,
• 2^5
Petersburg, The Russia - Nicholas - Bari association should not be over- •
looked as a corroboration of the testimony that Giuliani's family was from
the province of Bari,
Several letters by Mauro Giuliani, and by his father Michele, which are
22
I visited Barletta in 1969, looked into various church records, and
enjoyed the assistance of an employee of the Archives of the State of Bari,
Signor Parlato. Together we were unable to find the composer'3 baptismal
record. The registry of 1781 from the Santa Maria Church is missing. I was
unable to visit the archives of the San Giaccomo church. Anyone desiring to
pursue this further might write to me, or to the librarian (Dr, Raffaele
Bassi), Biblioteca Comunale, 70051 Barletta (BARl), Italy.
^ I n a letter dated 20 June 1820 (Vienna, Stadtbibliothek, J,N, 6972l/l)
Mauro's father, Michele, asks Domenico Artaria if Mauro's "son (Michelino)
had gone to Russia to visit his Uncle Nicholas."
78
24
now in the Handschriftensammlung of the Stadtbibliothek, Vienna, combined
with other documents found in the Archives of the City of Vienna (v. Ap
pendix I, 42), strongly suggest that a family tree for the composer might be
sketched this way:
Michele Giuliani,
father, b,mid-18th c
Wife's name unknown.
Nicholas, went to St, Mauro, b.Barletta in Emmanuele, younger

Petersburg c,1800(?), 178l(?), d,Naples 8.V. sister of Mauro,
died there c,1850(?). 1829. Wife's name unknown.
Michel, b,Barletta Emilia, b.Vienna Maria Willmuth, il

1801 (?), d,Paris 1867 1813, married Pietro legitimate daughter
Guglielmi, She died b,Vienna 1807, supported
after 1840, by Mauro.
24
Letters written to Domenico Artaria, which were preserved in the
Artaria Nachlass . .loc. cit.. J.N. 69721/ 1-3; 69722; and 69730-34.
^ 1 have references to two works of Nicholas Giuliani: (l) Introduction

au Code d'haraonie -pratique et thôrique du nouveau syst&me de basse fonda-
mentale (St. Petersburg. 1847).' COPY: New York Public; Brussels, Bibl."
Royale. (2) The opera Armiro e Daura. from which the march in Mauro
Giuliani's 2 Grand Arie & 1 Marcia (WoO. vocal-2), adv. 9 Sept 1807, is
arranged.
Furthermore, there is testimony about Nicholas being the uncle of Mauro's
son (Michel) in the AmZ. XXV (Oct 1823), 656. It is a report on the musical
scene in St. Petersburg, and suggests that Michel was in that city at that
time: "Der beste Guitarrespieler und Sanger ist Hr. Giuliani, ein Sohn des.
bekannten Virtuosen und Componisten in Wien; sein 'Onkel Nicholas G, gehort
zu den vorzuglichsten Singlehrem."
26
The daughters, Emilia Giuliani and Maria Willmuth, both have their birth
dates and places recorded in the "Passprotokol" Archives of the City of
Vienna (v. Appendix I, 42).
79
Why Giuliani Went North
On the assumption that our composer was b o m in Barletta in 1781, let
us proceed to examine what kind of existence he might have led as a young

27
man. He probably went to Bologna at an early age to study music. His
older (?) brother, Nicholas, may well have gone with him, since there was
no great opportunity for either of them to study counterpoint in Bari. In
all likelihood they entertained visions of leaving Italy for the more afflu
ent lands to the north. They were evidently part of a general movement —
a response on the part of Italian musicians to better working conditions in
countries materially wealthier, but poorer in performers than Italy. The
prophet is without honor in his own land, as the saying goes.
Perhaps more than any other type of musicians, guitarists left Italy
en masse in the early 19th century. Witness a short list of familiar names:
Besides Giuliani, who went to Vienna in 1806 to stay for many years, there
28
was Carulli who departed for Paris about the same time. Concerning Matteo
Bevilacqua little is known except that he is of Italian origin, and he went

29
to Vienna c.1800, where he published many works for voice and guitar. Car-
27
As mentioned earlier, this would explain the title of his Op, 5. R.
Ferrari presented what he considered evidence of Giuliani’sexistence in
Bologna in his book, Mauro Giuliani (Bologna, 1934).
ftQ
Zuth, Handbuch der Laute und Gitarre (Vienna, 1926), 61. I personally
believe that Carulli, b,1770, preceded Giuliani in Vienna, Hehad two early
works publ. by Artaria, pl.nrs. 1893 & 1894, adv. May 1807. Giuliani's first
work publ. by Artaria has the plate number 1952, and appeared in Sept 1807..
From then on, no more Carulli works were published by Artaria,This suggests
that Carulli left abruptly for Paris as soon as Giuliani had established
himself in Vienna. Mollo handled some Carulli republications, it isassumed,
in 1810 (v. Wiener Zoitung. No. 8, 27 Jan 1810).
29
Bevilacqua*s publishers included Weigl, Artaria, and Mollo, Catalogues
of the respective firms list his works, so they need not be copied here.
80
cassi loft his native Florence for Paris in 1820, and thence London in 1824.
With Paris as his headquarters, Carcassi was away on concert tours through
out Europe until his death in 1853.^ Zani de Ferranti (b. Bologna, 1802)
settled in Brussels in 1827, where he was visited by the Russian guitarist

*51
N. P. Makarov. The latter describes their meeting in his Memoirs, a
document of no small importance to the history of the guitar in the early
19th century.
Historically one of the most important guitarists to leave Italy, and
certainly the earliest (pre-1800) in the exodus under discussion, was a cer
tain Federico Moretti. His importance, as we shall see in the next chapter,
stems from the fact that both Sor and Aguado claim that it was Moretti’s
music which made then aware of the possibility of sustaining two or more
parts on the guitar, and of accurately reflecting this fact in the musical
33
notation. Moretti died in Madrid in 1838, according to Fetis.
One inevitably must ask himself why so many guitarists, like Giuliani,
left Italy in the early years of the 19th century. Was the guitar too little
appreciated? Or was it too popular? Was there a population explosion of
guitar teachers, or otherwise too much competition among good guitarists?
^°Zuth, Op. cit.. 59.

Bone, "Zani de Ferranti," Der Guitarrefreund, V, 4 (Munich, 1904),
63-64.
^"The Memoirs of Makaroff," tr. V. Bobri and N. Ulreich, Guitar Review.
Nos. 1-3 (New York, 1946-47). The reference to Zani de Ferranti appears in
No. 2 (1947), p.5.
■^Fetis, F.-J., Biographie Universelle des musiciens.... 2d. ed, (Paris,
1874).
81
Or was the problem fundamentally the lack of appreciation of instrumental
music in Italy in general, at a time when that country only had ears for
opera?
With respect to the popularity of the guitar south of the Alps, Burney
indicates that as early as 1770 it was holding its own as an accompaniment
instrument, and even in instrumental ensembles, against the strong tide of
opera which then existed;
. . . upon the Piazza di S. Marco. I heard a great number of vagrant

'musicians, some in bands, accompanying one or two voices; sometimes
a single voice and guitar; and sometimes two or three guitars together.
Burney pointedly adds, "During the last carnival season there were seven
opera-houses open at once in Venice, three serious and four comic, besides
35
four play-houses, and these were all crowded every night." Thus it seems,
paradoxically, that the same vocal music which overshadowed instrumental
musio (to the detriment of the latter) also assured the popularity of the
guitar in Italy as an accompaniment instrument.
The emigrant guitarists mentioned earlier certainly did their part to
foster the popularity of songs with guitar accompaniment, even though most
of them considered themselves primarily guitar soloists. Mauro Giuliani
wrote many works for voice and guitar or pianoforte throughout his life;
both his son Michel, and his brother Nicholas, were singing teachers. If
we accept the proposition that Mauro was featured at the concert in Vienna
34
An Eighteenth-Century Musical Tour in France and Italy, being Dr. Charles
Burney*s Account of Ills Musical Experiences.... ed, Percy A, Scholes.
Vol. I (London. 1959), 114.
55IbicU, 115.
82
of 10 Dec 1808 described by Reichardt (v. Appendix I, 5), then we have
reason to believe that he himself sang on occasion, as well as played,
in public.
Although Italy provided-a climate favorable to the guitar as an ac
companiment instrument, she seems not to have rewarded the particularly
talented men who chose to play it as a solo chamber instrument. The sheer
sound level of the classic guitar of c.1800 was diminutive compared to that
of other contemporary musical entertainment. It must have been impossible
for a solo guitarist to make his instrument heard in the typical Italian
theatre, festooned, draped, and upholstered. Such an edifice was suited
only to relatively large productions (operas, orchestral music). Acoustical
problems coupled with financial considerations help to explain why the best
Italian guitarists sought their livelihood elsewhere. The salons of the no
bility in Vienna and Paris provided a chance for audition, appreciation,
and patronage unequalled in Italy.
The evident scarcity of available employment, or patronage, in Italy
certainly must have fostered a great deal of competition among good guitar
ists — a second reason to emigrate. Professional rivalry would appear to
have been especially keen in Naples, then the first and foremost center of
this instrument. One reads of the emergence of guitar soloists of consider
able ability in that city, in this report by the Naples correspondent of
the Leipzig AmZ of 1805:
The cultivation of instrumental music is, as a rule, subsidiary

[to vocal music] here. And no instrument is so' cultivated as the
83
guitar. Furthermore, it is a fact that there are good composers here

for this little creature, and excellent virtuosi, in a more elevated
sense than one would expect for the guitar. In order to meet the de
mands of the amateurs, there are countless teachers, and two workshops
which construct guitars of all types. It is already well known that
there are several concerns here which manufacture the best strings in
the world, and export them to every nation. 56 [Emphasis mine.]
A third reason for going north was the political turmoil wreaked by
Napoleon in Italy. Apparently it did more harm to the arts here than else
where in Europe. It so destroyed social order that even the conservatories
were all hut forced to close. This did not augur well for instrumental mu
sic, including the guitar. The same Italian correspondent for the AmZ
passionately and eloquently reports the situation as he found it in Naples
in 1805:
. . . in the past ten years a frightful revolution has upset every

thing; when you consider that devastating wars and their usual sad
consequences have forcibly torn apart this nation, which in times of
peace dreams serenely, and which requires that calm, that serene
reverie, not only for its existence, but much more for its cultural
and artistic activities, then you can hardly blame the Neapolitans.
I will only cite one instance of the sad result of the war, name
ly the most relevant for the situation I have to describe: The mone
tary means, the funds of both conservatories, were in part withdrawn,
in part plundered. The institutions barely manage to survive on the
sweat of their pupils, instead of[vice versa]. This was the bitterest
and most incapacitating blow. Everything has been going downhill ever
since. When the mother languishes, the offspring dies. Where shall
the young [students] obtain instruction and example?57
A fourth, and decisive, reason for the exodus of Italian guitarists in
the beginning of the 19th century was the general lack of competent publish-
•7^ *
"Gegenwartiger Zustand der Musik in Neapel," AmZ, VII, No. 35 (29 May
1805), 569-70, German in Appendix I, 8.
37
"Gegenwartiger Zustand..., Zweyter Bericht," AmZ. VII, No, 48 (28 Aug
1805), 760-61, German in Appendix I, 9.
84
ing houses on their native soil. This matter will be taken up in the next
chapter, in connection with the development of mensural notation for the
guitar. Suffice to say here that the Ricordi firm was only founded in 1808,
by which time Moretti, Giuliani and Carulli had already left Italy, It was
common knowledge that the best publishers were north of the Alps. Most of
the pre-1830 classic guitar music which has come down to us is in editions
from Vienna, Paris, and Leipzig.
There were thus at least four good reasons for Giuliani and his
guitarist-colleagues to leave Italy and seek their livelihood elsewhere
in the earliest years of the 19th century: (l) to have audition, appreciation,
and patronage? (2) to avoid the competition posed by resident Italian
guitarists and teachers; (3) to make a livelihood in more affluent lands,
less divided by the ravages of war, and having a wealthier middle-class
than Italy; and (4) to have their works published.
Part Two: Giuliani in Vienna. 1806-1819
Giuliani's only known illegitimate daughter, Maria Willmuth, was b o m
in Vienna in 1807. Her name leads one to suspect that her mother (named
Willmuth) was not of Italian origin. It is hence likely that Giuliani ar
rived in Vienna in 1806, took up with a certain Fraulein Willmuth, and
witnessed the natural consequences the following year. If this theory is
correct, it would imply that the young guitarist crossed the Alps in the
summer of 1806 — a favorable time to travel — in order to arrive in the
Imperial City in time for the 1806/07 concert season.
85
A very interesting document supports this thesis: the introduction to
a guitar method published in Vienna c.l81l/l2, entitled Versuch einer voll-

38
standigen methodischen Anleitung zum Guitare-Spielen... It is one of
the prime sources of information on the emergence of a guitar cult in Vien- -
na, and was written by two men who themselves were amateurs of the instru
ment: Simon Molitor and Wilhelm KLingenbrunner (who used the pseudonym
R. Klinger) The passage from it reproduced below transcends the mere
biographical fact of Giuliani's arrival in Vienna in latter 1806, and deals
comprehensively with the history of the guitar and its notation (as those
authors understood it). It applies equally to chapters I, II, and III of
the present work, and is offered here as a compromise gesture.
The first improvement in the guitar was the addition of a fifth

string. Whether it was first introduced in Italy or Prance is uncertain,
for the name "franzosische Guitarre," by which this five-stringed
instrument was known some time ago in places in Germany, does not seem
to us sufficient proof of its origin. But even in this form it must
have lagged far behind the much more perfect lute and mandora. It
gradually began to be accepted and known in the musical world only
when the lute and mandora had almost completely disappeared, and when
the need was again felt for a light and easily handled instrument, prin
cipally to accompany the voice. Our ordinary guitar notation was being
introduced then; the awkward double-courses were done away with; guides
for guitar-playing appeared, as did compositions for the guitar. But
we were not yet free from old and limited forms [styles?] which went
Josef Zuth claims, in Simon Molitor... (Vienna, 1920), 19, that he

did not have access to this work. I easily found a copy in the Stadtbibli-
othek, Vienna. It is also curious that Zuth seems not to have known about
Giuliani's letters, which were in the same library. Could there have been
a personal reason for his not being able to have clear access to these
things? Arbitrary limitation of my own access to. the Zuth Kachlass (by
Prof. Br. Erich Schenk of the University of Vienna) was something with which
I had to cope even as late as 1968/69. Zuth himself may have experienced
the same kind of non-cooperation on the part of the established powers in
Vienna in the 1918-20 period.
Simon Molitor..,. 76#
86
against the most elementary rules of harmony, often more than once
in a single measure. People were satisfied if [the guitar] was only
vaguely consonant with the song. Under these circumstances, some 18
or 20 years ago, guitar playing sneaked its way into Austria and Ger
many, where earlier it had been almost unknown. Fashion made it ac
ceptable, to be sure, but the way in which it was generally handled
could not remove the prejudice which connoisseurs had formed against
it when it first appeared,
A second substantial improvement of the guitar was made then, by
adding the sixth string, namely the low E, which was soon in general
use here . , •
In this state the guitar could at least reach the rank which
the mandora once had honorably occupied in the musical world. Indeed,
guitarists came forth who attained great skill in performing difficult
passages. But ignorance of harmony, precisely that field in which the
guitar should excel, misguided taste, prejudice, and on the other side,
the unimaginativeness and the frivolity of most of the amateurs of this
fashionable instrument, appeared to raise such insurmountable ob
stacles to its further improvement that its imminent decline seemed
near at hand.
At this time, however, there was a new development, which was
by itself enough to change the direction of [public] taste and to
make this instrument respectable in the musical world: we mean the
new type of guitar notation, This consists in separating appropriate
ly the different voices which make up the melody and harmony, and
notating them in such a way as to distinguish clearly the bass from
the other voices, and the latter from each other and from the top
voice, so that they become obvious to the reader on looking at the
score.
Ho matter how much prejudice and laziness strove to defeat thi3
new idea, it nevertheless soon found as its defenders the best teachers
of the instrument in our Imperial City, and was adopted by them in
their compositions. Thus the most important step towards a genuine
improvement was taken. Now the composer could no longer hide musical
rubbish amid illegible hieroglyphs. He was no longer judged by com
pletely uneducated or by miseducated guitar amateurs. His works
could now be appraised by anyone knowledgeable in music, and they
were subject to criticism. Consequently the pursuit of correctness
arose by necessity, and a new and better way of handling the instru
ment was bound to spread. The credit must go to our two deserving
guitar teachers and composers, Messrs, Matiegka and Diabelli, for being
the first to take up this new method of notation and for both popu
larizing it and introducing a more correct and' versatile playing
technique through their example and their teaching,40 There was also
^°Most other sources would disagree with this statement. Diabelli wrote
guitar music with the improved notation, but notiling that I know supports
the claim that he was the first, Matiegka was a friend of Molitor and of
87
no lack of guitarists to 3how the effect of this new technique on

performance. We still remember here with pleasure one amateur
[Footnote: The doctor Franz Tandler, to whom Opus 7 mentioned above
was dedicated. He died in 1806.] — himself a good pianist, knowl
edgeable in the rules of harmony — who seemed destined to raise the
guitar to a height of perfection perhaps not dreamed of even now, were
he not t o m too soon from music [Kunst] and from his friends.
Then (late in 1806) Herr Mauro Giuliani, a Neapolitan, came to
us — a man who .had been led early in the right direction through a
correct sense of harmony, and who, as an accomplished virtuoso, com
bined with the most correct performance the greatest perfection of
technique and of taste. He began writing in the new manner here,41
and during his extended stay he has already presented us with a series
of charming compositions which may all be regarded as models of good
style. Through his teaching and the competition he has aroused among
teachers and lovers of the instrument, he has formed for us so many
outstanding amateurs, that there could scarcely be another place where
authentic guitar-playing is so widely practised as here in our Vienna.
Only those who do not know what progress the guitar has made in
the past eight to ten years, and those who judge only by the wasteland
(not yet completely reduced to scratch paper, alasJ) of miserable gui
tar compositions and by the performance of the current exponents
f Coryphaei of the old method can be counted as opponents of this
instrument. We request that they take a look at the better works
that have recently appeared and listen to a Giuliani so as to correct
their judgment of this too-little-known instrument.42
Musical Life in Vienna at the Beginning of the 19th Century
When Giuliani arrived in Vienna, he found himself part of a musical
milieu that included people of all walks of life, from the Empress all the
way down to the sons and daughters of the lower middle-class. It was
Tandler, and all three of them began writing for guitar in the new manner
c. 1806-07, coincidental with Giuliani’s arrival, as far as I know.
^ T t may well be that Giuliani had mastered the new manner of writing
in Italy (v. Appendix I, 7), along with his contemporary F. Moretti, years
before coming to Vienna.
^Versuch oiner vollstandigen methodischen Anleitung gum Guitare-
Snielen... von S. Molito'r urid R. Klinger (Vienna, c.1811/12). 7-10.
German in Appendix I, 10,
88
certainly a remarkable city in this regard, for cultural entertainment,
especially music, transcended class barriers in Vienna in a way that no
other institution or social function allowed. In 1808, we recall, Reic-
hardt pointedly remarked, in describing a concert he had attended where
Giuliani probably performed, "Into three quite small rooms , . , were
crammed a large crowd of listeners of all ranks, and almost as large a

43
crowd of musicians . . ." This enthusiasm for the performing arts went
beyond concerts and embraced poetry reading, living tableaux,, pantomime,
theatre, ballet and opera. The last was markedly on the upswing in the
first decade of the 19th century, as these figures for "Opem oder Sing-
spiele" in the two court theatres reveal:

Number of Operas or
Year
Sinerspiels performed
1797 9
1798 9
1799 8
1800 9
1801 8
1802 6
1803 9
1804 21
1805 20
1806 13
1807 (incomplete)^
43
See Appendix I, 5, See also Appendix I, 18, the last paragraph.
^"Uebersicht der Anzahl der in einem Zeitraum von 13 Jahren in beyden

k.k, Hoftheatem gegebenen Vorstellungen," Chronologisches Verzeichnis
aller Schauspiele. deutschon und i.talienischen Opem. Pantomimen und
Ealiette.'.. (Vienna. 1807). 136. Similar figures are provided for the
Theater an der Wien, and the Theater in der Leopoldstadt.
89
The rather abrupt surge in the production rate of operas may well
reflect the arrival in Vienna of Italian singers and musicians fleeing
Italy for roughly the same reasons the guitarists did. It is a foregone
conclusion that a city whose population amounted to only 60,484 residents
in 1807, including the walled city and the suburbs,could not supply but
a fraction of the trained instrumentalists and singers required to keep
musical activities going at the pace indicated by the statistics. Thus
musicians flocked to Vienna from Italy, Germany (viz. Beethoven), and
the Czech and Slovak regions of the Austrian empire. Names like Sedlat-
scheck and Matiegka, Wranitzky and Mrasek appear frequently in the musical
rosters at this epoch, to complement Italian names like Bridi, Borgondio,
Bianchi, Sessi, Marconi, Radichi, Gerardi, Liverati, Bevilacqua, Cerini,

AC
and so forth. Vienna compensated for what she did not provide in the
way of native musicians with enthusiastic audiences, amateurs desiring
private music lessons, wealthy patrons willing to sponsor concerts in
their homes and gardens, printers for practically any music that would
sell, and a guaranteed livelihood for the virtuoso who could bring the
house down.
Tempting as it may be to regard this state of affairs as the first
and only musical utopia, we know now that things were not as idyllic as
the correspondents1 reports from the Leipzig AmZ. and later the Vienna
AmZ. would suggest. For example, there were numerous musicians who got
^ Vaterlandischfe Blatter (Vienna, 15 July 1808), 171. Prague, in 1808,

had only 20,717 souls.
^Taken from "Uebersicht des gegenwartigen Zustandes der Tonkunst in
Wien,” Vaterlandische Blatter (Vienna, 31 May 1803), 49-53 and 163-64.
90
47 People were constantly

offered next to nothing for their compositions.
falling into debt, and Viennese prisons were never underpopulated. In fact,
the support for the municipal jails was largely derived from a tax on
musical and dance entertainment, to he paid by the artist or performers
before the event took place, in principle. The Viennese authorities kept
books on who paid (or was exonerated from paying) the "Zuchthausfonds,”
i.e. the penitentiary-fund tax. All of the great musicians, as well as the
lesser ones, had to queue up in front of their local police district head
quarters, get their names entered in the appropriate register, and settle
with the tax authorities. The exact regulations covering this Viennese
institution from its earliest beginnings are not easily found today, but
one version from 1823 is preserved in the "Archiv der Gesellschaft der
Musikfreunde." The system at that time, and the penalty for not comply
ing with it, are described in this passages
. . . In order to establish practical control of these taxes, the

present agency has decreed that anyone who wishes to give a musical
entertainment subject to the provisions of the dance and music tax
will be required beforehand to report it to the local police district
headquarters. [The police], if there is no objection to fulfilling
this plan, will refer the party, through a gratis printed bill, to
the Municipal Authority of the City of Vienna, for the payment of
the music tax. Only after the party has shown proof of payment, will
the permit to hold the entertainment be issued. Finally, the High
Court Authority has decreed as punishment for the evasion of the tax
the payment of five times the amount of the unpaid fee.
47
Giuliani, on the other hand, was very well paid. See the comments
to Op, 1, Studio. in Vol. II, pp.4-5. Schubert really suffered from the
low prices paid him for his works, especially at the hands of Diabelli,
an entrepreneur in the worst sense of the word,
AQ
From the Addressenbuch von Tonktmstler. Dilettanten... (etc.) in

Wien (Vienna, 1823), 271-721 Schubert was not listed in this book, so
low was his profile during his life in Vienna. German text in Appendix
I, 11.
91
The entrenched, “bureaucracy was backed up by a police force which
kept a watch on everyone and. everything that entered, or left Vienna, All
iy>ef»tniT)g and outgoing post-coaches were apparently checked through the city
walls at specific points, and travelers' identities were recorded. Anyone
of note had his name, occupation, and destination (if departing) or address
(if arriving) printed in the Vaterlandische Blatter. ^ People of note con
sisted, as far as this official record reflected it, of businessmen, military
men, and the nobility. Musicians were only rarely included.
Thus, from the point of view of archival entries, the only two
50
sources which yield positive results for Giuliani are the music-tax records,
and the police records. They reveal little directly about the man, other
than that he fell into debt at the height of his career, in 1819, concurrent
with his departure for Italy. His goods were impounded in Vienna as a re-
51
suit of charges pressed by a certain Jakob Scholze, Were our guitarist a
more established kind of person during his years of residence in Vienna, it
would be possible to trace him through his municipal address (if known).
Not a single such address ha3 been found. There is reason to believe that
Giuliani lived in many different locations in Vienna between 1806 and 1819,
and in so doing caused no small amount of scandal then, as well as difficul
ty for anyone tiying to find out about him now.
AQ
Vaterlandische Blatter fur den osterreichischen Kaiserstaat. hernusge-
geben von mehreren Geachaftsmarmcr und Gelehrten (Vienna. 1808 f.)
50
The first "Zuchthausfonds" entry mentioning Giuliani, acc. to indexes
done by the late Gustav Gugitz, is from 1814 (v. Appendix I, 12), where G.
is exonerated from paying the tax. The next is from late April 1818, and .
deals with a lump sum to be paid jointly by Mayseder, Moscheles, and Giuliani
(Appendix I, 13) in connection with their April concerts that year.
51
See Appendix I, 14. It says, "Jakob Scholze contra Mauro Giuliani," in
92
For example, we already know that he fathered a daughter by the name
of Maria Willmuth in 1807, implying that he cohabitated with Miss (or Mrs.?)
Willmuth soon after his arrival in 1806. The police records for the year
1815 tell us that "the known zither-player Giuliani" was reputedly living
52
in intimacy with a certain Mis3 Wieselberger, Mo doubt he was one of the
"arty" crowd in Vienna at the time, if such reports are any indication.
He moved freely from house to house as opportunity presented itself. One
could say that he was a "Casa-nova" type. This behavior of Giuliani’s was
noted by the staid and sober Viennese police as "regelloser Lebeaswandel."
Our purpose in mentioning this is not simply to spice up the prose of this
dissertation, praiseworthy though that goal may be, but rather to explain
why so little information on Giuliani’s life in Vienna has come down to us
through municipal, bureaucratic channels. The man probably went out of his
way to avoid the police, and the less menacing forms of bureaucracy,
during his years in Vienna.
Reviews of Giuliani in Vienna
The greatest insight into the artist’s life in Vienna comes from the
many concert reviews ho received. These make interesting reading, and are
given in consecutive order in translation below, year by year, with a mini-
the amount of 660 Gulden, Giuliani’s household goods inventory was presented
in court, 27 Hov 1819. Unfortunately that inventory has been lost.
52
The unabridged police report is found in German in Appendix I, 15.
It contains ûite scandalous (and unproved) assertions, and it leads us to
believe that Giuliani was "roughed up" by the police on at least one occa
sion. If the man had not had connections with people of power and influ-•
ence (dedicatees, students, etc.), I suspect he might have fared far worse
at the hands of the police.
95
mum of necessary commentary. It is well to remember that all of the bio
graphies of Giuliani written since his death, excluding only those by Is-
nardi and his followers (v. supra, pp.75-76), rely on these reviews for
their substance. As most of the citations are in German, the original texts
are reproduced in Appendix I, with references to the same following each
translation in the text.
1 8 0 7 Among the very numerous guitarists here55 one Giu

liani is having great success, even creating quite
a sensation, as much by his compositions for the
instrument as by his playing. He truly handles the
guitar with unusual grace, skill, and power.
- AmZ. IX (4 Nov 1807), 89. German in Appendix

I, 16.
The "Report from Vienna" which contains this testimonial is dated
21 October 1807. By.that time, Giuliani's Op. 2 and 5, and WoO, vocal-1 and
vocal-2, had already been published and advertised in the Wiener Zeitung.
Before the end of the year, Op. 5, 6, and 7 would be printed and available.
Of these, Op. 6, Otto Variazioni. exploits quite extensively the guitar’s
idiomatic resources, including harmonics and variations of timbre, in a
spirited, brilliant, and pure classic musical style, typical of the way
the composer would continue to write throughout his life. Thus 1807 was
a year of reasonably strong beginnings for the young artist, and one in
These included Simon Molitor, Franz Tandler (d. 1 Feb 1807), Wilhelm
Klingenbrunner, Leonhard von Call, Wenzel Matiegka, Anton Diabelli, and
Matteo Bevilacqua, all discussed in Zuth, Simon Molitor... (Vienna, 1920),
as well as in Koczirz, "Zur Geschichte der Gitarre in Wien,” Musikbuch aus
Oosterreich, IV (Vienna, 1907), 11-18, and in Koczirz, "Die Wiener Gitarris-
tik vor Giuliani," Pie Gitarre. II (Berlin, 1920/21), Heft 7, 71-75? Heft
8, 81-82; and Heft 9, 95-95.
which the Viennese truly begin to notice him.
1 8 0 8 — ... his unusual skill and hi3 precise, tasteful execution.
This is a very important year for Giuliani, in terms of establish
ing himself as the unrivalled master of the guitar in Vienna. He achieves
this status principally through the execution of a concerto and a set of
variations with orchestral accompaniment — both his own compositions —
as an M Z review indicates:
Vienna, April [1808], On the third, in the Redoutensaal,

Giuliani, perhaps the greatest of all living guitarists, gave an
Akademie which was received with deserved applause. One absolutely
has to have heard the musician himself in order to get an idea of his
unusual skill and his precise, tasteful execution. He played a
concerto and variations with full orchestral accompaniment (both of
his own composition),54 which are as delightful in themselves as
Giuliani's performance of them. No one could refuse him his admira
tion and applause, and the audience showed such enthusiasm as is
seldom evoked even by the best masters. Inasmuch as one should ac
claim the most outstanding [composition] that has yet been written
for and performed on this instrument in Germany — for it is certain
that Giuliani has done both — inasmuch, I say, as one should acclaim
this-,, such enthusiasm is to be praised. But if one considers the
music itself ,., Veil, just try to imagine a guitar next to an or
chestra with trumpets and drums: isn't it just about incomprehensibly
amateurish to devote such great talent, as Giuliani has done, to this
perennially weak-volumed instrument? Or [for the audience] to take
so lively an interest in the virtuoso and his art as to regard his
work so highly? I, for one, could not avoid thinking, while listening,
what Music would have gained if this talent, this incredible diligence
and perseverance in conquering the greatest difficulties, had been
applied to an instrument more rewarding even to the musician him
self. Has not every instrument its own limits decreed by nature? And
54
These were probably Op, 30, and possibly a theme and variations on
"Nel cor piu" (Op. 4), which we know that Giuliani orchestrated himself.
The concerto did not appear in print until 1810, and the accompanied
version of the variations on "Nel cor piu" may well have been later reworked
and published as Op. 65 by Ricordi of Milan.
with permission o f the copyright owner. Further reproduction prohibited without permission
95
if these are violated, must not the result he something strangely

artificial, or even deformed? We must put the guitar back in its
place — let it stick to accompaniment — - and we will always be
happy to hear it. But as a solo instrument, it can be justified
and appreciated only by "fashion.11 It should be obvious that I
in no way mean to degrade Giuliani’s true worth as a composer and
virtuoso.
- AmZ. X (May 1808), 538-39. German in Appendix I, 17.
Enthusiastic as the reviewer and the audience were for the perform
ance, and the music, the reviewer still reflects the common attitude of
a Koch, or any number of other lexicographers, in calling for the guitar’s
return to an accompaniment role.
Besides giving concerts, which may have included the one described
by Reichardt in his letter of 10 December 1808 (v. Appendix I, 5), as well
as the one in April reported above, Giuliani had many compositions pub
lished in Vienna in 1808, including the famous Sonate. Op. 15, and the
Serenade for G, VI & Vc, Op. 19. The young composer’s social progress
that year is reflected in dedications of his works to Princess Caroline de
Kinsky (.Op. 10), Mile. Josephine Edlen von Maillard (Op. 15), and Countess
Josephine Morzkowska (Op. 22).
One further indication of Giuliani's rise to prominence is found in «
the article, "Survey of the Present State of Music in Vienna," printed in
the Vaterlandische Blatter of 1808. It is a kind of "Who’s Who" in music
in Vienna, and lists performers according to their status as either
"KHnstler" (professional artists) or "Dilettanten" (amateurs). Under
the category of "Klavierspieler — KUnstler,” we find, of course, Beet
hoven listed first, followed by Hummel, Streicher, Stein, Czerny the
96
younger, and so forth, "Dilettanten" for the piano make up a large list,
starting with' Her Majesty the Empress and descending in order of social
rank. Here is the complete entry for guitarists:
KHnstler
Herr Mauro Giuliani has brought this instrument to a height

which never would have been thought possible before him. Only with
him does one forget that [the guitar], according to its nature, is
intended for the accompaniment of a voice, or of some instrument, and
that it loses its essential character when it attempts solos, sonatas,
or concertos. Messrs, Alois Wolf, and Bevilacqua, are regarded as
eminent masters of this instrument; but especially noteworthy
"Dilettanten" are not known to us.55
A supplement to this first list of artists was soon published. It stated
that Leonhard von Call played the instrument "with unusual skill" (p.164).
But nowhere is there mention of such lesser guitarists as Simon Molitor,
Wilhelm KLingenbrunner, Wenzel Matiegka, or Anton Diabelli in 1808,
1 8 0 9 ~ . . . I very much longed to hear him again often.
In this year there occurs only one report (dated March) attesting
to Giuliani’s presence in Vienna. His disappearance from concert notices
and reviews thereafter may be due partly to the fact that Vienna was
threatened by the French, and besieged on .11 May of that year. It was
subsequently occupied by Napoleon’s Armee. This circumstance is reputed
to have hastened Haydn's death, on the 21st of May. Before such political
and military disturbances seized the capital, however, Giuliani could be
found in a setting such as this, described by Reichardt in a letter
Vaterlandische Blatter. VII (31 May 1808), 53: "Herr Mauro Giuliani■
hat dieses Instrument auf eine Hohe gebracht, deren man es, vor ihm, nie
fahig gehalten hatte; nur bey ihm vergisst man, dass es seiner Natur nach,
zur Begleitung einer Singstimme oder irgend eines anderen Instrument geeig-
not ist, und es seinen eigenthumlichen Character .verliert, wenn es sich an
97
dated 1 March 1809!
Therefore, it is also very gratifying to me that the amateur

concerts of Frau von Rittersburg,56 which are held from seven to
ten in the evening, are beginning again, and will continue through
Lent. The seating arrangements will also be more advantageous for
the listeners in the future; the music will be played only in the
middle room, and the listeners will be seated in the two open ad
joining rooms. Especially nice Italian vocal pieces are performed
at this concert [series], Frau von Rittersburg herself sings very
pleasantly, and Praulein von Zois and young Frau von Frank, all very
pretty, enchanting creatures, sing, together with a few Italian and
German tenors and basses, ensembles from Italian operas and operettas
with much spirit and taste. One often feels pleasantly transported
to the Italian stage, to which [impression] the delightful and live
ly outward appearance ["ausserliche... Representation"] surely con
tributes not a little. An Italian banker, Bridi,57 whose tenor voice
still shows its earlier beauty and fulness in individual notes, sings
there often with much elocution ["Vortrag"] and expression. For
beautiful bass voices, a Herr von Kiesewetter, and Herr von Hennig-
stein, and an Italian Abb£ [Bevilacqua] stand out. Even Prince Lob-
kowitz often takes a lively part in the ensembles with his strong,
full bass voice, with which he enters wholly into the Italian style.
His orchestra provides the largest part of the instrumental music
there, and it often performs certain symphonies and overtures very
creditably. Several well-trained dilettantes, however, also often
reinforce the orchestra. I also heard the very popular guitarist
Giuliani at this concert for the first time, and I very much longed
to hear ham again often.
This concert [series] also provides a good opportunity for con
versation because of its pleasantly mixed audience from all ranks.
One can find here the eminent men of the nation and of the court to
gether with the families of the petty aristocracy and the bourgeoisie,
united in a very good and free way, and one often has a pleasant
hour of conversation even after the concert.
- J.F. Reichardt, Vertraute Briefe (Amsterdam, 1810), 465-67.
German in Appendix I, 18,
Solos, Sonaten, oder Conzerte wogt. Die Horren Aloys Wolf und Bevilacqua
werden fUr vorztigliche Meister dieses Instrumentes gehalten; besonders aus-
gezeichnete Dilettanten aber sind uns nicht bekannt,".
■^Mme. de Rittersburg (Ritterspurg) was the dedicatee of Giuliani's
Op. 49, published some five years later, i.e. in 1814. V. Appendix IV,
57
This is probably Josef Antoine Bridi, who, according to the title
page of Giuliani's Op. 79, Cavatine vari£e. was a friend of the guitarist.
98
The only works bearing Giuliani’s name and published in Vienna in
1809 (if press advertisements are any indication) are Op. 20 (dedicated
to Count George Waldstein) and Op. 21, both advertised in February, This
may mean that Giuliani left Vienna in March or April of 1809. He couid
have gone touring, or he could also have returned to Italy.Nothing more
is heard of him until the following year.
18 10 — . . . perhaps one of the greatest living guitar virtuosi ...
It is safe to assume that Giuliani spent the latter part of 1809
composing, to meet the demands of the public, to supply his students with
Spielmuaik (of which he wrote a great deal throughout his life), and to
establish himself in the public’s eye as a composer. At about this time
his relationship with the Viennese publisher Domenico Artaria III (1775-
1842) must have been excellent. The renowned "Editors di Musica" un- .
doubtedly advised Mauro Giuliani on such matters as the reserving of his
Opus number 1 for a guitar method (published by Artaria in 1812), in ad
dition to commissioning him to begin the periodic series of vocal pieces
with guitar or piano accompaniment, Le Troubadour du Nord (WoO, vocal-5),
destined to run into twelve cahiers (of 4 or 5 numbers each) between early
1810 and 1819.
Early in 1810, Op. 11, 12, 15, 14, 23, 24b, and the Concerto, Op.30
(originally labeled Op, 29) appear in print. In May of thesame year
Giuliani gives a concert for his own benefit, and receives this review: •
On the 23rd [of May 1810] Mauro Giuliani, perhaps one of the
greatest living guitar virtuosi, gave a concert for his own benefit
99
in the small Redoutensaal and received much applause,

- AnZ. XII (6 June 1810), 575* Geiman in Appendix I, 19,
The young artist’s reputation was such in 1810 that his name was
included on the title page of a set of ten Lieder set to music by Count
Moritz von Dietrichstein, when all Giuliani did was to provide the guitar
accompaniment (WoO, G acc.-3). A lesser guitarist would have remained
anonymous in such a situation, but it was obviously felt here that there
would be prestige value in using Giuliani's name,
18 11 and 18 12 — , . . marvelous and expressive handling of

the instrument . , .
The 1810/ll winter season seems not to have differedmuch from the
previous one, from what weknow of Giuliani's activities. He gave his
(now annual) spring concert in May 1811, and received a good review. This
excerpt seems to indicate that it was a "farewell" concert:
On the fifth [of May 1811] in the small Redoutensaal, Herr Mauro
Giuliani allowed himself to be heard for the last time, in a concerto
and a potpourri for the guitar (both his own compositions), and
earned, as always, the fullest applause for his marvelous and ex
pressive handling of the instrument,
- AmZ. XIII (19 June 1811), 428. German in Appendix I, 20.
On the assumption that Giuliani did leave Vienna in 1811, we may
safely speculate that he went back to Italy in the_summer, and remained
there until 1812. No reviews or notices of his presence in Vienna during
the 181l/l2 season have been found. It is my guess that he returned home
100
to his wife at that time. I would further conjecture that his tales of
fame and fortune caused Mrs. Giuliani, whoever she was, to return with
her husband to that city in latter 1812, there to bear him a daughter
(Emilia) the following year (v. Appendix I, 42).
Mauro Giuliani's parents may also enter the picture at this time.
Judging from the letters which his father, Michele, wrote to Domenico
Artaria in 1820 and 1822 (all mailed from Trieste),**® he and his wife
must have moved to Trieste some time between 1801 (the supposed date of
Mauro's son Michel's birth in Barletta), when the whole family was pre
sumably still in Barletta, and 1820. The only time that would have been
convenient to move, as far as having Mauro there to help the family
relocate, was 181l/l2.^
Although he was probably in Italy during most of 181l/l2, Giuliani
certainly continued to meet the demands in Vienna for his compositions.
Opus numbers reaching as far as Op. 35 appeared in 1811. Notable among
them, from a historical point of view, is Op, 27, which has an elaborate
ly engraved title page picturing Empress Marie-Louise next to her newborn
son (Napoleon II, King of Rome) in an imperial, canopied cradle. The
work is entitled Marie-Louise au Berceau de son Fils. Romance pour le
Clavecin, ou Guitarre. par Mauro Giuliani, and it was published by
^Vienna, Stadtbibliothek, call no. J.N. 69721/- i, ii and iii.

59
If the Giuliani family were natives of Trieste — a possibility which
has not yet been excluded — it would completely destroy both the Bar
letta and the Bologna stories, and would mean that Mauro's parents were
living in Trieste all along.
101
Artaria no later than 22 June 1811. Napoleon II had been b o m in Paris
in March of that year. The bilingual song (French and German text by
"Mr. Gentil") must have roused Marie-Louise'a interest in Giuliani, for

60
she eventually bestows on him the rank of "Honorary Chamber Virtuoso."
If Isnardi is to be believed, she will also give to Giuliani, her own lyre-
guitar, especially ordered for her by Napoleon, and obtain a title for
61
the composer-guitarist.
A good number of Giuliani1s works came off the Viennese presses in
1812. There were duets, either for violin and guitar (Op, 24a and 25),
or for two guitars (Op. 35 and VoO, 2G-2). All of these pieces appeared
in March-April 1812. The last one — the overture to Mozart's Clemenza
di Tito, arranged by Giuliani for two guitars — marks the introduction
of the terz-guitar into the composer’s music. There is no ready way of
determining whether Giuliani was the first writer to use this instrument
in duets and ensembles, but it is certain that he wrote for it extensively

62
during the period 1812 until his death.
In the latter part of the year Giuliani saw published four of his
works in the form of the theme with variations (Op. 32, 34, 38, and 4l),
and two sets of twelve Divertiinenti (Op. 37 and 40), all for solo guitar.
At about the same time the Second Concerto, Op. 36, was brought out. The
60See Op. 95, 100, 126, and WoO(posth), G-14.

61
See footnote 14 supra, p.74-
62
Some Giuliani works involving terz-guitar: Op. 66, 67, 69, 70, 75,
80, 92, 94, 104, and 126.
102
circumstances surrounding its appearance remain a mystery. It may have
been played at the composer's "farewell" concert of 5 May 1810, and then
simply not printed before latter 1812. Or it could have been requested
by Artaria the very same year it appeared. Nothing is known of its dedi
catee, a certain Mr. de Monte, but his name conspicuously lacks a title.
\
He could easily have been one of the wealthy Viennese, a certain .je ne
sais qui. who probably helped defray the publication costs, and recom
pensed the composer in some way, as was the custom.
18 13 — The Beethoven Year
Already on at least one occasion (in 1808.) Beethoven had been in the
63
audience when Giuliani performed. Being quite deaf, Beethoven probably
did not fully perceive the subtle nuances of Giuliani's artistry. Never
theless, there is reason to believe that the two men esteemed each other
highly. If the following passage is any indication, they dined together
upon occasion in the company of other Viennese musicians of repute. The

64
excerpt is taken from a book on Hummel by Karl Benyovsky, and gives us
quite an insight (fanciful or otherwise) into Beethoven's personality,
while at the same time trying to dispel the notion that he and Hummel
were enemies, Giuliani's presence is quite incidental:
^Reichardt's Vertraute Briefe was reviewed in AmZ, XII (1809-10),

273 f• Little excerpts from Reichardt are given, followed by parenthetical
remarks by the reviewer. One is in col, 278: "Liebhaberkonzert, und darin
vorribmlich der 'schone Cuitarraspieler,' (es wird wol unser Giuliani
gemeynt seyn) und als Zuhorer Beethoven," Cf. Appendix I, 5.
^ J. N. Hummel, der Mensch und KU.nstl.er (Bratislava, 1934). I have been
unable to check the reliability of Benyovsky's source, Ludwig Nohl.
103
Hummel's marriage in 1813 with Elisabeth Ro‘ckel, a singer at

the Burgtheater, and sister of Beethoven's friend, Josef August Rockel
the Opera singer, gave music historians a further opportunity to deal
with the alleged enmity of the two masters. They declared,in fact,
that the marriage contributed to the deepening of the already exist
ing gulf between Hummel and Beethoven, for Beethoven had also sought
the favor of his friend's sister, but Hummel had won her preference.
On the other hand, Frau Hummel told the music historian Ludwig
Nohl that Beethoven favored her with all manner .of compliments, as
is usual in the presence of young ladies, when, as a popular, young,
pretty singer, she and her brother dined with the master. He had
never expressed a serious preference for her, however, let alone made
her a marriage proposal. It would therefore be quite false to say
that the relationship of the two men had changed after her marriage.
Moreover, she expressly recalled an incident from her married life
when all three were dining together with the famous guitarist Giuliani.
Beethoven, with the exuberance of his Rhenish disposition, had not
ceased nudging-and teasing her so that she couldn't shake him off;
in fact, he had always been in the habit of pinching her on the arm
out of pure affection.^5
Not only was Giuliani seen with Beethoven and Hummel in 1813# hut
also with Moscheles. Our guitarist participated in a concert, the bulk
of which was Moscheles' doing, on the 9th of May. The reviewer states
that "Herr Mauro Giuliani played with him a sonata for piano and guitar
66
which was sketched by both of them, and arranged by [Moscheles]." On
the same program was a certain tenor, Franz Wild, about whom more will
be said later, in connection with Giuliani's activities in 1816.
In latter 1813, an entrepreneur by the name of Maelzel (inventor of
gc
Emphasis mine. Op, cit.. 145-46, German in Appendix I, 21.
^ A m Z . XV (June 1813), 418, German in Appendix I, 22. The work was
no doubt WoO, G & P-l: "Grand Duo Concertant pour le Forte-Piano et
Guitare, compost et dedi6 a S, A. Imp-*-® Mgr. L'Archiduc Rodolphe d'Autriche
par ses trbs humbles et trbs sounds serviteurs J. Moscheles et M. Giuliani."
It was printed by Artaria (plate number 2282), and advertised on 2 Feb 1814..
104
the metronome) organized one of the most unusual concerts ever to take
place in Vienna, and secured Beethoven's cooperation in providing music
for the affair. Wishing to exploit the surge of patriotic elation in the
wake of the French defeat at Vittoria at the hands of Wellington (21 June
1813), Maelzel devised a musical program to be held on December 8 and 12,
in the "grosse Saal des neuen Uhiversit&ts-GebHudes," which consisted of
(1) Beethoven's new [Seventh] Symphony in A major [first performance],
(2) two marches for trumpet with orchestral accompaniment, performed by
Maelzel's "mechanischer Feldtrompeter," and (3) Wellingtons Sieg bei
Vittoria. by Beethoven. Since this was to be a prestige affair, Vienna's

67
foremost artists were enlisted to play in the orchestra. undoubtedly
Maelzel, the impresario, made quite a profit from these performances, al-
68
though the bulk of the receipts went to the high "Kriegs-Pr'asidio."
Beethoven quickly decided that he, too, ought rightly to make some
profit from these compositions. He devised an all-Beethoven program for
his own benefit, consisting of the Seventh Symphony, Wellingtons Sieg. and
several numbers composed by him for chorus, orchestra, and vocal soloists.
He announced his plans in the Allgemeines Intelligenzblatt der... Wiener
Zeitung. 31 Dec 1813, That performance took place, with essentially the
69
same orchestra as previously assembled, on Sunday, 2 Jan 1814.
AmZ. XVI (Jan 1814), 70 f. The review here describes the orchestra
as "Ein zahlreiches Orchester, durchaus mit den ersten und vorzuglichsten
hiesigen TonkHnstler besetzt..."
Êlliot Forbes, Thayer's Life of Beethoven... (Princeton, 1964), I, 566.

69Qp. cit.. 569-70,
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission
105
Beethoven's first note of public thanks for the December concerts was
never printed, probably because of bad blood between himself and Maelzel.
The former had, of course, "edited" Maelzel out of his program of 2 Jan.
Beethoven's acknowledgement of the earlier concerts, which listed the
names of the Viennese musical celebrities participating in the orchestra,
has nevertheless been preserved. It reads as follows?
I esteem it my duty to thank all the honored participants in

the Akademie given on December 8 and 12 for the benefit of the sick
and wounded Austrian and Bavarian soldiers...
It was an unusual congregation of admirable artists, wherein
every individual was inspired by the single thought of contributing
something by his art for the benefit of the fatherland, and who,
without consideration of their ranks, cooperated in subordinate
places in the excellent execution of the whole. V l.:-:
While Herr Schuppanzigh at the head of the violins carried the
orchestra by his fiery -and expressive playing, an Ober-Kapellmeister
named Hr, Salieri did not disdain to beat time for the drummers and
salvos. Hr. Spohr and Hr. Mayseder. each worthy of leadership be
cause of his art, collaborated in the second and third places, and
Hr. Siboni and Giuliani also occupied subordinate positions.
To me the direction of the whole was assigned only because the
music was of my composition; had it been by another, I should have
been as vailing as Hr, Hummel to take my place at the big drum, as
we were all filled with nothing but the pure love of country and of
joyous sacrifice of our powers for those who sacrificed so much for
us.
But our greatest thanks are due to Hr, Maelzel. since it was he
who first conceived the idea of this concert.,,70 [italics mine.]
According to Isnardi's biography of Giuliani (Appendix I, 7), the
latter was a trained 'cellist. Giuliani would thus have played in the
'cello section in these performances, not so much for his reputation on
that particular instrument, but rather because he was a famous personality
70
Op. cit,. 567. This letter, translated here by Forbes, was saved for
posterity by Schindler. An alternative translation appears in The Letters
of Beethoven, tr. Anderson (New York, 1961), 1437-38.
106
in Vienna by late 1813, and ranked in public esteem with any of the mu
sicians listed in the above acknowledgment.
1814 — many wild pranks were -played...
Not only did Giuliani enjoy a certain prestige in the Imperial
City at this time, but he also began to establish close personal ties
with Moscheles the pianist, Mayseder the violinist, Merck the 'cellist,
Ignaz Castelli the poet, and their somewhat mad circle of arty friends
— the same types that would eventually consolidate themselves three
years later into a frivolous society known as the Ludlams-Gesellschaft.
It is fairly certain that Giuliani gave his annual spring recital
in 1814, although no review for it exists in the contemporary press. Why
else would he be recorded in the tax registries of the City of Vienna for
71
April 1814, in connection with the "Zuchthausfonds?"
The late Josef Zuth found a pre-World War II reference to an auto
graph of a Romance by Giuliani from 1814, with this inscription on the
title page: "Romance (Besoin d'aimer) fUr Gesang mit Guitarre oder Pfte
fUr da3 Musikalbum der Frau von Nass geschrieben." At the end are the
71
The archival entry in question is found in Haupt-Registr. Bl, 142,
folio 183y, opposite entry R4-31.224/ 1814. It states that Mauro Giuliani
was exempted from paying thi3 tax for his concert. Any number of factors
could have occasioned this exemption, German in Appendix I, 12.
107
7P
words, 1'Mauro Giuliani Baaden [bei Wien] le 15 Oct 1814." This would
indicate, consistent with the credibility of Zuth’s reference, that
Giuliani was at the fashionable spa not far from Vienna on the date given.
The composer returned to the city, surely, in time for the 1814/15 season.
Late in the year 1814 Giuliani gave a recital, apparently for his
own benefit, in his favorite hall — the small Redoutensaal — as this
report from Vienna covering the month of December indicates:
... Herr Louis Spohr (who will soon be leaving with his wife) gave
a concert on the 11th, and Herr Mauro Giuliani gave one on the 26th
in the small Redoutensaal. Both musicians lived up to their repu
tations as consummate masters of their instruments, the violin
and guitar respectively.
- AmZ. XVII (3.3 Jan 1815), 46. German in Appendix I, 23*
Returning to the subject of Giuliani's friendship with his musical
contemporaries, we find a colorful reference from the year 1814 (the
month is impossible to determine) in the published version of Moscheles*
Tagebuch, Moscheles confides in it that "...many wild pranks were played,
many merry jokes contrived with the musical associates Merck and Giuliani,
73
the poets Castelli and Carpani, and other jovial companions," '
72
The manuscript was, according to the Kachlas3 of Josef Zuth, in the
Heyer’sches Museum, Cologne, Germany, I have not checked the reference,
nor am I in a position to state whether the manuscript still survives.
A printed version of the same, dating from 1810, is found in Op. 13,
no, 3. There is no doubt, however, that Giuliani frequented the spa
of Baden boi Wien seasonally, with other Viennese.musicians, to provide
entertainment for the wealthy and aristocratic bathers.
73
Aun Moscheles' Lebon. nach Briefon und Tagebuchem. ed, "von seiner
Frau" (Leipzig/ 1872), 19. "Auch nancher tolle Streich wurde verttbt, manch
helterer Schwank in Scene gesetzt mit den Kunstbrvidem Merck und Giuliani,
den Dichtern Castelli und Carpani und anderen lustigen Gesellen."
108
18 15 — ... Empress Marie-Louise. Archduke Rainer, and Archduke

Rudolf, etc. are in attendance,..
Early in 1815 a report from the Viennese correspondent of the AmZ
states: "The guitarist Giuliani and the violinist Mayseder desire to

74
set out on a concert tour of Italy." That they never made this tour
is confirmed by the fact that Mayseder is still in Vienna in March,
participating in a concert on the 21st (AmZ. XVII, 274). Furthe-more,
Hanslick reports that a series of "Dukaten Concerte" took place in the
spring of 1815, in which Giuliani and Mayseder were soloists:
Hummel was quite b. la mode in Vienna, more than any other of

the virtuosi and composers of his instrument. He understood how to
get the most from this popularity. Since the violinist Mayseder and
the guitarist Giuliani similarly delighted the Viennese at that time,
Hummel got together with these two in the spring of 1815 for a cycle
of six subscription concerts, which were given in a "tasteful private
locale in the Haarmarkt." The subscription price amounted to a ducat
for the cycle..., whence these concerts went by the name of "Dukaten
Concerte," Each of the three artists executed one or two solo pieces,
and for the finale the virtuosity of all three was combined. This
conclusion and major triumph was "La Sentinelle," a French romance,
arranged by Hummel in such a way that each of the three instruments
would be allotted its brilliant variation.75 This "Sentinelle" was
succeeded by "Der Troubadour," also a French romance arranged in the
same w a y , 76 Later the attraction of these fashionable numbers was
increased still further by having some popular vocalist, male or fe
male (Hr. Barth, or Frl. Wranitzky) sing the romance. Merck's
•cello joined the other instruments...77
"Der Guitarrespieler Giuliani, und der Violinist Mayseder, sind

willens, eine Kunstreise nach Italien anzutreten." From the "Uebersicht
des Konats Januar," AmZ. XVII (Feb 1815), 123.
75
Some comments on "La Sentinelle" are given in Vpl. II, WoO, vocal-16.
The Hummel arrangement referred to here is his Op. 71.
76
"Der Troubadour" is undoubtedly Giuliani's WoO, vocal-13, "Der Ab-
schied der Troubadours, UnterhaltungsstUck," done in the so-called
"abwechselnde Variationen" style.
rjrr
Eduard Hanslick, Geschichte dea Concertwesens in Wien. I (Vienna,

1869), 215-16. German in Appendix I, 24.
109
Giuliani and his associates were already celebrities when an
influential member of the Viennese nobility, Count Franz Palffy (since
1812/13 a student of Giuliani’s, and dedicatee of Op. 39, Sei Cavatine),
invited them to perform at evening serenades ("Nachtmusiken") in the
botanical gardens, presumably part of hi3 private estate in Vienna.
There is a description of this affair in Moscheles♦ Tagebuch from 1815.
Moscheles’ wife writes:
It is interesting to find notice in the Tagebuch here concern

ing the serenades (’’Nachtmusiken") that were then commonplace. Count
Palffy gave six of them that winter [1815] in the botanical gardens.
As participants, besides Moscheles, the names Mayseder, Merck,
Giuliani and Hummer are given. From the start, Empress Marie-Louise,
Archduke Rainer?8 and Archduke Rudolf,?9 etc. are [in attendance],
and the program consists of an arrangement of the overture to FLdelio
(principal parts by Moscheles and Mayseder), sonata by Beethoven
with horn (Moscheles and Radezki), Polonaise of Mayseder's,80 Rondo
with quartet accompaniment, by Hummel, played by Moscheles. During
the pause there were merry Jodler sounding forth from the bushes,
and a still merrier supper. The six remaining serenades, which last
ed into September, are no less interesting. There was also a sere
nade in the midst of all this arranged for the Empress Marie-Louise,
and a good half-dozen which private parties gave the members of their
family on their name-days.8^
At this time, when Giuliani is enjoying the most brilliant successes
in the company of the foremost Viennese musical personalities *— an
enviable position, indeed — the Viennese police receive a report that
he is living in an "intimate relationship" with a certain "Frl. Wiesel-
ryo
The young dedicatee of Giuliani’s Op. 12, Mile. Vicenzina di Ilainer,
may have been related to this archduke.
79
Archduke Rudolf was the dedicatee of Giuliani and Moscheles' jointly
composed Grand Duo Concertant. WoO, G & P-l, printed the previous year,
80
Giuliani arranged Mayseder’s 1st and 2nd Polonaises (originally for
violin with string quartet acc't.) for violin & guitar. See WoO, G & F(v)-
3 & 4. Giuliani may well have accompanied Mayseder in this number,
81
Aus Moschelos* Lcben... (Leipzig, 1872), 23. German in App. I, 25.
110
berger," while his wife and child barely manage to subsist in Trieste
or Venice (Appendix I, 15). What is one to make of this anonymous slur?
There can be no doubt that Giuliani and Wieselberger (or Wiesenberger)
knew one another. He mentions her in a letter which he writes to Artaria,
dated Rome, 23 July 1822, with these words:
... I also want a friendly favor from you [Artaria, in Vienna], and
it is to let me know what happened to all the papers and the other
necessary things which were in my house, specifically in my desk,
which was given to I don't know whom to pay off a debt. In the same
desk was the ring I received from Her Majesty the Duchess of Parma
[Marie-Louise], without the stones, which I was obliged to sell on
account of the illness of poor Nina Wiesenberger; in the same place
was the document I received with the honorary title of Virtuoso di
Camera, and other papers very necessary to me...82
As was the case with Giuliani's illegitimate daughter, Maria Willmuth,
the guitarist also took care of the mysterious figure of Nina Wiesenberger
in her time of need, even if this involved selling precious stones from a
ring awarded him by no less than Her Majesty Marie-Louise herself. It is
quite impossible now to determine <— or to judge — the relationships
which Giuliani might have had with his legal wife, as with Wiesenberger.
But it would be ill-advised to conclude hastily that this most successful
composer and guitarist had no concern for his dependents, legitimate or
otherwise, as the police report implies. On the contrary, the evidence
Qrt
"Desidero anche un tratto d'amicizia da voi, ed e, d'informarvi,
cosa sono divenuti di. tutte le carte, ed altre cose necessarie, che si ri-
trovano in mia casa, propriamente nel mio segretario, il quale fu dato non
sb a chi per debbito di casa. Nel medesimo si ritrovava l'anello che ri-
cevetti da S.M. la Duchessa di Parma, meno le pietre, le quali fu costretto
di sfarmene per la malattia della povera Nina Wiesenberger; nel 3udetto si
ritrova il brevetto che ricevetti del titolo onorevole di Virtuoso di Came
ra, ed altre carte necessarissime per me.,." Vienna, Stadtbibliothek,
call number J.N. 69731.
Ill
points to his bending over "backwards to meet hi3 debts and to care for
those who depended on him, even if it would cost him dearly. His letters
written to Artaria between 1819 and 1828 amply testify to his concern for
Willmuth, Wiesenberger, his daughter Emilia and his ailing father Michele,
Of the composer's wife, still, there is never even a mention.
18 16 -- ... he has formed for us so many

outstanding amateurs...
The fashionable soirles, concerts, and other social affairs in
Vienna could not help but lead to the publication of a Viennese fashion
newspaper. The year 1816 saw the successful inauguration of the Wiener
Moden Zeitung und Zeitschrift fttr Kunst. sch*cfae Literatur und Theater,
which shall be referred to as the WMZ. With its appearance, cultural
events in Vienna begin to be chronicled in situ, with the result that the
cultural history of the city as of 1816 is much more amply documented than
was the case earlier.
Thanks to the WMZ. the popularity of the guitar (usually at the
hands of anonymous guitarists) in Vienna begins to be revealed. For
example, on 28 Jan 1816 the horn virtuoso,Herr Rauch,gave a recital
at the home of Prof. Zizius, and an itemon the program was a "Trio for
83
Waldhom, Flute and Guitar." Then, on 11 July 1816, a Singspiel.
"Dichter und Tonsetzer," is premiered at the theater by the Kamtner-

f>A
thor. Among its numbers is an "Arie mit Guitarre," Other occurrences
83WMZ, No . 5 (Feb 1816), 38.

84WMZ, No . 32 (20 July 1816), 343.
ii2
of guitar playing in public and private are quite numerous, and hardly
require transcribing here. They bear out the statement (printed already
in 1811-12) by Molitor and Klinger about the many amateurs who profited
from Giuliani's instruction and example (Appendix I, 10): "Through his
teaching and the competition he has aroused among teachers and lovers of
the instrument, he [Giuliani] has formed for us so many outstanding ama
teurs, that there could scarcely be another place where authentic guitar
playing is so widely practised as here in our Vienna."
So much for the amateurs, but where might Giuliani have been in
1816? I know of no mention of him in the contemporary Viennese press,

85
and only a few of his works were brought out in Vienna that year. One
of them, a "Sang aus Norden" with text by Alois Jeitteles (a fellow mem
ber of the Ludlams-Gesellschaft). and musical setting by Giuliani, appears
as a fold-out in the WMZ. No. 16 (18 Apr 1816).^ If Giuliani remained in
Vienna through April, he still may have departed after that on an ion-
announced concert tour, or in order to return to his family in Italy.
That he may have chosen the former alternative •— a concert tour
in the company of Franz Wild, a tenor from Vienna is suggested (al
though not proven) by this notice in the WMZ. dateline Leipzig, 19 Dec
1816:
The Opera singer Herr Wild came here from Berlin, and gave
a most successful concert. He sang a scene and aria from Paer's
85 •
Op. 56, 65, 66,:67, 69, supposedly the first ed. of the Third Con
certo (Op. 70), Op. 71; VoO, G & F(v)-4; Wo O, vocal-7 & vocal-8.
86
See WoO, vocal-7 for more information.
1 13
Agnese. "Adelaide" by Matthison, excellently composed by Beethoven;

a duet by Farinelli, with Mme. Neumann-Sessi; and "her treue Tod,"
by Komer, music by Giuliani, this last piece so beautiful and en
chanting, that it had to be repeated. It seems now that he [Wild]
is returning to Vienna, from which he has been absent for a
long while.
Wild must have had great success with "Der treue Tod" earlier, in
Berlin, An edition of this work printed in Berlin in late 1816 has come
down to us: "DER TREUE TOD/ von Theodor Kb’mer/ in Kusik gesetzt/ mit
Begleitung des Pianoforte oder Guitarre/ von Giuliani/ gesungen in den
grossen Concerten zu Berlin/ von/ F. WILD/ Tenorsanger aus Wien..."88
If we consider the circumstantial evidence — the WMZ clipping and the
music — and add to it the fact that Giuliani was not reported in Vienna
in mid- through latter-1816, we are led to suppose that he accompanied
(in every sense of the word) Wild on a concert tour at that time. This
is, however, only informed speculation.
18 17 *— The Year of the Ludlams-Gesellschaft
On 25 Feb 1817 Wild was still in Berlin, according to a report in

89
the WMZ. Presumably Giuliani was with him. They would return to Vienna
in March or, more likely, April. In Giuliani's apparent absence from the
Imperial City at least one lesser guitarist "bubbled to the surface." Karl1
Topfer appeared between the acts of the play "Der Taubstumrae" at the Burg-
8^WMZ. N o . 4 (ll Jan 1817), 31. German in Vol. II, the comments to
WoO, vocal-10.
88
Catalogued as WoO, vocal-10.
890p . cit.. No. 20 (8 March 1817), 163.
114
QO
theater, 13 May 1817, to sing the cavatina, "Di tanti palpiti," from
Rossini's Tancredi. with his own guitar accompaniment, and to play a

qi
fantasy as a guitar solo. He appeared again on 6 April, in a "musical-
declamatory— evening-entertainment" (inusikalisch-deklamatorische Abend-
unterhaltung. so typical of the period), the musical portion of which
consisted of overtures by Pa‘

dr, Dalyrac, and Cherubini, an aria by
Gyrowetz, a Polonaise on the violin played by Herr Bohm, Herr Topfer
"pleased the audience with a nice potpourri for the guitar," Moscheles
was sick and couldn't make it, and the brothers Khayll played variations
QO
for flute, oboe and trumpet. That was (ftfpfer's moment of greatest
glory, as far as we know.
Giuliani again appears in public in Vienna on 18 May 1817, on which
occasion he participates in a vocal Akademie — not in the small Redouten-
saal, but in the large Theater an der Wien, This put the guitarist at a
disadvantage, in spite of excellent guitar playing, as the following
review indicates:
On Sunday the 18th [of May 1817] Madame Gentile Borgondio gave
an Akademie in the Theater an der Wien... The first and last move
ments of Beethoven's Symphony in C major were also performed, as
were variations for violin and guitar by Mauro Giuliani.93 This
piece, however, despite its being played impeccably by [the com
poser] himself and Herr Mayseder, was not suited to the large hall.
AmZ. XIX (June 1817), 430-31. German in Appendix I, 26a.
■^Topfer was a self-styled "wandering virtuoso"(Zuth, Simon Kolitor.

79). He played the guitar in a fiasco of a concert in 1816 (AmZ. XVIII.
444). He was a self-proclaimed poet, and presumably an actor, as well
as a guitarist of sorts.
91WMZ. No. 23 (19 March 1817), 187. The reviewer stated that To'pfer
had some success with these numbers, but criticized Topfer's interpolation
of the Rossini aria into the play.
92WMZ, No. 29 (9 Apr 1817), 236.
qx
This could well have been Op. 84, published by Artaria in 1817.
115
Shortly after this appearance, Giuliani gives a concert of his own
in his preferred location: the small Redoutensaal. He is supported and
assisted by his musical colleagues, and by a small orchestra, as well:
In the concert by the same Giuliani in the small Redoutensaal

on the 26th [of May 1817] we heard: 1. An overture by Cherubini.
2. The Maestoso of a new guitar concerto in F major [Op. 70] composed
and played by M. Giuliani. 3. A new cavatina by M. Giuliani sung by
Dem, Bondra. 4. New variations for two guitars on the theme "Di
tanti palpiti," composed by Giuliani's son [Michel Giuliani's Op. l]
and performed by M. Giuliani and "Herr N." 5. A scene and rondo,
"Perchfe turbar la pace," from Tancredi. sung by Madame Borgondio
(many hands must still be sore from clapping so hard). 6. A new
"Grosses National-Potpourri" by Hummel for piano and guitar,94
played by Herr Moscheles and the recitalist, who in all his perform
ances earned .well-deserved distinction as one of the foremost virtu
osi on his instrument.
- AmZ. XIX (June 1817), 451. German in Appendix I, 26b.
A mention of the same concert appears in the WMZ, but the reviewer
feels obliged to reiterate the thesis that the guitar, by its nature, is
unsuited to concerts or large productions. He does not relate the numbers

95
on the program, but does add that the audience was numerous and "choice."
Zuth, in presenting information about the Viennese guitarist

96
Leonhard Schulz, mentions that he gave a concert in Baden bei Wien .
97
in the company of Joseph Bohm and Mauro Giuliani on 31 August 1817.
94
Correction: Giuliani and Hummel co-authored this piece. It is
catalogued among the works of Giuliani as Op. 95*
95WMZ. No. 45 (4 June 1817), 383.
9^Schulz (the younger, we assume) went to London in the 1820's, and
brought out within the next decade his own editions of Giuliani's music,
.in the series Giuliana. They are mentioned in ray thematic catalogue
on an individual basis, wherever known. They attained at least 21 fasci
cles. Like Giuliani, Schulz too fell into debt in the middle of his
career.
97
Zuth, Simon Molitor. 80, cites the Viennese AmZ. I, 327» as his source.
116
This is undoubtedly true, since we read general confirmation of it in
a report from Vienna for the summer months, published in the Leipzig AmZ:
Thus, in the outskirts of Vienna — Bobling, Modling, Baaden,

Meidling, etc., musical entertainment was organized for charitable
purposes, in which the musicians Moscheles, Giuliani, Merck, Pechat-
schek, Bohm, Leidesdorf, Bogner, Halm, Worzischeck, and others
united their talents in the performance of choice compositions.
- AmZ. XIX (Oct 1817), 694. German in Appendix I, 27.
The same Viennese reviewer of the WMZ who earlier had so adamantly
maintained that the guitar (even in Giuliani’s hands) was not suited to
concerts and large productions, totally ignored Giuliani’s participation
in a "grosse musikalische Akademie” which took place in the Festsaal im
Augarten, Vienna, on 21 Sept 1817 (review in WMZ, No. 77, 216). Thank3
to the more objective reporting of the Leipzig AmZ. we have access to the
following review of the same concert, in which applause is specifically
mentioned only in two instances: the third number, an aria sung by Bor-
gondio, and the eighth piece, the only one in which Giuliani participates.
On the 21st [of September 1817] a musical Akademie was given

in the Augarten-Festsaal for the benefit of the needy. The program
included: 1. Mozart's overture from La Clemenza di Tito. 2. A
Polonaise for violin by Mayseder, performed very well by his pupil,
Herr Vinsenz Neuling. 3. An aria from the opera II Filosofo by
Mosca, sung by Madame Borgondio, who received general applause.
4. A Concert-Polonaise for piano, composed and performed master
fully by Herr Moscheles. 5. An aria from Cimaro3a’s Artemisia,
sung by Herr Tarquinio, a soprano with a pleasant voice and an un
usually high range. 6. Valuations for trumpet composed and performed
with amazing skill by Herr Werner, a member of the orchestra of the
k.k. Theater an der Wien, 7. A trio from Virginia by Federici, sung
by Kesdames Borgondio and Campi and Herr Barth. 8. "Der Dank der
Armen," based on the melody of "La Sentinelle," with solos, chorus
and variations, performed by Messrs. Barth,-Moscheles, Mayseder,
and Giuliani. Well-earned applause from all quarters. 9. A chorus
from Handel's Timotheus.
- AmZ. XIX (December 1817), 841. German in Appendix I, 28.
117
Probably the most fascinating development in Giuliani’s life in
1817, from a biographer’s point of view, centers around the formation
in Vienna in December of a frivolous secret society of which he was
a member: the Ludlams-Gesellschaft. The beginnings of this fraternity
and the many fascinating details of ritual and tradition which came into
being as its membership grew are of sufficient interest to merit separate
and lengthy treatment elsewhere than in this dissertation, A primary
source for such information is found in the memoirs of Giuliani's friend,

98
the Viennese poet Castelli. In these the latter explains how the
society's members got their nicknames, and tells about the earliest
meeting place of the "Ludlamites," in the "Gasthaus zum fliegenden
KcJssl" in the Schlossgasschen, off the Graben, in the inner-city of Vienna,
Among the society's members were to be found quite a few happy-go-
lucky musicians, such as the aforementioned Karl Topfer (nickname: Geist
vom Hafnerberg), the flute virtuoso Sedlatscheck (nickname: Sedl von
Latscheck, called "Sedl" in summer and "Latscheck" in winter), the oboist
Sellner (Hochholz von Sankt Blasius), the pianist Moscheles (Tasto der
Kalberfuss), the composer Karl Maria von Weber (Agathus, der Zieltreffer,
Edler von Samiel), Kapellmeister Gyrowetz (Notarsch Sakramensky), Hof-
kapellmeister Assmayer (As Major, Es Minor), the Professor of Acoustics
Ernst Chladni (Monocord der Tongrllbler), Hofkapelliueister Salieri (Don
Tarar di Palmira), the singer and conductor J.T. Mosevius (Sebastianus
da Solfeggio), and Mauro Giuliani (Vilac Umo Capodastro).
Q Q
I, F, Castelli, Memoiren meines heben3. ed. Josef Bindtner, Vol, II

(Munich, 1915[?])» 8 f.
118
There are some uproariously funny explanations of how these musicians
got their nicknames, and even more hilarious stories behind some of the
names by which other men (bankers, actors, businessmen, etc.) were known.
Beethoven might have been a natural for membership in this "Who’s Who in
Gay Vienna" club, were not his deafness a cruel impediment to participa
tion in the fun and games. Schubert, too, might have been a member had
he not kept his profile so low during those years. The one "qualifica
tion" for membership which neither of these great composers must have
evidenced at that time was a certain carefree, devil-may-care attitude.
Be that as it may, their names do not figure in the membership.
Unfortunately Castelli does not show himself capable, vis-a-vis
Giuliani *s nickname, of recalling exactly what "Vilac Umo" has to do
with the guitarist, although there is no doubt that "Capodastro" meant
the little clamp for shortening the string-length of a guitar. For my
part, I have repeatedly stretched my imagination to interpret "Vilac
Umo" in a plausible way. The words are possibly a corrupt or dialectical
form of the modern Italian, "vigliacch'uomo," which i3 a pejorative mean
ing "cowardly" or "dastardly man," This was probably not meant to apply
directly to Giuliani, since one normally does not insult a member of one’s
fraternity in so definitive a way as with a pseudonym. Rather, it more
likely refers to a pet phrase of Giuliani's <— something which he had a
habit of muttering under his breath whenever he was annoyed at someone —
a phrase which was possibly seized upon by his "Ludlamite" brethren and
incorporated into this crazy nickname.
119
Going further out on the limb, I ask myself if this insult hypo
thetically invoked by Giuliani could possibly reflect his own Italian
dialect, and provide a linguistic clue to his early years. The word
"Umo" is especially intriguing, It is not found in any Italian language
dictionary, nor in any of the ten Italian dialectical dictionaries (all
printed in the 19th centuxy) to which I was able to refer. The closest
thing to it is in the Bolognese dialect, "Uin3n" (Cremonese variant being

99
"Oumbon"), meaning "Brav’uomo," or "big man." By the same token, "Umo"
or "Um8n" is not Venetian, Milanese, Parmigiano, or Sicilian. The South-
Italian dialectical word for "man" is "o'mu," that is, just the reverse of
"umo." Consequently, if Giuliani's nickname in the Ludlams-Gesell3chaft
has any linguistic significance, it points to the Bolognese dialect, and
may further strengthen the theory that Giuliani received his elementary,
and musieal, training in Bologna (cf. Appendix I, 6).
18 18 — ... whose tireless study of this instrument has

brought it to the highest perfection...
Ten years after the initial publication of the "Survey of the present
state of music in Vienna," in the Vaterlandi3che Blatter (31 May 1808), a
second series of articles, similar in scope and nature, appears in the

100
same newspaper. It supplements the earlier survey by listing composers
99
Vocabulario Bolognese-Italiano Compilato da Carolina Coronedi Benti.
2 Vols. (Bologna, 1869-72)7
100
"Keferirende Uebersicht des Musikzu3tandes in Wien, in dem letzten
halbcn Jahre," Intelligenzblatt zu den Vaterlandischen Blattem. Nos. 25-
29 (March/April7*lSi8j, 100, 104, 108, 112, and 116.
120
("Tonsetzer") and performers ("TonkUnstler") of repute, as of the
beginning of the year 1818. It ranks Beethoven, for example, among the
composers of orchestral music, church music, opera, music for pianoforte,
and music for violin. In the category of song ("Gesang") the note
worthy composers are, in alphabetical order, "Messrs. van Beethoven,

TO1
M, Graf von Dietrichstein, x Fusz, Giuliani, Henneberg, Kanne, Frey-
102
herr von Krufft, von Mosel, Salieri, von Seyfried, Abb! Stadler, etc."
Ho Schubert! The same source later lists composers of guitar music,
again in alphabetical order: "Messrs. Diabelli, Giuliani, Matiegka,
Tutzek, etc." — a fairly accurate reflection of the most prolific
writers for the guitar in Vienna at that time..
Among performers ("TonkUnstler") on the guitar, however, Giuliani
alone is considered worthy of mention. The entries surrounding the
guitar .category must be reproduced here to preserve the sense of the
passage:
... On the
HARP
Madame Gollenhofer honorably distinguishes herself. Her talent is
still not surpassed by any ocher artist on this instrument. A
comparable [performer] on the
GUITAR
is Herr M. Giuliani, whose tireless study of this instrument has
brought it to the highest perfection. To my knowledge, still no
artist other than he can boast of this. On the
VIOLIN
103
Herr Mayseder is pre-eminent... etc.
101
See Giuliani’s WoO, G acc,-3.
■^"Referireiide Uebersicht," No. 28, 112.
10^
"Op. cit.. No. 29f 116. German in Appendix I, 29.
121
Giuliani may well have attained an enviable degree of perfection in
the eyes of the public by 1818, but he did not confine his efforts solely
to the furtherance of his own virtuosity. Concurrent evidence of his
success as a teacher can be found in the appearance of one of his students,
named Mendl, on a program in which Franz Schubert participated at the
piano.
In the same place [Saal zum rbmischen Kaiser] on the 15th [of March
1818] the "Declcmator" Herr C.F. MUller [gave a performance]. Heard
by our reviewer: 1. An Overture by Herr Schubert for 8 hands and
2 pianos. 2. Violin variations performed by Herr Molique. 5.
Beethoven's "Adelaide," sung by Herr Jager. 4. Guitar variations
by Giuliani, 5. Hondeau & 4 mains by Moscheles.
- AmZ, XX (1818), 295. German in Appendix I, 30.
We can be certain that it was Mendl, and not Giuliani, performing on this
occasion thanks to a full account of the program in a Theaterzeitungto

104
which the late Otto Erich Deutsch had access. That source leaves no
doubt that Schubert himself performed on the piano.
Definite confirmation of Giuliani's concert activities that spring
start in the beginning of April, and continue through that month, as we
read in the following:
The musical Akademie for the benefit of widows and orphans,

given on the 5th [of April 1818] in the k.k. Universitatssaal of
the Faculty of Law, included: 1. Beethoven’s Overture to Coriolan,
2. Recitative and aria from Joseph sung by Herr Barth. 3. Variations
for flute played by Herr Keller. 4. Theodor Komer's Legende. Dio
heillge Cacilia. set to music by Herr Leidesdorf. This is a wonder
ful composition which is much to the young composer's credit, and in
Prof, Deutsch, in Schubert, Die Dokumonte seines Lebens (Kassel/

Basel, 1964), 59, refers to the Wiener Allgemeinen Theatersettung (24
March 1818), which states that the concert actually took place on the
12th of March, and refers to the Giuliani guitar number being played
"von aeinem SchUler namens Mendl." See Zuth, Simon Molitor. 79, for
other bits of information on Franz Mendl,
122
which Fraudsin von Mosel sang the lead voice superbly. 5. "La
Sentinelle," for voice, piano, violin, and guitar, by Hummel, per
formed by Messrs. Barth, Moscheles, Mayseder and Giuliani.
The last three musicians also formed a triple alliance and
offered a subscription series in the Landstandischer Saal for three
consecutive weekly concerts [April 16, 23, and 30] in which they in
turn displayed their generally recognized and greatly prized virtu
osity. We heard the following new works: Piano variations by
Moscheles, Rondo brillant for violin by Mayseder, Potpourri for piano
and guitar, variations for violin and piano by Mayseder, Rondo
brillant for piano with orchestral accompaniment by Moscheles, a
new Guitar Concerto by Giuliani [Op. 70], etc. One didn't know
which to admire more: the musical perfection of the performance,
or the — for the most part — outstanding compositions. Dem,
Wranitzky, Messrs, Barth and Jager, and Fr. Linhard made a pleasing
ensemble and increased our already considerable enjoyment still
further. A new Overture h. la chasse by Beethoven in C major, 6/8
tempo, had numerous admirers.
AmZ, XX (May 1818), 388, German in Appendix I, 31.
The latter part of this review alludes to another round of sub
scription concerts (presumably "Dukaten Concerte") in which Giuliani,

105
Moscheles and Mayseder participated. The programs of these three.
concerts have been preserved in the WMZ. The first one, of 16 April,
found Giuliani playing his Op.'93 with only mediocre success, due to the
drawn-out nature of the work. The reviewer states, in concluding, "Herr
Giuliani's talent, which was given an obviously secondary role this time,
will hopefully have a better chance for display in one of the coming
106
concerts to be held on the 23rd and on the 30th."
^This round of concerts took place on April 16, 23, and 30, 1818.
The previous subscription series had united Giuliani with Hummel and
Mayseder (v. Appendix I, 24) in the spring of 1815.
No, 48 (21 April 1818), 387. "Herr Giuliani's Talent, welches

fur dieses Kahl eine bloss untergeordnete Rolle spielte, wird hoffentlich
bey einem der folgenden JConzerte, ... mehr Gelegenheit zur Auszeichnung
erhalten,"
123
The latter two concerts were reviewed together in this single,
highly interesting statement appearing in the M 2 of 9 May 1818:
The last two musical productions of Messrs. Moscheles,

Giuliani, and Mayseder [23 & 30 Apr 1818], no less than their first
one [16 Apr], were among the most enjoyable offered recently in the
Imperial City, thanks both to the quality of the pieces and to their
artistic execution. Several of our most outstanding vocal artists
joined with these performers to add greater variety and more pleasure
to our enjoyment. An audience as numerous as they were distinguished,
and as educated as they were versed in the arts, was gathered there
and honored the whole affair by their presence. .The only regrettable
aspect was that so many other friends and connoisseurs of music, who
would not let the normal price of a concert ticket stand in the way
of such rare musical enjoyment, were prevented from attending this
one [by the unusually high cost].
Among the pieces performed in the second concert of the series
[23 April] were notably: an Overture by our incomparable Beethoven,
which suitably opened the program; variations for violin and piano,
composed by Herr Mayseder and Herr Moscheles and performed by the
two of them with their usual artistry, to loud applause; an aria
from Sir Marcantonio. sung by Herr Jager, and a movement from a
guitar'concerto [OpV 70, 1st mvmt.?], performed by Herr Giuliani.
His excellent playing and the unusual skill with which he handles
the guitar roused the admiration of all present. Following thi3
was an aria from the opera Cyrus, sung by Dlle. Linhart, accompanied
by Herr Moscheles; and a rondo arranged and played by the latter, to
loud applause, closed the program.
The third and last [concert of the series], given on 30 April,
took the prize over the first two, vis-a-vis the choice of music and
the zeal of the performers. All of them seem to have exerted them
selves in order to leave their listeners with the very liveliest of
impressions. The first movement of a violin concerto, composed and
played by Herr Mayseder, was especially pleasing, [There followed]
a cavatina with variations by Mad. Catalani, sung by our own charm
ing Mile, Wranitzky; a Polonaise for guitar with orchestral ac
companiment [Op. 70, third mvmt,?], composed and played by Giuliani.;
and then Blangini*s "Boleros," also sung by Mile. Wranitzky, and re
peated on unanimous request. Herr Moscheles improvised at the piano,
developing a given theme very artistically, and was rewarded by the
connoisseurs with loud praise. Kerr Barth gave an excellent per
formance of an aria in A maj., from the opera Joseph, which his
marvelous voice wa3 able to make even more wonderful. This concert,
so rich in artistic pleasures, ended with a Bomanze, "Der Abschied
der Troubadours" [WoO, vocal-13, with text] by Castelli. The origin
al melody [by Blangini] was retained, but was newly arranged by the
recitalist for voice, piano, violin, and guitar, in alternating
variations, and performed by them and Mile. Wranitzky.
124
A unanimous opinion of these musical events was voiced, one

which was as flattering for the recitalists as that which they
expressed, of being counted in the presence of the most cultured
[Viennese] coimoisseura and friends of this wonderful art of
the Muses,
- Op. cit,, 450-51. German in Appendix I, 32.
These three concerts were the subject of an entry in the Viennese "Zucht-
hausfonds" tax registry for April 1818, as was mentioned earlier (v.
Appendix I, 13).
So great was the success of the artists that they ended up giving
a fourth "final11 concert, for the benefit of the needy. No doubt the
Noblewomen's Society ("Adeliger Frauen-Verein"), which received the
proceeds, both imposed upon the musicians to appear once more, and handled
the details of arranging the concert, which took place on 10 May 1818,
The finale was again "Der Abschied der Troubadours," one of the pieces
107
with variations taken in turn by Moscheles, Mayseder, and Giuliani,
One of the most enchanting accounts of a musical event ever to take
place anywhere, to my mind, involves the aforementioned musicians and
several of their colleagues late in the summer of 1818, in Baden bei
Wien, the fashionable spa so frequently attended in that season by the
nobility from all over Europe. Doubtless the artists were commissioned,
or decided among themselves, to serenade the former Empress, and now
Duchess of Parma, Marie-Louise, for her name-day (Feast of St. Louis).
This is the account of that priceless event, written in the now usual
"^WoO, vocal-13. A full account of the concert of 10 May 1818 ap

pears in the AmZ, XX (June 1818), 455*
125
florid style of the Wiener Moden Zeitung;
"Report from the Spas,"
Baden. A serenade on the eve of the Feast of Saint Louis

[i.e. on August 24th] afforded us a friendly musical treat. The
distinguished virtuosi from Vienna, Giuliani, Moscheles, and Merk,
along with Herr Wranitzky and the well known Royal WUrtemberg
chamber-virtuoso, Herr Keller, performed here. This delightful
musical celebration was given in front of the apartments of Her
Majesty the Archduchess Marie-Louise, Duchess of Parma, and attended
from the windows by their Royal Majesties and the resident members
of the august Royal Family. An enormous crowd of listeners had
turned out, and ladie3 and gentlemen were seated on chairs before
their apartments, as the weather was favorable. First Herr Wranitz
ky played variations by Rode on the violin. There followed a Polo
naise, composed and performed by Giuliani on the guitar. This
musician displayed here all the grace and delicacy with which he
usually handles the guitar, and charmed the listeners. After this
Herr Keller performed variations of his own composition on the
flute, with that same mastery of his which we have always admired,
and in which he so excels. Herr Merk then played a potpourri by
Bernhard Romberg on the 'cello, with his usual excellence, and Herr
Moscheles closed the enjoyable and all-too-short evening with
variations on the "Alexander-Marsch" composed by himself, and
played with the well known musical skill that makes him one of the
foremost masters of the piano. The entire group of musicians
heightened our enjoyment still further in that they felt inspired
and honored by the presence of the Royal Court and Royal Family, as
well as by the atten.h--.ee of a large number of the cultured resort
guests assembled in Laden at this time. May we have another such
musical treat soon.
- WMZ, No. 104 (29 Aug^1818), 852. German in Appendix I, 53.
To no one's surprise, these same musicians remained (by design or
by invitation) in Baden for a time in order to repeat their numbers in
a more formal setting — the local theater, on the evening of 5 Sept.
Again they enjoyed great success.
103
The concert of 5 Sept, in Baden is described in the WMZ, No. 112
(l7 Sept 1818), 915-16. It concludes with a finale of proven popularity,
"Der Abschied der Troubadours."
126
After this appearance in Baden in September, nothing more is
known of Giuliani’s activities until April of the following year, 1819.
The winter of 1818/19 is a dark one in the composer’s life, when the
financial burdens which will ultimately require him to leave Vienna for
good begin, we assume, to accrue. Yet in view of Giuliani'3 success on
the concert stage, and the large number of his works that were published
109
over the years 1817 and 1818, one finds it difficult to believe that
he could not meet his financial obligations. Perhaps money was only
part of the whole story.
Another factor could be that the artist and the instrument had
passed their prime in Vienna, and that Giuliani now understood the ne
cessity of bowing out graciously to the pianoforte. If this were true,
it would be most logical for him to retreat to Italy — a poorer country,
where the guitar was still far more accessible, and much more popular,
than the pianoforte. Be that as it may, the one documented reason for
the composer’s exodus from Vienna has to do with finances,
18 19 -- Das ist alles eins, (The differences amount

Ob wir Geld hab’n Oder kelns. to aught/'twixt having
, . . gold and having naught.)
The Austrian folk song to which the above words are set is the
theme of Giuliani's Op. 99, which appeared in April 1819- Its text is
almost prophetic, in view of Giuliani's monetary situation in 1819; there
■^Works which appeared in 1817-18 include Op. 75 through 98, and many
works without opus number.
127
are other details surrounding the publication of the work which bear
comment. Notably, this is the first opus of Giuliani's published by
the rather ruthless firm of Cappi & Diabelli, formed in 1818. Anton
Diabelli himself was one of Giuliani's petty rivals on the guitar, and
we con imagine how cool their business dealings were. It is of Cappi and
Diabelli that Giuliani would write, in a letter to his old friend Artaria:
"These two super-braggarts who pride themselves on having the best music
store in Vienna,,.," and, "Two false businessmen run it...," and "... they
deserve not only ray disdain, but also celestial revenge."'*’'*'® The reason
for Giuliani's scorn was that these men habitually had tried to get his
popular and highly sought-after works for less compensation than any
other Viennese publisher would have dared offer. They took advantage of
the composer's unusually difficult financial situation (after 1819) to
extract new compositions from him at woefully unjust prices. This is a
familiar story for anyone who has ever read a biography of Schubert, for
the latter seems to have fared even worse than Giuliani at the hands of
Anton Diabelli. Thus when we read Zuth'3 undocumented statement that
Giuliani "fostered friendly transactions with Diabelli,"'*''*''*' we must
.take exception.
The first known public appearance of Giuliani in 1819 is described
in the following review:
''■^Letter dated Naples, 16 Jan 1824. LOCATION: Vienna, Stadtbiblio-

thek, J.N. 69732. "Questi due Rodomonti che dal niente vantano di
avere il primo Negozio Musicale in Vienna.,," etc*
■^^"Giuliani pflegte mit Diabelli freundschaftlichen Verkehr..."
Simon Molitor. 78.
128
On the 25th [of April 1819] the "Hofsangerin" Demoiselle

Wranitzky gave a concert in the small Redoutensaal. Two arias
by Rossini and Generali, as well as variations on Der Troubadour
[WoO, vocal-13], in which the virtuosity of Messrs. Mayseder,
Moscheles and Giuliani shone most brilliantly, achieved yet greater
charm through her enchanting performance...
- AmZ. XXI (May 1819), 363. German in Appendix I, 34.
Exactly one month later the same musicians provide the identical
(unquestionably popular and successful) finale to a concert by Moscheles:
On the 25th [of May 1819] Herr Moscheles gave a private concert
[in which he played a Hummel sonata in f# minor, inter alia!..., and
as a finale was given the frequently, but always gladly, heard quartet,
"Der Abschied der Troubadours"[WoO, vocal-13], sung by Demoiselle
Wranitzky, and accompanied by the recitalist along with Mayseder
and Giuliani.
- AmZ, XXI (June 1819), 430. German in Appendix I, 35.
In the summer of 1819 Giuliani left Vienna never to return. His
household goods were seized and inventoried (for auction) by the police
in September of that year, in connection with charges pressed by a
certain Jakob Scholze (See Appendix I, 14).
Part Three: Giuliani in Italy. 1819-29.
The first clue to Giuliani's whereabouts after he left Vienna is
given in a letter from him to Domenico Artaria, dated Venice, 20 Nov
1819. It is an interesting bit of correspondence, which gives an insight
into the composer's personality, his wit, his problems and plans; and it
sheds some light on the musical climate in Italy at that time:
129
Venice, 20 November 1819*
Dearest friend:
I reply to your letter of the 14th of this month, which I

didn't expect, as I believed you to be back in Vienna... Therefore
X will be in fact extremely happy and hope to embrace you in Venice.
I expect to remain fifteen more days in this city, and afterwards I
plan to spend a week in Trieste to see my parents and then see if
I can arrange for a concert to console those poor people from whom
X have had no news for a long time. From Trieste I am counting on
going to Parma to see my patroness [Marie-Louise] and get some
letters [of introduction] for Florence and Milan; I doubt I shall
go to Naples and Rome inasmuch as, dear friend, the misery is great,
and above all the taste in instrumental music is so abased that it
makes one ashamed, in addition to the fact that they live there in
the greatest ignorance. Imagine that the admission to the theatres
is 50 centesimi for a concert ticket; you can't earn more than a
franc, which in our [Viennese] money is 20 crowns, and you are not
sure of having 200 people.
At Verona all my best friends advised me not to give a con
cert, being certain of not making anything, as even poor Paganini
did not even make expenses and thus had to make up the difference
out of his own pocket. At Vicenza I ran into the son of Marshall
Bellegard; he told me that at this point everyone was away in the
country, and then it was a matter of only fifty-some francs, which
is the reason I didn’t perform. At Padua it was the same story,
since the mania of poverty is rampant in the streets. Now here in
Venice I believed myself to be in a city where at least (i flattered
myself) I would earn a couple oi thousand francs; but the protesta
tions of Sig. Peracchini make me nervous. He tells me, in fact,
that "il Paganino" [Paganini] only sold 300 tickets at 3 francs,
and that the famous Berman had to make it up out of his pocket; on
the other hand Heaven is good to me, and come what may I am giving
a concert — better wounded than dead, I have no other hope beyond
Parma, Milan, Bologna and Florence, from where I will take a coach
to go to Paris, where I hope to take another route for my return to
Vienna; that is, to go through the Low Countries, Holland, as far
as Hamburg, then Berlin, to Frankfurt, and then home, where I
expect (according to rumor) to return with a little capital.
Here, dear friend Domenico, is my plan; but it says in the
proverb that man proposes and God disposes. Provided that nothing
gets fouled up, as far as health is concerned, it ought to work out.
Speed up your departure for Vienna, and let "Papa" embrace you
before we get separated for long. I am living in the Great Britain
Inn, where you can send the answer you will be so kind as to write
me. The mail is leaving, end I finish in haste...
Mauro Giuliani
with permission o f the copyright owner. Further reproduction prohibited without permission.
130
P.S. Answer with a long, long letter, and don’t he so stingy 1
«* Vienna, Stadtbibliothek, J.N. 69730. Facsimile in

the present volume, Appendix II.
Giuliani stated wisely that his plans were ultimately beyond his
control. He must have consoled his parents in Trieste, given his concert
in Venice, and then headed for the residence of his patroness, Arch
duchess Marie-Louise, in Parma. Nothing is yet known of his appearances
in the other North-Italian cities he mentions, but it is certain that he
did not make his projected grand tour to Paris, and return to Vienna.
We may conjecture that he received advice (with letters of introduction)
from his patroness in Parma to establish himself in Rome or Naples, where
other members of the nobility, more likely than not related by blood to
Marie-LoiiisQ de Bourbon, could patronize him and enjoy his talents.
Whatever the case may be, Giuliani does, in fact, head for Rome.
1 8 2 0 - 2 3 — Giuliani ist in Rom (from a Beethoven Konver-

sations-Heft)112
Giuliani apparently went to Rome early in 1820 intending to stay
only temporarily. This is the first public notice of his presence in
that city:
Signor Mauro Giuliani, chamber virtuoso of Her Majesty the

Imperial Princess Marie-Louise, Archduchess of Austria, having
come from Vienna, and travelling to Paris, is' now passing through
"^From Heft XI (April 1-14, 1820), See Georg SchHnemann, Ludwig yen
Beethovens Konversationshofte.♦.. Vol. II (Berlin, 1942), 29.
1 31
this city. He is famous for having written 117 instrumental

works, and because he is second to no one in playing the guitar,
“ Diario di Roma. Notizie del Giorno. #16 (20 Apr 1820),
Italian in Appendix I, 36,
Giuliani's provenience and his announced destination tend to confirm the
saying that all roads lead to Rome}
The following month (in May 1820) the visiting artist arranges a
concert, announced in the Dlario di Roma (in its usual florid style):
Mauro Giuliani "lilarmonico, e Virtuoso di Camera" of Her

Majesty the Archduchess of Austria, having returned to Italy his
fatherland from foreign countries, where he has dwelt for 20 years,
will give a concert on the evening of 12 May in the hall of the
palace of Her Excellency the Duchess of Piano, having obtained the
superior permission. The enduring approval with which his produc
tions have been received... in various capitals makes him familiar
to eveiy amateur and artist. Italy, forever a fertile mother and
lover of genius, knows how to appreciate and support those of her
sons who are particularly distinguished.
- Diario. #37 (6 May 1820). Italian in Appendix I, 37.
The event was postponed one week, and took place on 19 May 1820, as .
this review indicates:
Signor Mauro Giuliani Filarmonico, fulfilling his promises

inserted earlier in this paper, gave a public Accademia. both
instrumental and vocal, on the evening of the 19th, in the hall
of the apartments of Her Excellency the Duchess of Piano, We
expected a felicitous fulfillment of his promises, but this ex
ceeded our expectations. It is impossible to describe with what
harmony, precision, agility, and sweetness he is able to draw
forth any sound, loud or delicate, or.robust or tender, from an
instrument which, the more commonly it passes through the hands of
everyone, with that much more difficulty it [falls into the hands]
of someone who is a perfect performer. It is fitting to allow
Signor Giuliani to boast of having seduced us, both with his solo
pieces, and with those accompanied by other instruments. We
recognize in his performance [the mark of] an excellent professor;
in the composition of the various pieces written by him we admire
an accomplished master who, combining modern caprice with the ancient
rules of harmony, travels the paths of true refinement.' We also •
delighted in the aria gracefully sung by the young dilettante,
Signor Vincenzo Galli... etc,
- Diario di Roma. #21 (25 May 1820). Italian in Appendix I, 38.
152
The Isnardi biography states that Giuliani returned to Rome on
3 August 1819 and remained, having found Rossini and Paganini there
(Appendix I, 7). The time factor in his story is certainly in error,
for Giuliani wrote his first letter to Artaria from Venice in November
of 1819, and presumably only reached Rome early in 1820. Furthermore,
the only time that Paganini and Rossini were together in Rome when
Giuliani, too, was there would be the period December 1820 - March
ll"5!
1821, It is quite possible that these eminent musicians did appear
together in concerts at that time, although the Diario di Roma does
not, as far as I know, carry any mention of it. Isnardi states that
the three were known as the "triumvirato musicale" because of the
renowned divertimenti which they presented. We must consider his testi
mony in this regard as questionable until some outside source can be
invoked to verify it. Certainly no scholars of Rossini, or of Paganini,
have ever come upon mention of this unique "triumvirate,"
Nothing definite is known of Giuliani's whereabouts for much of
1821-22. He probably remained in Rome most of the time, teaching and
being patronized in private circles. He definitely entered his daughter
Emilia, b o m in 1813 and therefore eight yearn old in 1821, in the
private Roman convent-school for giiis, L'Adorazione di Gesu. She
remained there circa 1821-26, judging from a statement in one of her
11^
Deduced from information in de Courcy, Paganini the Genoese. I
(Norman, Oklsu, 1957), 202 f., and Yfeinstock, Rossini, A Bio-rraphy (New
York, 1968), 104. Confirmed by Philip Gossett of the University of
Chicago, through private correspondence, January 1970.
1 33
114-
father's letters. We have one definite street address for Mauro
Giuliani, contained in a letter to Artaria, dated Rome, 23 July 1822.
The letter reveals, incidentally, that the composer was at that time
involved in arranging selected Rossini works for the guitar, in the
series Le Rossiniane (Op. 119-124); he states that Ricordi is also
interested in publishing some of them, and quotes a price of 8 Louis.

115
His letter concludes with the phrase, "Via delle Mercede No. 9."
In the spring of 1823 one of Giuliani's brethren from the
Ludlams-Gesellsehaft. the flute virtuoso Johann Sedlatscheck, arrives
in Rome on a concert tour. The two men join forces, as may be expected, .
and their soiree receives the following announcement in the Notizie
del Giomo:
The famous flute professor from Vienna, Giovanni Sedlatzck

[sic], arrived in this city a few days ago. As a provisional
member of the "Cappella Imperiale,11 he had the honor of making,
through his talents, humble tribute to the august sovereigns
recently gathered in Verona. He reaped fresh "laurels" there,
through the approbation of the [sovereigns]. He now notifies the
noble and courteous public that, in the course of the coming week,
he will give a concert with Signor Mauro Giuliani, "Virtuoso di
Camera" of Her Majesty the Archduchess Maria Luisa, equally famous,
and known in this capital. A few vocal numbers will lend still more
pleasure to the affair. It will take place tomorrow evening, 4
April [1823], in a private hall. Entrance tickets for those who
wish to take pleasure in honoring the aforementioned professors
will be purchasable in the ticket agency of the Piazza di Spagna.
“ 0p » cit.. #14 (3 April 1823)* Italian in Appendix I, 39.
See the letter from Mauro Giuliani to Artaria, dated Naples, 25

Sept 1827: "... in cinque anni che ho mantinuta con ogni proprieta
questa bambina nel monaatero di Roma L'Adorazione di Gesu. Alla ragione
di Scudi nove ol mese formnno Scudi 540 che mi sono preggiato di
sborzare per il beno suo, e mio sacro dovere." Vienna,
Stadtbibliothek, J.N. 69733.
11,,Letter in Vienna, Stadtbibliothek, J.N. 69731.
134
The same event received the following brief acknowledgment:
The musical accademia given yesterday by professors Sedlatzch

[sic] and Giuliani had a happy outcome, and they were applauded to
the extent of being invited to give another one, which will take
place — the sooner the better. We will treat the talents of these
professors at greater length presently.
- Piario di Roma. #27 (5 Apr 1823)* Italian in Appendix I, 40.
A complete review of the concert appeared within a few days, written in
the customary florid style of that journal:
Surrounded with a noble corona of the most distinguished

persons, particularly the foreign nobility who grace this capital,
the famous flute professor Giovanni Sedlatzcke [sic] of Vienna, and
the no less celebrated guitar professor Mauro Giuliani, fulfilled
their promise oh the 4th [of April], Sedlatzcke, master of his in
strument constructed by him a new way, three tones lower, and with
it ruler of the hearts of whoever listens, enraptured [us] in the
Adagio with variations composed by him, amazed [us] in the second
Variations, and enchanted everyone with the noble rivalry of the
Potpourri on motives of Rossini, in which he competed with Giuliani,
the composer of this worthy piece.H6 He, in turn, whose great fame
has already been acknowledged for a long time in this city, as else
where, was able, as always, to transform the lowly guitar at the
touch of his magic fingers into as many instruments as he wished,
to express the various affections. He was not second to Sedlatzcke
in receiving through frequent applause signs of the most manifest
satisfaction from the admiring audience. Everyone's expectations
thus remained gratified. Each of the valiant "athletes" revered the
noble "laurels" which he had well merited with his extraordinary
mastery of his respective art, and each left with the audience the
liveliest desire to attend the next accademia. which, it is said,
will be given within a few days, to the full satisfaction of the
public.
- Piario di Roma. #28 (9 Apr 1823). Italian in Appendix I. 41.
A notice of the proposed next concert was carried in the same news
paper on 16 April, stating that it was to take place on the 18th of that
116 *
Undoubtedly the piece alluded to here is Giuliani's Op, 126, which
calls for a normal flute and a terz-guitar, the latter a third higher than
concert pitch. If Sedlatscheck played a flute in A (a so-called "Flflte
d'amour"), then Giuliani would have been able to play his part on a normal,
of prime-guitar. Probably this is what happened on that occasion.
135
month in the Teatro Valle. It was cancelled because of unforeseen circum-

117
stances, and a new date was announced — - 2 May 1823* Whether that
concert ever took place is not known, since a review never appears in the
Piario di Roma following the publicized event. The Piario. one must re
member, was a political newspaper in support of the regime and the papacy,
and only rarely carried news of musical events. We must be thankful for
the few items we have.
Giuliani's musical legacy from his stay in Rome includes the Rossini-
ane, as well as the unique Pot-pourri Nazionale Romano. Op. 108 — a work
which apparently weaves Roman street songs ("Mai na Ponna bella e cu cu,"
or "Portaci una bottiglia con due bicchieri in mano" into its musical
texture. The autograph of Op. 114, Gran Variazioni on Carafa's aria,
"OhJ Cara memoria," has been preserved, and it bears the words, "Mano
113
propria Roma 1. Ottobre 1823.” As far as publishers are concerned,
the "Roman" works are divided between Cappi and Piabelli of Vienna, and
Giovanni Ricordi of Milan.
18 2 4 — 29 — Vedi Napoli, e puoi muori!

- Italian proverb.
Paganini was in Naples in 1820, At that time, in a letter presumably
to Germi, he wrote his impressions of how the cultivation of the guitar
117
The new date, 2 May 1023, was carried in the Notizie del Giomo.
No. 17 (24 Apr 1823).
Tift
The autograph of Op, 114 is in the Archiv der Gesellschaft der
Musikfreunde, Vienna.
136
had declined there. We recall that there were excellent virtuosi in
Naples some fifteen years earlier (Appendix I, 8), But now, prior to
Giuliani's arrival, Paganini had this to say:
... My quartets will perhaps be consigned to the flames. Keep

away from bad guitarists. In Palermo there are only mediocre
guitarists who play waltzes, variations, and other pieces by
ear? but they can't produce a chord; which is why I haven't
heard the quartets. I tried to have a go at them in Naples.
There was Zefferini, 'cello, a discreet viola, and one of the
best guitarists in Naples, but to my surprise he couldn't bring
forth a proper tone and hadn't any idea of a chord. So we
stopped offending the ears..,H9
Where once there had been artistic rivalry, and innumerable guitar
teachers, now there was no one accomplished enough to play in one of the
Paganini guitar quartets. Thus, when Giuliani arrived in Naples in
October/ November of the year 1823» he found no serious challenge
to his artistic primacy. His reasons for going to Naples probably in
cluded: (l) his desire to be where the wealthiest patrons and the most
prestigious nobility south of the Alp3 would be gathered; and (2) Giuliani
may very well have been ailing, and would have sought the beneficial
climate of Naples for reasons of health. He alluded to possible health
problems, although he avoided disclosing their nature, already in his
letter of 20 Nov 1819 (Appendix II),
The city which Giuliani discovered at the foot of Vesuvius was a
liq • . .
Paganini's letter is dated 3 Hay 1820. See de Courcy, Paganini
the Genoese, Vol. I (Norman, Okla., 1957), 200.
120
Isnardi errs in stating that Giuliani "departed for Naples finally
on 8 July 1823" (Appendix I, 7). The autograph of Op. 114 indicates that
he was still in Rome on 1 Oct 1823.
137
large, busy metropolis governed by a thoroughly entrenched aristocracy of
the Bourbon line. The Court of Naples was certainly pompous enough in
regard to its ceremonies, state functions, and entertainment, to rival the
precedent set by Louis XIV at Versailles, The official Giomale del Regno
delle Due Sicilie catered strictly to the nobility. It was a kind of royal
chronicle which recorded King Ferdinand I's every move, whether it be
political (presiding at a council of the Ministers of State), religious
(hearing a sermon in some church, or venerating the blood of Saint Gennaro),
or social (attending a musical performance, usually an opera). There were,
incidentally, seven theatres in Naples at that time, most of which regular
ly put on operas in season, as well as plays: 1. Real Teatro di San Carlo,
2. Real Teatro del Fondo, 3. Teatro dei Fiorentini, 4. Teatro Nuovo, 5.
Teatro S, Ferdinando, 6. Teatro San Carlino, and 7. Teatro Fenice. In
addition, there were rooms available in various palaces for more intimate
musical gatherings, .Predictably, Giuliani preferred the latter surroundings.
An important thing to bear in mind, in regard to the Giomale delle
due Sicilie. is that it carried mention of concerts and operas only if they
were attended by the higher echelons of the nobility. The tone of its
"reviews" reflects the royalist bias of the editors quite clearly. Here is
the first mention of Giuliani in Naples, as a case in point. The audience,
we notice, is given as much attention as the artist.
The same evening [report dated 26 Nov 1823], in the Palazzo di

Calabritti, a vocal and instrumental accadcmia -was given by Signor
Mauro Giuliani, professor of the " L i r a . T h e audience was very
Giuliani played the lyre-guitar (v. supra, photograph on p. 4) on thi3

and on many other occasions in Naples. The cult of antiquity there (cf. the
ongoing excavations at Pompeii) was no doubt a factor in his decision.
138
flattering for him, both in its quantity and in its quality. There
were not a few distinguished foreigners numbered among the group. The
musical concerti were masterfully executed, and the illustrious pro
fessor reaped the specific and deserved applause of the select
audience.
- Giomale delle Due Sicilie (26 Nov 1823)» 1134. Italian in
Appendix I, 43.
Giuliani's first letter from Naples to his steadfast friend and
publisher, Domenico Artaria, is dated 16 Jan 1824. It is quite lengthy,
and deals with business transactions — - particularly those involving Cappi
and Diabelli. One passage in that letter gives us reason to believe that
Giuliani had never previously been familiar with the city of Naples (cf.
Appendix I, 5 and 10), even if he were bora in the Kingdom of the Two
Sicilies, The context of the statement is that Mauro’s ailing father
(Michele) had come to Naples from Trieste to seek his son's consolation.
Michele died there, presumably in December 1823, duly attended by Mauro..
The 1itter works this news into his letter of 16 Jan 1824 in this way:
The only thing which could oblige me to take this fatal step
[breaking all dealings with Cappi and Diabelli] was for me the loss
and death of my poor father here in Naples, a city foreign to me...
Doctors, food, nothing helped. He lived for me at enormous expense
for a month, and then died. This was my ruin... [Emphasis mine].
At the end of the letter, Giuliani mentions his plans to return to Vienna:
I will be in Vienna about the month of April [1824], or May at the

Jntest, where I hope the outlook will change, I feel that I have not
only the power to be thankful to my sincere friends, but also the
force to chastise [Cappi & Diabelli], inasmuch as they merit not only
my disdain, but also celestial revenge.^22
■^"Solo pot?: obligarmi a questo passo troppo funesto per me la perdita,

e raorte del mio povero Padre qui in Napoli, in una citth. estranea per me...
Medici, alimente, niente giovo, mi visse con enorme spese per un mese, e
poi morx. Questo fu il guasto mio... Io sare a Vienna circa il mese df
aprile, alia piu lunga Maggie, dove spero che il tutto cambiora d'aspetto,
e mi sento non solo il potere di essere grato a tutti i miei amici sin-
139
There is no evidence to suggest that Giuliani ever did return to
Vienna in 1824. It is puzzling, however, not to find direct mention of
his presence in Naples in the Giomale delle Due Sicilie of that year,.
either. The letter of January does tend to confirm that the composer was
having his ups and downs with illness. His manner of expressing himself
implies that he had recently recovered some "force" or "power," which
previously might have been lacking.
One event which would have tended to encourage his remaining in
Naples in 1824 was the arrival of his patroness, Marie-Louise, for an
extended royal visit. It is fascinating to read accounts, published in
the Giomale almost daily, of the way she was entertained. It all started
on 18 Hay 1824, when she was officially welcomed by the Duke of Calabria.
Her activities over the next several months included attendance at gala
performances of Rossini operas, a boat ride in the Bay of Naples, a renew
of the Austrian troops on 28 May, followed by an ascent of Vesuvius, a
visit to Pompeii, and then an excursion to Sicily. On 9 July she is
reported at a "festa" (lasting five days and five nights) in Palermo. It
would not be at all presumptuous to assume that her personal chamber virtuoso
Mauro Giuliani, traveled in her retinue during.those months, lyre-guitar in
hand, available to make music during the more serene moments of her stay.
King Ferdinand I was ailing during the latter part of 1824, and early
in 1825 the Giomale delle Due Sicilie carried the notice of his death:
ceri, ma bensi la forza di gastigarli que tali, che meritono non solo il
mio disprezzo, ma la vendetta celeste," Vienna, Stadtbibliothek, J.N.69732.
140
123
*'Sua Maesta il Re del Regno delle Due Sicilie Ferdinando Primo non e piu."
He was succeeded by Francis I. This demise tended to discourage the nobility
from attending musical entertainment, and thus it is not surprising not to
find mention of Giuliani in the surrounding months. Even when the illus
trious Paganini gives an accademia early in the spring of 1825, announced
with the words, "II filarmonico Signor Paganini dar& un'accademia, facendo
sentire il suo violino..." — - that is, he will "let his violin be heard" —
124
he receives no coverage in the Giomale. He undoubtedly did not attract
the attendance of the upper ranks of the nobility so soon after Ferdinand’s
death.
Giuliani, in conjunction with the "extemporaneous poet," Matteo Gaspare
Leonesi (Lionesi), fares better the following month. The review of this
event gives a priceless insight into the kind of self-glorifying, "precious"
entertainment of which the ruling circles of the Court of Naples were fond:
Signor Matteo Leonesi, extemporaneous poet, to whom, as we have

already acknowledged earlier, the trials of the strict Melpomene [muse
of tragedy] are familiar, has already begun with happy auspices to deal
with the "lyre" of the versatile "Polinnia" on the banks of our "Sebeto."
Indeed, the proofs of quick intelligence shown by him [Matteo
Leonesi] a few evenings ago in the house of His Excellency the Consu—
lar Minister of State Marquis Tommasi won him the applause of the very
select persons in attendance, among whom were various Minister Sec
retaries of State, and Directors of Royal Secretariats and Ministries of
State. '
Signor Leonesi improvised on a number of very brilliant themes,
both heroic and conventional. Using various meters according to the
subjects, he displayed above all singular ability in the ottava, which
he did not chant, but rather declaimed with great rapidity, which re
quires great suppleness of intellect. "Aetna," "The Death of Priam,"
• ^ G iornale,.. (4 Jan 1825)/ The king died the previous day.

124-
The announcement of Paganini’s concert appeared in Op. cit.. No. 87
(14 Apr 1825), 548.
1 41
and "The Excavations of Pompeii" were subjects happily treated in

such difficult meters. In the last of these much precision was noted
in the depiction of those precious remains of antiquity; widespread
applause was evoked by the eulogy of the august Bourbon dynasty,
during whose provident reign we are indebted for the discovery and
conservation [of Pompeii]. But the rapid stream of Leonesi’s crea
tive fancy was noted still more in the sonnets on contributed rhymes
and words, of which he composed several rather rapidly on this occa
sion, and several of which, either read from the first verse down, or
from the bottom verse upwards, always made sense in a well-connected
and computed way with respect to the proposition. Among the sonnets,
two particularly were admired more than the others: one on the punish
ment of Simon Magus [Act3 8:9-24], the other on the death of Socrates.
In his Anacreontic odes our poet was accompanied with the guitar
of Signor Giuliani, who is one of the most esteemed "pulsators" of
that modern "cetra," and who pleasurably diverted the noble audience
with his graceful performances during the intervals of Leonesi's re
pose. We shall have occasion to speak of him [Giuliani] at greater
length when this artist gives a public display of his talents.
- Giomale... (10 May 1825), 436. Italian in- Appendix I, 44.
On 9 January, and again on 25 April 1826, public "academies of ex
temporaneous poetry" were announced in the Giomale. Giuliani could well '
have participated in them. We shall never know if he did, or did not,
since we lack a review. On 19 May 1826 the contrabasso Antonio dall’Occa
gives the vocal part of an accademia vocale e strumentale. The review
(from 20 May) states that the pieces by Signor dall’Occa "were preceded
and followed by several musical works executed by a number of the most dis-
125
tinguished artists now residing in the capital." Unfortunately no names
are given; again Giuliani may have been a participant in the soiree.
125
"I concerti del Sig. dall'Occa furono preceduti e seguiti da alcuni
pezzi di musica esequiti da vari de'piu distinti artisti che oggi si
trovano in questa capitale." Giomale...(20 Kay 1826).
142
In the autumn of 1826 our guitarist receives the honor of being heard
by King Francis I at the royal retreat of Portici, as this review indicates:
We have mentioned at other times the eminent performer on the

guitar, Mauro Giuliani. His style of playing truly sweetens and changes
the character of such an instrument, so that with it he succeeds not
only in pleasing, but also in moving. We should congratulate him for
having obtained the warm applause of their Royal Highnesses at the
royal sojourn of Portici yesterday evening, when he executed in the
presence of Their Majesties various dazzling concerti on his so-
called Lira di Aoollo.
- Giomale.... No. 248 (26 Oct 1826). Italian in Appendix I, 45.
The following month the same newspaper carries this item:
We understand that Signor Mauro Giuliani, professor of music, and

chamber virtuoso of Her Majesty the Archduchess Marie-Louise Duchess of
Parma, is preparing to leave our capital. We extend our wishes that
he may encounter always a fortune corresponding to his merit.
This most skilful artist made the guitar undergo a sort of trans
formation; he knows how to draw from it sounds of such suavity as to
arouse in the listener the most agreeable emotions. The Neapolitan
public has done him justice during his stay among us, and he has had,
at the end, the singular fortune of giving a display of his very great
expertise in the presence of Their Majesties, who applauded him in a
rather flattering way, as was previously mentioned in No. 248 of our
journal. He has enjoyed also the honor of Her Majesty the Queen’s
attendance at the academy lately given by him in the Teatro de'
Fiorentini.126
~ Giomale... .No. 277 (50 Nov 1826). Italian in Appendix I, 46.
Nothing has come to my attention which would confirm that Giuliani
ever did leave Naples in the winter of 1826/27. There were certainly worse
climates to be encountered to the north, and Giuliani must still have been
Only one such "accademia" was announced in the Giomale in the weeks
prior to this notice. It was in No, 256 (6 Nov 1826), under "Spectacles":
"Teatro dei Fiorentini. L'Armadio de'prodigi [an opera] — Accademia istru-
mentale [potentially Giuliani’s]." Joint vocal and instrumental productions
like this were quite common.
143
suffering from his illness. One could speculate that he might have gone
south to Palermo, rather than north. A definite answer awaits further
research. The Giomale delle Due Sicilie unfortunately contributes nothing
to our knowledge of the composer's whereabouts in 1827.
If he did leave Naples in the early part of the year, he was un
questionably back by September, The letter which he writes to Artaria
telling of his having maintained his daughter (Emilia) in the Roman con
vent school, L'Adorazione di Gesu. is dated Naples, 25 Sept 1827. In the
same letter Giuliani confides to Artaria that he intends to establish him-

127
self in Naples "for the time being," i.e., presumably for the winter.
That the composer did remain in Naples during the winter of 1827/28
is suggested by the fact that he gave a concert there with his daughter,
Emilia, early in February 1828:
On the evening of the 6th [of February 1828] Signor Mauro

Giuliani, famous professor of music, and honorary chamber virtuoso
of Her Majesty the Archduchess [Marie-Louise], Duchess of Parma,
gave an accademia istrumentale e vocale in the Teatro Nuovo. The'
guitar pieces executed by him and by one of his daughters named
Emilia, aged 12,128 pleased so much, that he and this young lady, for
whom we have great hopes, were repeatedly applauded, and ultimately
"chiamati fuori" [called forth, given a curtain call] by the public.
- Giomale... No, % (13 Feb 182l), 144. Italian in Appendix I, 47.
Exceptional in this review is the lack of any mention of Neapolitan nobility.
One might regard this as a tribute to the guitarist's reputation and name.
"... in Napoli, sita dove penso di collocaimi per ora..." Vienna,

Stadtbibliothek, J.N. 69733.
123
Emilia was b o m in 1815; thus she was age 14 or 15 in 1828.
144
Mauro Giuliani addresses a letter the following month from Naples to
Domenico Artaria in Vienna, detailing his disappointment at how that
publisher had handled certain financial transactions. Giuliani again •
asserts his intention of returning to Vienna in the spring, perhaps to
back up his demands for fair treatment, with these words:
... I ask you [Artaria] to be precise in writing to me, and to

arrange all this immediately, since if you delay I will no longer be
in this capital, having decided to take a trip right after Easter.
Surely by autumn I will be in Vienna, as I have not been able to
forget my reception there, nor the good "sequins" [money] which I
earned from my concerts. I hope that, as the Viennese have been
generous to me in the years of my stay there, they will be all the
more so to me now, since perhaps they will find my technique improved.
The guitarist’s letter, which in its way amounts to a veiled threat
to Artaria, apparently provokes a speedy reply. That generally reputable
music dealer dispatches to him a proposal which involves acquisition of
the latter's Op. 147 and 148. All this can be inferred from the final •
known letter from Giuliani to Artaria, dated Naples, 13 May 1828, in vMch
130
these affairs are treated in a cooly professional way, ^ Thus the last
prose communication from the guitarist which has come down to us consists
merely of business negotiations, and contains no mention of the author's
physical 3tate or other insights of a personal nature.
One may reasonably infer that Giuliani was deteriorating physically
from the fact that within, six months of the posting of the above letter he
fails to appear in public at the concert of his daughter, Emilia. Normally
Italian in Appendix I, 48. Letter dated 8 March 1828, in Vienna,

Oesterreichische Nationalbibliothek, Ilss.-Sammlung, call no. 117/29#
■^^Letter in Vienna, Stadtbibliothek, J.N. 69734.
145
in such a situation he might at least have joined her in a duet for two
guitars. But that did not happen in October 1828, as this report indicates:
Yesterday evening Her Majesty the Queen graced with her presence
the Real Teatro del Fondo, along with Their Majesties the Prince and
Princess of Salerno, and Princess D, Maria Cristina. There was an
evening performance by Signora Emilia Giuliani, a young lady of 14
years, and daughter of the celebrated guitarist. In the concerti
that she executed between the acts of the opera Gianni di Calais she
showed herself to be not only a worthy disciple, but also an emulator
of her father. She earned the full applause of the royalty and of
the public.
- Giornale... (9 Oct 1828), 944. Italian in Appendix I, 49»
The winter of 1828/29 is shrouded in silence, as far as clues to
Giuliani's existence are concerned. Presumably he remained in Naples,
confiding the subtlest secrets of his art to the one member of his family
who must have been his greatest consolation, his daughter Emilia.
Mauro Giuliani's death on 8 May 1829 is announced in the Giornale
delle Due Sicilie with these words:
On the morning of the eighth of this month [May 1829] Mauro

Giuliani, the famous guitarist, died in this capital. The guitar
was" transformed in his hands into an instrument similar to the harp,
sweetly soothing men's hearts. He is succeeded by a daughter of
tender age, who shows herself to be the inheritor of his uncommon
ability — a circumstance which alone can assuage the sadness of
this loss.
- Op.cit.. No, 111 (14 May 1829), 444. Italian in Appendix I, 50.
146
In the Wake of Giuliani
Approximately four years after Giuliani’s death, by which time the
guitar cult had thoroughly swept Paris and was just at its peak in London,
some of our composer’s former colleagues (and possibly students) from
Vienna started a "Guitarist’s Magazine" in London that perpetuated his
name: The Giulianiad. Active among its promoters were, presumably,
Ferdinand Pelzer (1801=1860J,1^1 Leonhard Schulz (the younger),1"52 and
Felix Horetzky.155
Prior to the appearance of the Giulianiad. which ran from 1833 until
1835, periodic publications devoted to the guitar were numerous. However,

134
these contained only music. The Giulianiad differed from its earlier
131
Pelzer's dates are taken from Zuth, Handbuch der Laute und Gitarre.
F,V, Grunfeld, in The Art and Times of the Guitar (Hew York. 1970). 214,
asserts that Pelzer published the Giulianiad.
152See the Giulianiad. I, No, 5 (London, 1833), 50, where the brothers
•Schulz are mentioned,
133
Zuth, in his Handbuch der Laute und Gitarre, states that Horetzky wa3
a student of Giuliani's, and settled in London as of c» 1820, Horetzky's
name appears often in the Giulianiad.
134
The earliest such guitar publications known to me appeared in St.
Petersburg, starting in 1796, with the Journal d’ariettes avcc accompagne-
roent de guitare par A.F. Millet. In 1797-98 a Journal de Guitaro par J.B.
Hainglaise appeared, presumably containing solos for six-string guitar.
Soon thereafter Andreas Sichra published his Journal pour la guitare a 7
cordes pour l'nnnee 1802. in Moscow. The complete bibliography for these
Russian publications has been prepared by Boris Vol'man, and includes 15
entries between 1796 and 1828. I sent a copy of Prof. Vol'man's manuscript
compilation to the Zentralstello fttr Muoikbibliographie des 19. Jahrh., 5
Koln-Lindenthal, Albertus-Magnus-Platz, Germany. Besides the Russian "jour
nals," there were also French ones, such as Lc Troubadour ambulant, journal
de gultare (founded 1817), and Le Nouveau mdnestrel du nord, .journal do
guitaro (Lille, prior to 1822), Thus it is false to maintain, as many
sources do, that the Giulianiad was the first periodical publication ever
devoted to the guitar.
147
cousins in that it had articles and anecdotes in a separately paginated
text section, in addition to music.
One finds moving testimonies to Giuliani's skill and musicianship
within the text — statements such as this:
Those who have ever heard Giuliani touch this instrument will
not hesitate one moment in confirming this. That unrivailed per-
former brought tones as pure, as thrilling, and almost as sustained
as the violin itself — but, of course, we do not insist that because
this wonderful produced these sostenuto sounds, that it is a
characteristic of the instrument itself — this only proves the
triumph of true genius over great difficulty.
“ giulianiad. Vol. I, No. 1, text section, p.4.
There is a whole eulogy devoted to Giuliani, as one might have ex
pected, in the first issue of the magazine. It is reproduced in facsimile
in the Guitar Review. No. 18 (New York, 1 9 5 5 ) In it we read that:
.., The tone of Giuliani was brought to the greatest possible

perfection; in his hands the guitar became gifted with a power of
expression at once pure, thrilling, and exquisite. He vocalized his
adagios to a degree impossible to be imagined by those who never heard
him ■— his melody in slow movements was no longer like the short un
avoidable staccato of the piano-forte — requiring a profusion of
harmony to cover the deficient sustension of the notes — but it was
invested with a character, not only sustained and penetrating, yet of
so earnest and pathetic a description, as to make it appear in reality
the natural characteristic of the instrument. In a word, he made the
instrument sing. It may be easily supposed that with this singular
1’
55
See pp. 6-8, The facsimiles from the Giulianiad reproduced in that
issue of the Guitar Review do not give the slightest indication of the true
makeup of the original journal. Here is a table of concordances; note that
the Giulianiad pagination must always be qualified'as to whether it is text
or music: .
— G.k.,No.l8 _ Giulianiad
pagination ~ Vol. No. Original pagination
5 = I 1 title page
6 - 8 = 1 1 6-8 (text)
148
faculty of giving expression to melody, Giuliani gave to the guitar

a character which, it was thought before, was totally alien to its
nature. It is necessary that we should dwell on this characteristic,
or style of Giuliani's tone, and that the reader should remember it,
because it is one which belongs exclusively to his school, and [since],
as we are persuaded, it is the most effective and best, we shall take
every means of enforcing it in our future numbers.
We need not tell the experienced reader that it is by the elastic
touch of the fingers of the right hand (properly supported, of course,
by the pressure of the left) that this, the ne ulus ultra of tone in
guitar playing, is to be attained. Without great attention to the
disposition of the right hand, the slightest approach to this beauty
cannot be effected. But in another number of this work we shall more
minutely discuss its acquirements, although all attempts at description
must fall infinitely short of the practical example and instructions
of a good master.
But Giuliani's tone however perfect in itself was secondary, as
it ought to be, to the grand quality of expression. Tone is only the
means to an end — that end being expression; without expression,
tone is like the rough diamond in the mine — intrinsically valuable,
it i3 true — but as yet unpolished, uncut into brilliance and beauty,
About twelve months ago,^36 Giuliani paid the debt of nature. In
him the little world of guitar players have lost their idol: but the
compositions lie has left behind will, we have no doubt, pay every
hommage of respect and admiration.
* * * *
9-10 a I 3 27-28 (text)

11-12 =t I 6 56-57 (text)
13 =* I 1 12 (text)
14-15 =J I 1 6-7 (music)
16 a II 11 155-58 (mu,sic)
1"56
It v7as actually over forty months that Giuliani had been dead.
149
CHAPTER III
MENSURAL NOTATION
AND THE GUITAR —
SOME NOTATIONAL ASPECTS
OP GIULIANI'S MUSIC
A Historical Introduction to Mensural Notation for the Guitar
During the latter half of the 18th century — contemporary with the
emergence of the classic, six-string guitar — the traditional systems of
tablature were superseded by a primitive form of mensural notation for the
instrument. Mensural notation, in this chapter, is to be understood simply
as conventional notes (pitch/ duration symbols) on a 5-line musical staff,
Jean-Jacques Rousseau gives what may be the earliest testimony to the change
over, in the definition of tablature in his Dictionnaire de Musinue (Paris,
1768):
,,, As the instruments for which one employed tablature are for the
most part no longer in use, and as the ordinary note has been found
150
more convenient for those which are still in use, tablature is

[now] almost completely forsaken, and only serves for students'
beginning lessons.1
One of the most worthwhile investigations that could be undertaken
on behalf of the classic and pre-classic guitar would be to uncover and
study some late-18th-century pieces of solo music written in mensural
notation. Such music is very difficult to find, however. As I mentioned
earlier, the oldest examples of mensural notation for guitar known to me

2
at present are in methods and tutors from the period c. 1780-1800, But
printed methods with their arpeggios and scales are one thing, while guitar
music is another. The latter presupposes two conditions: (l) There must
be widespread agreement on the pitches and pitch names of the various
strings. (2) There has to be enough general interest in playing solo
guitar music to overcome the difficulties inherent in copying and/or
printing and distributing it. In other words, the "aural11 tradition —
the facility which many musicians have to "pick up" by ear something which
they hear someone else playing — must prove inadequate and inferior to
the written tradition, and must succumb to the qualitative superiority of

3
carefully composed, well thought-out art music for the guitar.
With respect to the first precondition for mensural notation — pitch
"Comme les instruments pour lesquels on employoit la tablature sont la

plflpart hors d'usage, & que, pour ceu>: dont on joue encore, on a trouve la
note ordinaire plus commode, la tablature eat presque entierement abandon-
nee, et ne sert qu'aux premieres lepons des ecoliers,"
See footnote 17 of my Introductory Remarks (p.19).
^Spanish native "flamenco" guitarists have never abandoned the "aural"
tradition. The transmission of that style of playing from teacher to pupil
persists even today, without the assistance of any musical notation.
names for the strings — it appears that in the 17th century a consensus
was forming in Mediterranean Europe that the baroque guitar would be tuned
Adgbe'. For example, Sanz attempts to show his reader how to realize
a basso continuo on the Spanish (i.e. baroque) guitar in 1674. The con
ventional tuning of that instrument is easily inferred from various parallel
examples of the continuo and suggested realizations given by Sanz in tab
lature form in folios 33-35r of his Instruccion. Here is a small excerpt

4
from the Exemplo de la quarts regia:
(Example l)
(basso continuo) £
*
#
*
#
(Sanz's realization) £ *
* *
*
(Author's transcription)
This demonstrates that the strings of the guitar, as Sanz understood it,
were by convention tuned A d g b e ' , It must be remembered that Sanz was
highly educated, and had traveled to Maples and Rome prior to writing his
Instruccion. In the Prologue he speaks of "having gathered together the

5
best rules from my teachers in this respect in Rome and Naples..."
If one adds to Sanz's testimony the fact that much of Italy wa3 under
^Gaspar Sanz, Instruccion de Musica cobra la guitarra espanola...

(Saragosa, 1674), facsimile with commentary by L. Garcia-Abrines. (Saragosa,
1966), XCV. The music in Ex, 1 is found on p. CII (folio 34 recto).
W cit.. LXII (folio 6V).
152
the political control of the Spanish Hapsburgs between 1504 and 1647,
then one derives the picture of an axis of cultural exchange in the 16th
and part of the 17th centuries between Italy and Spain, whereby the former
probably imported the figure-8-shaped guitar (chitarra spagnuola) from
the latter. Spain, on the other hand, acquired its lute and guitar tabla
ture system (featuring movable type) from Italy. Luis Milan, publishing
in 1535-56, is reputed to be the first Spaniard to have applied it to the
vihuela, thirty-odd years after it had been invented and used in its home
land. Spain also seems to have learned of the basso continuo. and how to
adapt fretted instruments to the realization of the same (as in Ex. l),
from Italy. Additional research is bound to turn up guitar methods by
Sanz's Italian teachers: Foscarini, Caspergier, Pellegrini, Giovanni
Battista Granata, Corbetta, and perhaps Doizi de Velasco (a Portuguese
working in Naples c.l650).° Ultimately, the first steps toward integrating
the baroque guitar into the system of mensural notation, by fixing the '
tuning of its strings in relation to absolute pitch, will no doubt be
traced to this circle of guitarists working in Italy in the first half
of the 17th century.
It is a long way from theoretically assigning pitch names to guitar
strings for the sake of a basso continuo realization, to developing a
viable system of mensural notation, such as the one Giuliani knew. Few
17th-century, aiid fewer 18th-century guitarists ever competed with harp
sichordists (or even with lutenists) for jobs involving the realization of
60p , cit,, XV-XVI,
153
a thoroughbass. Thus, for all practical purposes, there was no good
reason for guitarists to abandon their little world of tablature. Yet
the latter amounted to a form of self-defeating and unnecessary artistic
isolation. It finally became obsolete in the mid- to latter-18th century.
Considering the clear theoretical (if not practical) precedent of
associating the baroque guitar with the bass clef (as in Ex. l), why
didn't guitarists simply adapt bass-clef notation to their immediate needs?
The answer lies probably in the fact that Italian instrumentalists of the
18th century were heirs to a very active and flourishing school of violin
playing. A substantial majority of Italian guitarists must have played
the violin, or had teachers who did, I believe that a consensus formed
in this milieu that violin notation could be adapted to the guitar. Bas
ically that was how classic guitar music, as we know it, came to be.
"Primitive" Mensural Notation for the Guitar
Ve have already seen what a tremendous role violin makers played in
endowing the classic guitar with its shape, and in establishing certain
characteristics of its construction. It is not surprising, then, to find
that the guitar inherited violin notation when it took the fateful step
into mensural notation. What do we mean by violin notation, and why, when
we apply it to the guitar, do we call it "primitive?"'
First. music for the violin is notated on the "violin," or G-clef,
commonly called the treble clef. The guitar always centered itself in the
with permission of the copyright owner. Further reproduction prohibited without permission.
1 54
bass range, however, so from the start there was a convention that it
would sound ah octave lower than written*
Second, the earliest and most violinistic "primitive” guitar notation
would make use of the violin's system of indicating the position on the
neck, that is, solely in reference to the interval above the open string,
A conversion table is useful when dealing with such a situation, and the
one that follows shows how a guitarist can tell approximately what fret is
called for when he encounters violin positions in the earliest classic
guitar music.
The position for . The interval above The fret on / , .. \

the violin: “ the open string: the guitar: (^^lon)
la posizione + 1 « a second = I or II (minor or maj. 2nd)
2a posizione + 1 =» a third = III or IV (min. or raaj. 3rd)
. 3a posizione + 1 a a fourth « V (normally a perfect 4th)
4a posizione + 1 = a fifth = VIl(normally a perfect 5th)
etc.
Third, there is the subtle matter of musical calligraphy — musical
handwriting — if one may so speak. A composer writing for the violin in
the 18th century would never seriously and consistently attempt to denote
anything like separate parts, or voices, by means of the direction of note
stems. It was simply not realistic in view of the violin’s limitations,
By convention, multiple stops on the violin were, and still often are,
aligned on a single stem or tail. This system (juat like lute tablature)
is entirely adequate for denoting when two or three notes should be sounded
together. But it generally does not reveal how long the various parts
155
might be sustained, except in the case of the note values in the rhythmical
ly most active line. This was no drawback for the violinist, who could not
really sustain more than one voice with any consistency, anyway. And,
surprising as it may seem, this was no problem for the early classic gui
tarist, either. All a good lutenist or guitarist has to know, after all,
is when to strike the notes. His musicianship will guide him in the prob
lem of which lower voices, for example, should be deliberately sustained,
and for how long.
It is fascinating to encounter this unmistakable violin notation as
"primitive" guitar music. It is the equivalent of two-dimensional pictorial
art, if an analogy may be made. The frescoes of Giotto, it may be argued,
effectively reduce three dimensions to two without revealing any aware
ness on the part of the artist of depth, The perspective which Giotto
presumably saw in the world around him does not show up in any objective
way in the painting. Similarly, the guitar in reality had the depth and
dimension of a polyphonic instrument from the beginning, being the right
ful inheritor of the techniques, resources, and notation of the lute.
Lute tablature had never revealed to the eye the "depth1' of musical tex
ture which it contained, and still there was polyphony. When the guitar
took on the notation of the violin, the de facto existence of two or more
parts in the music was likewise not made to stand out visually, at first,
A beautiful example of this "primitive" guitar notation is reproduced
in facsimile in the next several pages. It is part of the very first work
which Giovanni Hicordi, founder of the Casa Ricordi of Milan, published, and
156
to which he assigned the plate-number I: Antonio Nava’s Le Stagioni

7
dell’Anno in quattro sonate a solo per chitarra francese.... The pub
lication of the work dates from the founding of the Ricordi firm, that is,
8
1808. But the music, and especially the musical calligraphy, are typical
of late-18th-century practices, One should note how there is almost no
spot in the music which is not susceptible of being "bowed,” if that image
may be used to show how violinistic the notation appears. One should also
notice the "4a posizione" indications (which l’efer to fret VII). in the
second movement (page 2).
7
This work is' discussed in some detail in my article, "The Role of Italy
in the Early History of the Classic Guitar: A Sidelight on the House of
Ricordi. Part I: The Earliest Music for Classic Guitar"(suggested title),
to be published in the Guitar Review (New York, 1970 or ’7l). The chitarra
francese was synonymous with the classic, 6-string guitar,
p
Claudio Sartori, Casa Ricordi 1808-1958. profilo storico (Milan, 1958).
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160
The reason the foregoing notation is considered primitive for the
guitar is that practically no effort is made in it to differentiate the
melody from the accompaniment by means of the direction of note stems.
I suspect that this manner of writing was widespread in Italy in the latter
decades of the 18th century, although no datable examples of it from that
period have yet come to my attention, A very good reason for the virtual
non-existence of such music today is that there were very few viable,
9
worthwhile music-printing establishments in Italy during those years.
Practically all of the great names in music printing in the decades surround
ing 1800 were north of the Alps.
How, then, was music disseminated in Italy in the late 18th and early
19th centuries? The answer is that music was copied and recopied by hand
in the well-entrenched institutions known as conisterie. Witness what an
Italian correspondent of the Leipzig Allgemeine muslkalische Zeitung said
of the situation in 1805:
Here there is not a.single music dealer worthy of the name. Naples
has. 157 establishments for copying music, that is, cubbyholes where
music (the overwhelming majority vocal pieces and fleeting popular
tunes) are copied out by hand; but there is not a single important
publishing house in all of Naples, or for that matter, not a single
one in all of Italy.
The- implication is that if any late-18th~century Italian classic guitar music
has survived, the chances are very great that it would be in manuscript form,’
q
I can cite only Marescalchi & Canobbio, and perhaps a "Calcografia al
Gigante," publishing music in Naples prior to 1800.
^.AmZ. VII, Ho. 55 (29 May 1805): "... hier lceino einzige Musikhandlung
ist, die diesen Namen verdient. Neapel hat 157 Kopisterieen - d.h. Gewolber,
vro Musik (bey weitem am meisten Vokalmusik und zwar flUchtige Modesachen)
abgeschrieben wird; aber ganz Neapel hat nicht eine irgend bedeutende Ver-
lagshandlung - ja, ganz Italien hat, genau genommon, nicht einoj" (col.562)
161
Prior to Giuliani's advent, that is, during the first six years of
the 19th century, guitar music in primitive notation was common in Austria
and elsewhere, as well as in Italy. For example, Leonhard von Call was
writing in this way in 1804 in Vienna.^ Ferdinand Carulli also notated

12
his music in this manner, in the few works which he was able to publish
in Vienna before being artistically displaced, we presume, by Giuliani, and
moving to Paris. The change-over from primitive notation, to a style which
more accurately reflected the true musical situation vis-h-vis the guitar
was to be a great achievement of Giuliani's generation, if not of Giuliani
himself.
Toward Accuracy in Guitar Notation — The Intermediate Stage
The one glaring, and unnecessary, weakness of violinistic mensural
notation was that it didn't give the performer any hint of how long to
sustain the various parts. It did not accurately reflect the separate com
ponents of melody and harmony which were always present and audible in solo
guitar music. The time was ripe around 1800 to correct this deficiency, and
to break away from the restrictions — especially the calligraphy — of
violin notation,
■^Call was a kind of "Gesellschafts-musikant," to put it charitably, who

labored in the shadow of Giuliani, producing countless serenades for guitar,
violin (or flute) & 'cello. The work in primitive notation to which I refer
is a set of variations for FI & G, publ, Mollo, pi,nr. 1402. COPY: Vienna,
Stadtbibliothek, Me 28809. Call also published 16 Landler for Pfte & G,
Artaria 2232, as late as 1812, with the guitar part in primitive notation.
^^Two of Carulli*3 work3 in primitive notation publ. by Artaria include
a Fantasia. “Per Sturm," pi.nr. 1893 (COPY: Vienna, Stadtbibl., Me 13B6Q),
and Variasioni for guitar, pi,nr. 1894 (Me 13861), both adv. in the Wiener
Zeitung. No. 42 of 27 Hay 1807.
162
I hesitate to say that Giuliani was responsible for introducing the
consistent use of note-3tem direction as a device to differentiate the
parts of his music (melodic and harmonic), even though he is among the
earliest composers for the classic guitar, and there is not a single
original edition or autograph of his known to me which is not notated in
this improved manner. Other composers who may share the honor of propa
gating this improvement in notation are the Vienna-based Simon Molitor, and
the Neapolitan Federico Moretti. The former wrote in the preface to his
Op. 7, Sonate (Vienna: Artaria & Co., pi.nr. 1856, first advertised in the
Wiener Zeitung. No. 42 of 27 May 1807):
As a justification of the manner of writing which I have

adopted... I believe that I should assert that only this system
correctly represents the chords and the duration of the sounds for
both the performer and the simple amateur. On the other hand, the
usual [primitive] notation expresses not much more than the simple
placement of the fingers...13
It is far from certain that Molitor, an "Adjunct der Wiener Gamisons- ■
Verpflegs-Verwaltung" (i.e. a bureaucrat) by profession, introduced single-
handedly the new style of guitar notation north of the Alps. That his
writing about it coincides with the arrival of Giuliani in Vienna, in
latter 1806, may not be mere chance. What is certain, however, is that
Molitor1s music, regardless of how notated, is irredeemably unimaginative,
often awkward, and falls flat in comparison to the spirited music which
Giuliani and others were writing at the same time, and in the same city.
'■’Josef Zuth, Simon Molitor... (Vienna, 1920), 59: "Zur Rechtfertigung

der von mir angenommenen Schreibart (im engeren Sinne des Wortes Orthographie)
... glaube ich behaupten su dUrfen, dass nur diese Schreibart die Akkorde
und das Maas der Klange ftfr den Spieler sowohl als fttr den blossen Musik-
kennor richtig darstellt; da hingegen die gewohnliche Schreibart nicht
vielmehr als den blossen mcchanischen Fingersatz ausdrUckt,.."
162
The contribution of Federico Moretti to guitar notation is very
difficult to evaluate, given the fact that he often travelled between
Naples and Madrid during the latter years of the 18th century. He was a
professional soldier in the Royal Walloon Guards in the service of the
Queen of Spain, according to the title page of his Principios para tocar
la guitarra de aeis ordenes.., (Madrid, 1799).^ Fltis says that F. Mo-
retti died in Madrid with the rank of general in 1828. He is known prin
cipally for his classic guitar methods published both in Naples in Italian,
and in Madrid in Spanish, during the years 1787 forward into the 19th
century.
His importance stems from the fact that both Sor and Aguado claim
that his music made them aware of the possibility of sustaining two parts
on the guitar, and of accurately reflecting this fact in the notation.
Sor's memoirs of his youth were reworked into French (in the third person)
to form a biography for the unusual volume entitled Encyclopedia Pittores-
que de la Musique. Vol. I (Paris, 1825);^ this is what Sor says, vi
cariously in the person of the editor:
A cette £poque [c,1800] il [Sor] entendit le fr&re du general

Solano jouer sur cet instrument un morceau dans lequel on distinguait
tin chant et un accompagnement. L'auteur du morceau £tait Moretti,
14
The title page continues: ... precedidos de los elementos generates
de la musica [i.e. mensural notation! dedicados a la Reyna Kne'stra Seffor'a
por el Capitan I). Federico Moretti. Alferez de Realea'Guardias Walonas...
COPY: New York Public Library, Music Division,
15
Not arranged alphabetically, but rather as a gazette, this "encyclo
pedia" seems to have been compiled on behalf of, and for the benefit of,
the persons whose biographies grace its page3. It appeared during the
lifetimes of both Sor and Aguado, and carries articles on both of them.
Its compilers were Adolphe Ledhuy and Henri Bertini.
164
officier des gardes wallonnes, qui fut le premier h. comprendre le

vlritable caractfere de la guitare. La musique de Moretti donna h.
Sor une route nouvelle, et avec un peu de travail et 1'application
de ses connaissances en harmonie, il parvint promptement a ecrire
et & ex^cuter la musique h. plusieurs parties reelles.^-^ [Emphasis mine]
The Italian expatriate Federico Moretti is likewise cited by Dio-

17
nysio Aguado (b. Madrid, 1784) in his Methods complete pour la guitare.
a3 having been the first man to propagate (in Spain) the new system of
guitar notation:
,,. D. Federico Moretti fut le premier qui commen9a h. presenter dans

sa musique ecrite la marche de deux parties, l'une de chant, 1*autre
d ’accompagnement en arpbges. Vint ensuite D, Fernando Sor... [Emphasis
mine]
- From the Introduction to Aguado's Methode....
This leaves us with at least three individuals writing in the new,
improved manner for the guitar in the year3 c, 1799-1807: Molitor and
Giuliani in Vienna, and Federico Moretti in Madrid and Naples. There .
were doubtless others in Italy, but their music has still not been brought
to light. Let us consider for the present Giuliani's guitar music in some
detail, so as to be able to understand better what was involved in the
minor revolution of which he was a vanguard.
Perhaps the best example of the old next to the new is found in com
paring two versions of Giuliani’s Op. 6, Otto Variazioni per la chitarra
sola...(Vienna, advertised Oct 1807). The upper staff given in Ex. 2 is
~^0p, cit.. 164.

17
The title continues:,., publil en espagnol par D.D. Aguado. Traduite
en fran<?ais sur le ms. corr. et augm. de la 2d ed. espagnole par F. de
Fossa." Paris: Bichault, [1827-?]. COPY: L.of C., MT 582/ .A3685.
165
straight from Giuliani'a first edition, the lower is a manuscript copy of
that work (dating from c .1810[?]) "by an Italian guitar amateur then living
in Codogno, an isolated town in Lombardy. The copyist in question, Giu
seppe Ricca, reproduced many of Giuliani's printed works by hand for his
own use, and spontaneously converted them to the nrima nrattica. so to
speak, probably to simplify matters and to avoid inserting the numerous
rests necessary in the newer notation.
Giuliani's original
(intermediate notation)
(primitive notation)
(Example 2)
The type of notation which Giuliani used throughout his career is
exemplified in the uppermost of the two staves of Ex. 2. It clearly repre
sents a triumph of a theoretical order over primitive notation. Its char
acteristics were: (l) the consistent use of rests whenever a part dropped
out, and (2) the systematic distinction of at least two, and often three
parts (rather than"voices") through the directional use of note stems.
With reference to the first point: even if in practice notes continued
to ring, they were not always notated in such a way as to show it (i.e.
with ties, or larger note values). For some reason-not altogether clear
— perhaps a carry-over from primitive notation — Giuliani and his con
temporaries adopted what might be called a note nere (black note) approach
166
to composition. He almost always wrote quarter-notes in preference to
half-notes, even if half-notes would more accurately represent the duration
of tones on the guitar. For example, most good guitarists (and Giuliani
was an exceptionally good guitarist) would play the above passage to sound
this way:
A "rectified" version of Ex. 2
oUovcc^X 7
(Example 3)
The critical reader will be tempted to ask how we know that Giuliani
didn’t always intend to have his music sound exactly as written. The
answer is that fairly often Giuliani did succeed in notating his music
exactly as it would sound on the guitar, as far as the sustaining of notes
is concerned. But being essentially a composer of instrumental music for
an instrument whose sound died away rapidly, and not thinking necessarily
in terms of vocal notation, Giuliani found no need to insist on the details
of duration. He arrived at a style of writing which looked good on paper,
produced good results on the guitar, and which didn’t seem to bother the
other guitarists for whom he wrote, as far as the sustaining of notes was
concerned. To Giuliani it seems to have been the happy medium between
primitively notated instrumental music for the guitar and some kind of po
tentially misrepresentative polyphonic mensural notation bordering on and
tending (with respect to durations) toward vocal music. I say.misrepre
sentative because the tone of the Austro-Italian classic guitar, as we know,
167
decayed rapidly. Only the greatest virtuosi could make the instrument
sustain to any noticeable degree, and these were precisely the musicians
who did not need to be told how long to sustain the various parts. They
did it spontaneously, and artistically, we may be certain, as part of their
prerogative of interpretation.
let us consider one more example of Giuliani’s style of "intermediate"
notation, and attempt to render it in an advanced, or "rectified" version.
Example 4 is taken from Op. 71, 5 Sonatines. No. 1, 3rd movement (Allegretto),
Giuliani's
version — ^ H ..... 1 S T ).■ |
=0
tH - J
Rectified
version I -h—
er b - J*1... tr-
— w-*-- ~---
%
f - ir t T * * * r
(Example 4)
In this passage the original notation (upper staff) reveals the melody
and the accompaniment by means of the direction of note stems, but gives
the eye a somewhat distorted impression of how the uppermost voice actual
ly emerges. There is a trace of what looks like "false polyphony" in the
pre-cadential measure, for example. In reality it sounds much less jagged
than it looks, as the rectified version (lower staff) reveals. I hasten to
add that there is truly something of an art to knowing when a rest in inter
mediate guitar notation is deliberate, and when it is merely an accident
of the musical calligraphy.
168
The Advanced Stance of Guitar Notation
Only later in the century — toward the 1850's and *60's, with a
figure like Napoleon Coste (1806-1885) — did guitar notation consistently
achieve what may be considered an advanced stage of accuracy with respect
to duration. This development may have been encouraged by the improvements
in guitar construction, making possible greater resonance. Here (Ex. 5)
is an example of fully notated duration, from Coste's Op. 38, 25 Studies.
No. 25, "Tarantelle":
~ r r-7- — r f iy r ~ ~ w IT ^ ■—
m
±i
I - T 7 — -I®"
(Example 5)
And here (Ex. 6) is how Giuliani might have written the same thing:
£
-j#-« a» X » X
r*‘ -0-
(Example 6)
With reference to the short notated duration of the bass notes in Ex. 6,
see Giuliani's Op. 24b, Nos, 7 & 11, and Op. 29, No. 7.
There are only sporadic passages in Giuliani's later works which might
suggest that he was in any way experimenting with a greater use of longer
note values in the interest of an accurate representation of individual
1 69
durations. Example 7 (below) consists of three versions of a passage
from Op. 148, Part 1, No. 1 (Artaria, pi.nr. 2970, datable latter 1828):
(a) the original notation of the first edition, (b) my conjecture of how
the same would have appeared in slightly more primitive notation, and (c)
my conjecture of how it would look in an "advanced'' version:
Aolce
(a)
— .d - 1- - - --7 Jl I . I " f T T - z r ' ^ -
yC „ a.. z___ f Ufa:fz: ----- L-- & Jlj '9 tfJ.±eL.$d-JL-
•i
t!Z T f r '•*? y 'if ’ T ri
(b) K
-- 7nf*79- - - - v r r T ’!?"' -&- - - - ■/r ■-Pf"' '1 ^ r f p J y p
=fe V x-i -J—
Z l Z f T * * ,
% 3 r - * r \
*r * T * If *
(c)
\ ---- z— r*rT~i~ — i--- — if — |—
%
Y U j j -
f
x
...
i^ r f r t r u y :-:f p
(Example 7)
At least one other person besides myself has grappled with the
peculiarities of guitar music from this period. The Polish musicologist,
J<5zef Powrozniak, shows evidence in his recent book, Gitara od A do Z
(Cracow, 1966) of being aware of the hidden implications of "intermediate"
guitar notation, and how it is susceptible of being rewritten so as to
show more accurately the way the music would sound on the guitar. He
chooses an Andante from the Carcass! guitar method to make his point,
giving (in Ex. 8) both the original notation (upper staff) and his
interpretation (lower staff):
170
(Example 8)
Carcass!
W - J | J } j l-rr=t.
Powrozniak
- i-ft-r J J-n'j J J » ' : p ^

~ ~ v p r j . r 1^ f ^ r r r r ffl f rF
- Powrozniak, On. cit.. 211.
The foregoing discussion of the various stages of notation for the
classic guitar leads us to an inevitable conclusion, namely, that one
must thoroughly understand the nature of the instrument, and sensitize
oneself to those notes which normally will resonate in specific situations,
in order to have an accurate idea of the relationship between notation and
actual sound. Hie only satisfactory way to acquire this understanding is
to study the guitar for several years. Furthermore, there is a compli
cating factor in the equation: the interpretation. Although no guitarist
would dampen the strings of his instrument as extensively as "intermediate"
notation appears to require it, still there are frequent instances in per
formance when the vibrating string needs to be silenced. The performer
is expected to use hi3 judgment and his gift of musicianship to determine
which rests must be taken literally, and which may be- regarded as mere
notational conventions. It is impossible to formulate hard and fast rules
in this matter, since interpretation is such an individual thing.
171
Giuliani1a Notation and the Guitar*s Idiomatic Resources
Giuliani frequently wrote instructions beside his music as to the
precise way that he wanted something to be played. Together with con
ventional symbols of interpretation, his marginal indications cover the
fine points of technique for both the left and right hand, articulation,
dynamics, timbre, and special effects such as harmonics.
A, Musical Devices Pertaining to the Left Hand
1. The Slur
One of the most subtle effects obtained by a guitarist's left hand is
the slur. This is a means of going from one note to the next, normally on
the same string, and involves plucking just the first of the two notes,
The second tone is obtained solely by the rapid use of a finger of the
18
left hand. The meaning of the slur musically is that of smooth, legato
motion from one note to the next. Giuliani understood this device well,
and often used it ingeniously under the heading of what we might call ar
ticulation, as in Ex. 9. Here is a variation in triplets, the first phrase
of which (mm, 1-8) exhibits the normal stress, reinforcing the feeling of
groups of threes. In the second strain (mm. 9-16) Giuliani syncopates the
18
Words alone are hardly adequate to convey the manner of executing this -
type of musical articulation. Briefly, in an ascending slur, after the first
note is sounded a finger of the left hand rapidly descends onto, the same
vibrating string in a higher position to produce the second note. Descend
ing slurs involve pulling the finger off of a string after it has been
plucked in a stopped position.
172
stress in a hemiolic rhythm. The notation in these and all examples,
unless otherwise stated, is accurately reproduced from first editions.
Op. 49, Var. 3 (v. Appendix IV)

(*• 1 PS? P & f T i ,
(m. 9)
(Example 9)
There can he no doubt that the slurs (and staccatos) found in Giuliani's
first editions are potentially of great importance to the feel, and cor
rect interpretation, of the music. One must steadfastly reject the large
numbers of modem republications which ignore or distort such small, yet
crucial, notational details,
2. The Glissando
Giuliani took full advantage of the relatively long neck of the
Austro-Italian classic guitar by writing music which ranged over the entire
fingerboard on all of the strings, including the basses. Probably no other
guitarist before or since has demanded so much of the guitar's lower strings.
Witness the glissando device (here called strisciando) used freely on the
first and sixth strings, in Opus 5, Variation 5 (Ex. 10):
173
Qts / Voi* K strisciando

Adagio fc-J- sul
sulla sesta corda
AV *... *----
H h /■*-gFPTMats - I------ ~
7 T --^f-—
/* . "- p ^ ~Fr
t L M i Z T T 9 7 * Z U
(Example 10)
Before this variation is over, the upward slide (which works as well ascend
ing on the guitar as it does on the timpani, and which in neither case
works descending) is specified for strings 1, 6, 2 and 3»
5. Ornaments of Individual Notes
The trill, the mordent, the turn, various appoggiature. and most
interesting, the violinistic vibrato known as the ondeggiamento — all
are notated in Giuliani’s music. He discusses the first four in his
practical method, Op. 1, Studio. "Parte terza" (dealing with the usual
ornamentation). The ondeggiamento, however, occurs only rarely, and only
in virtuoso music which the composer himself would have performed. Be
cause the vibrato on the guitar is the result of varying the tension of
the vibrating string, and not its length (the latter precluded by station
ary frets), the notes most susceptible to vibrato are those high on the
fingerboard, in the neighborhood of the seventh fret and upwards. Here
(Ex. ll) is a passage which illustrates both the ondeggiamenti (indicated
with a ✓ v w symbol, mm. 1-4), and the legato technique (m, 5). It is
the Guitar I part of Op. 16, 16 Oesterreichische nazional LUndler fur
2 Gultarren.... No. 12.
174
(Example ll)
One notices immediately the folksy character of Giuliani's handler style.
It seems reasonably certain that the embellishments in mm. 1-4 are genuine
ondeggiamenti. and not simply trills, because in the same work, Op. 16,
No. 15, one finds the trill notated explicitly and repeatedly with a "tr."
B, Musical Devices Pertaining to the Right Hand '
1. The Strum
Most of the chords in Giuliani's music are meant to be plucked, using
the thumb and fingers of the right hand simultaneously. In selected places,
however, the strum (using just the thumb) is invoked for its distinctive
sforzato effect. The best-known occurrence of this is in the third movement
of Giuliani's popular Sonate, Op. 15. A short musical example is reproduced
as an incipit in the thematic catalogue in Volume II, under Op. 15.
2. Variation of Timbre
Timbre on the guitar depends largely on the positioning of the right
hand. Virtually all guitar methods of the early 19th century specified
that the player's right hand should be located between the bridge and the
175
rosette, and should be stabilized by means of placing the little finger
on the table next to the e‘ string. The same approach had been advocated
by lutenists in earlier times. Since Giuliani did not write a method, as
such, but rather a Studio, consisting only of exercises, we must investi
gate his music to determine how he would have recommended positioning the
right hand.
The first clue that Giuliani did not leave his little finger resting
on the table comes, in fact, from Op. 1, Studio. "Parte terza," No. 3,
entitled "Dello Staccato, Du Detach^, Von der Sonderung." Here the alter
nation of index and middle finger is explicitly notated, with one (•) and
two (i) dots respectively. This alternation technique is still tised and
taught today; anyone who has ever played the guitar knows how irreconcil
able it is with the practice of immobilizing the little finger of the right
hand on the table, beneath the plane of the strings. It must be remembered
that stationing the little finger on solid ground, so to speak, definitely
aided the lutenist in executing rapid runs involving alternation of thumb
and index finger. But the classic guitar required a superior technique —
one which would finally raise the right hand off of the table for good.
This new manner of playing brought with it three advantages over the
older lute technique: (l) By removing the little finger from the table,
guitarists were improving the resonance of their instrument, (2) By adopt
ing the alternation of the index and middle fingers in melodic passages,
the thumb va3 liberated so that it could pluck the appropriate accompanying
bas3 strings simultaneously with the progression of the melody. (3) The
176
right hand was given freedom to move closer or farther from the bridge
at the player’s discretion, thereby permitting infinite gradations of
tone color.
Giuliani shows evidence even in his early works of his interest in
exploiting this unique potential of the guitar. In the following passage
(Ex. 12) from Op, 6, Var, 4, we find the specification, "The right hand
above the 15th fret, then imperceptibly returning to its place." He co
ordinates this variation in timbre from mellow to sharp with a carefully
notated crescendo.
Op*]?1* Var.4 . eg
¥'faf* 1 CWJ.'1 — »// ^ -|y- ~f~~f~

La destra mano sul tasto 15mo ed insensibilmente rimertendola a suo luogo.
(Example 12)
Giuliani called the soft tones achieved through plucking the string near
its center "suoni flautat’i," or "fluted" tones. They approach the extra
ordinary mellowness of harmonics on the guitar,
3. Harmonics
Known either as "flaggioletti" or "suoni armonici," these tones are
produced when a string is made to vibrate in some mode other than its fun
damental . There has always been controversy among guitarists as to the
177
19
"best way to notate harmonics. In Opus 6, Giuliani gives this passage
with an explanation of his own system of notation. It was employed by
virtually all the guitarists of his generation:
Per bene esprimere li armonici, o flaggioletti, bisogna ap-

poggiare leggiermente le dita sulle corde h. misura de tasti, i quali
veranno indicati con numeri al disopra delle note. Si previene, che
i numeri che sono al disotto delle note, mostrano le corde della
chitarra.
Op.VI, Var.7. ^ ^ ^ ^
I t I1a q t , a JJ Jj
Corda 5
(Example 13)
The instructions are perfectly clear. The fingers of the left hand are
placed lightly on the designated open string ("Corda’*) exactly above the
fret ("Tasto") which normally would produce the note given in the music.
In plucking, a harmonic is produced which is related by the ratios 1:2,
2:3, 3:4, etc. only to the open string in question, and has little or
nothing to do with the reference note found in the music:
Actual sound obtained in.Ex. 13:
j.J
-ft e =
--------j-j— _ I------- i-------1—
s
Is this not a striking example of the non-vocal use of a notation system
19
The best historical survey of the notation of harmonics yet published
is by Elsa Just (d. 2 June 1919 at the age of 24), "Die Flageolettone und
ihre Notierung," Per Gitarrefreund. XX (Munich, 1919), 11-15, 23-26, and
35-37.
178
(the musical staff) historically derived by, and for, singers? It is
one more instance of how the instrumentalist has had to resort to un
orthodox usage in order to relate conventional notation to his needs
(of. "music" for snare drum and other percussion instruments). In this
case, Giuliani reduced pitch symbols to the role of tablature. In our
own times, composers are rediscovering .the meaning of idiomatic notations
devised for specific instruments, and are effectively reversing a trend
toward the universal adoption of "vocal" notation — a trend to which the
guitar was the last instrument to capitulate. We can see from the fore
going example that its capitulation was not total!
Harmonics related only to the open strings are of limited usefulness.
At some time between 1807 (the date of publication of Op. 6), and c.1827
(the probable date that Op. 130 was composed, although Ricordi did not
publish it until well after the composer's death), Giuliani must have per
fected his ability to obtain harmonics artificially, on stopped strings,
through the careful vise of, just the fingers of the right hand to immobilize
the string where the node would occur, and at the same time to produce the
tone. He also must have reckoned with the fact that not every guitarist
would be skilled enough to do likewise. So when he called for such har
monics in the "Guitar I" part of Op. 130, he added that "fluted" tones (i.e.
with mellow timbres) could also be used if "annonici" were too difficult
(Ex. 14):
179
Op.130, Var.5, Guitar I.

Con suorii armonici ossiano flautati
.
(continues for twenty mm.)
(Example 14)
4. The Tremolo
Most modern-day guitarists know of the tremolo principally through
the famous study "by Francisco Tarrega (d, Barcelona, 1909), Recuerdos de
la Alhambra. It is used there in a melodic capacity, in a fully perfected
form. Both Giuliani and Carcassi used it in a more primitive way, how
ever, as an accompaniment figure (Ex. 15)t
Op.97, Var.5-
to
(Example 15)
This is from Giuliani’s Op, 97. A comparable passage is found in Car
cassi’s Op. 60, 25 Studies. No. 7.
5. Dynamics
We have already seen in Ex. 12 how careful Giuliani could be about
dynamics. lie must have brought this good habit from Italy with him, for it
reveals itself in the earliest of his works, and stays with him throughout
180
his life. Like the pianoforte, the guitar is capable of producing con
trolled crescendos and diminuendos. It is also possible on both instru
ments to bring out a melody in the treble or bass, while at the same time
playing a subdued accompaniment. A well-known musical texture which in
corporates this device, and which is found throughout the classic literature
for both instruments, is the melody over an arpeggiated accompaniment. A
glance through the incipits of Giuliani's works (Vol. II) will confirm
the fact that he often wrote in this style. An example at hand is from
Opus 29, No. 4 (Ex. 16):
Allegretto
. Si- ...........
dolce* i j J -jjtf
(Example 16)
This kind of passage so obviously demands the emergence of the melody over
the bass, through controlled use of the right hand, that no further com
mentary is necessary.
In rare instances, however, Giuliani did specify that he wanted a
particular emphasis on a certain melodic line, as in Ex. 17, below:
m. 18
(Example 17) ~^7
This is from a relatively late work: Op. Ill, Part 2, No,2. It brings
up the interesting question of whether Giuliani might ever have used the
right hand technique known in Spanish as the apoyando. or in English as
181
20
the "rest stroke." The modern performer would certainly use it in Ex.
17, and in other passages like it. But whether Giuliani knew the technique
or not, and whether he was calling for its use here, remain open questions.
There is no mention of it in his practical method, Studio. Op. 1. But he
may still have evolved the technique between 1812, the date of publication
of Op. 1, and 1825, when Op. Ill, Part .2, appeared.
It would be desirable to conclude this chapter with a statement on
how Giuliani compares with some of the earlier, contemporary, and later
composers of guitar music with respect to notation, and the exploitation
of the instrument's idiomatic resources, Giuliani was certainly among the
earliest in the first generation of writers (pre-1810) to break away from
primitive guitar notation in favor of an intermediate style of writing —
a style which men like Sor and Aguado would subsequently emulate, and which
would not be superseded until the mid-19th century.
Any attempt to compare Giuliani with other composers vis-k-vis the
use of the guitar's idiomatic resources would require that the first edi
tions of the other men be brought to light, dated, and made available.
Prom my point of view, the composers most deserving of comparison with
Giuliani are Federico Moretti, Fernando Sor, perhaps the Italians Nava,
20
The apoyando involves plucking a string vigorously downward, toward
the table, with a finger of the right hand, in a motion which results in
that finger's coming to rest -(hence "rest stroke") on the neighboring
string. The musical effect is that of a poignant and penetrating tone,
especially good for solo melodic lines.
182
Gragnani and Legnani together, and then Mertz and Coste as later figures,
more advanced than Giuliani in notation, hut not necessarily superior to
him in their understanding of the nature and resources of the guitar.
185
C H A P T E R I V
THE MUSICAL ACHIEVEMENT
OP MAURO GIULIANI
Foreword
Every musicologist has wrestled with the problem of how best to talk
or write about music. The analytical, the comparative, or the purely his
torical approach to the musical composition — each may be a path worthy of
pursuit. In the case of Giuliani’s music, taken as a whole, the first
alternative proves the least feasible, for the present, because of the
enormous number of compositions which would require analysis. Furthermore,
the pure, classic musical style typified by Mozart and Haydn was the only
one in which Giuliani wrote. This means that his phrase structures, chord
progressions, and rhythmic turns consistently reflect late-18th- and early-
19th-century stylistic norms. One need not beg the issue.
The comparative approach, evaluating Giuliani's guitar music in terms
of what was written for the same instrument earlier and later, is instructive,
184
especially with respect to questions of notation and .the exploitation of
idiomatic resources. The previous chapter concentrated on these matters.
A broader field of comparison, not limited just to guitar music, will be
useful in this chapter, particularly in dealing with form. Parallels be
tween the structure and orchestration of Giuliani’s guitar concertos and
Mozart’s piano concertos, for example, can readily be made, and shall be
drawn in due course.
But the most valuable contribution of this chapter is in the area of
straight historical background information. The reader will find what may
at first appear to be an excessive concentration on the question of opus
numbers vs. works without opus, for instance, or the relationship between
the composer and his publishers. There are very good reasons for emphasizing
these particular (historical) problems here. Most of Giuliani's works, we
shall see, did not simply flow from his pen as spontaneous outbursts of
musical inspiration. There were many external factors which influenced the
types of compositions he Would tern out at a given time. He was not 'unlike
Haydn in this respect; both men aimed to please. While Haydn might have
written to satisfy the needs of Prince Esterhazy, Giuliani found it neces
sary to serve many more masters, A publisher here might commission several
of this type of composition, a student there could be in need of that type
of work. A wealthy duke might simply adore Rossini arias, and request that
guitar transcriptions of the same be dedicated to him; and the composer’s
interest in his own career could be what instigates his composition of a
new concerto.
185
An essential function of the researcher in music history, in my
opinion, is to make pertinent background information of this type available
to all who have a desire to understand what was behind the often extra
ordinary productivity of given composers. Thus, what this chapter may
lack in specific (and potentially boring) analysis should be more than
offset by a wealth of insights into the contemporary musical scene in
which Giuliani thrived, especially since his musical environment so clearly
dictated the forms and genres in w,JLch he wrote, and even the types of themes
he chose for variations.
Taking Giuliani on His Own Terms
The great composers of the mid- and latter-19th century, in contrast
to their earlier counterparts of c.1800, wrote extensively about their
compositional procedures and aims. It is difficult to name a composer
living after about 1850 who did not attempt to explain himself and his
art in articles, books, and treatises, not to mention personal correspond
ence. Witness the writings of Wagner, Berlioz, Schumann, and so on down
to the 20th century with Hindemith and Stravinsky. The composers of Giu
liani's generation, on the other hand, were infinitely more spontaneous,
and generally less self-conscious, j.n producing the majority of their works.
This may be explained by the fact that figures like Hummel, Moscheles,
Leidesdorf, Lehmann, Merck, Rode, Sedlatscheck, Paganini, and most of their
contemporaries, along with Giuliani, devoted themselves to performance much
more than to composition, as a matter of economic necessity. Hence their
186
compositional output requires a different — perhaps a less reverent —
approach than one would adopt for works intrinsically endowed with a high
order of structural and esthetic interest, such as Beethoven's late string
quartets.
To take Giuliani the composer on his own terms means to be aware of
his primary pursuit, performance, as an end to which his compositions were
a means. It also requires that we attempt to see his music the way he
saw it, in relation to the calibre of the music being published all around
him. We are fortunate in having a short statement of Giuliani's alluding
to this matter of compositional quality. It occurs at the end of this
moving excerpt from the Preface of his Op. 1, Studio t
The study of the guitar has always been my favorite

occupation, and the attainment of perfection my prin
cipal goal.
Anxious to discover the most direct and the short
est route leading to this end, I had to forge an unbeaten
path, in order to approach the ideal which remained
fixed in my mind.
Then finding myself advanced, due to this zeal and
constancy, and not without some success, there arose in
me the desire to let those who share the same vocation
participate in the fruit of my efforts. To preserve them
from being misled, I have put in order my ideas regarding
this enterprise, and am offering a brief, sure, and new
guide which, to my knowledge, would have been sought in
vain before now.
These studies which I am presenting before the pub
lic are the result of many long labors of mine, con
firmed by experience and by practice. I am persuaded
that the lovers of the guitar, by practicing faithfully,
will be ready in a brief time to execute with expres-
sion all that has been composed in a more correct manner
for this instrument". [Emphasis mine]
- Italian in Appendix I, 51.
187
Giuliani’s use here of the adjective "correct" in the comparative
degree may seem puzzling, since musical composition is an art not usually
qualified in this way. More "correct" than what? More "correct” in which
way? The answers to these questions are not apparent until one examines
the music of some of Giuliani's less gifted contemporaries — people who
played and wrote for the guitar neither wisely nor too well, such as Simon
Molitor, Leonhard von Call, Anton Graeffer, and Luigi Legnani.
"Correct" Usage of the Guitar
Most of the amateurs and a good number of the professionals who pub
lished their works for the guitar early in the 19th century never truly
understood the potentialities of the instrument, nor the musical textures
to which it was best suited. A very clear instance of the resulting medi
ocrity is found in the Sonate pour Piano-Forte et Guitarre comuosee et de-
dile a Monsieur Jean de Eckar par Leonhard de Call. Oeuvre 105....^ the
beginning of which is reproduced in Ex. 1. Call's writing for the guitar
in this way shows absolutely no comprehension of the instrument's potential
for melody. His carrying through an A in the bass is a pathetic capitula
tion to the open fifth string of the guitar — a string which a better com
poser would have known how to use without overusing or abusing. Another
weakness in the guitar part is the obstinate repetition of 16th-notes,
Vienna, publ. T. Mollo, plate number M: 1371. COPY: Vienna, Stadt-

bibliothek, He 34153. The work dates from late 1810, according to A, Wein-
mann, Verlagsverzeichnis Tranquallo Hollo (Vienna, 1964), 65.
188
Adayt'o
si5* ---- - _j==,
C'
-j--- *--j —
J - - t .i ~ -7- -2—2— 3-
[i
■fr
------ 1---—
-J—4—p-~J— J—J— J--- t— _ 7 .-J-—J— J— M -
—
— F fz f *
— ■ J&
7j7— 5 ■ ■ ■ 3*--- i-- J--- i -- 3--- 3-
j---------
*' r f y t S L r 't y r f
Example 1 — an illustration of poor
usage of the guitar (lowest staff),
"by Leonhard von Call.
apparently to thicken the musical texture. Perhaps this is a device to
which Call had to have recourse to make his instrument audible. He must
have reasoned that there was a good chance the guitar would emerge between
the notes the piano was playing. This may be true, alas, but the usage of
the guitar here is still woefully unimaginative.
The first thing to observe in Giuliani1s music is that he consistently
uses the guitar in appropriate ways. Thus the literature he has left to us
— all of which, incidentally, involves the guitar, either solo, in ensem
bles, or in voice accompaniment exhibits the instrument to its best ad
vantage. The composer himself often appeared in public to perform the most
demanding of his works; his great success in this capacity is a matter of
record.
On the subject of duets, Giuliani never put the guitar into direct
competition with another instrument, as Call did in Ex. 1. Rather, as Op.
189
81, 82, and 84-86 reveal, Giuliani deliberately shifted the emphasis
first to one instrument, and then to the other. In Op. 82, for example,
the flute (or violin) and the guitar alternate in taking the lead in this
way: Theme (Fl), Var, 1 (g ), Var. 2 (Fl), Var. 3 (g ); Minuet (ll), Trio
(g ); Allegro (Fl); Marcia (G), Trio (Fl). Wisely, Giuliani kept his duets
for guitar and pianoforte to a minimum, involving himself in them mainly
in conjunction with Hummel (Op. 93) or Hoscheles (WoO, G & P-l) It takes
great skill to compose successful duets for instruments so antipathetic as
the guitar and the pianoforte. The contrast of timbre between them is not
great enough to be interesting, for one thing. Also, the piano is (and
was) significantly louder than the guitar, and tends to overshadow the
smaller instrument.
Because of the loudness factor one might be inclined h priori to look
with skepticism at Giuliani’s concertos for guitar and orchestra. Surely
this cannot be proper usage of the guitar, considering how it is "peren-

3
nially weak-volumed," In truth, guitarists have always been the first to
acknowledge the problem of audibility. The better composers for the instru
ment have nevertheless been able to write classic concertos in such a way as
to exploit in a very satisfying way the solo - tutti relationship (as was
done in the baroque concerto grosso, and Mozart's violin, piano, and flute
^There are several piano reductions of the orchestral (or quartet) parts
of the three concertos, Op. 30, 36, and 70, as well as the Variations &
Polonaise. Op, 65. Only Op. 68 remains as a duet for G & P attributable
solely to Giuliani,
3
"an diesern... ewig an Klang armen Instrumente...," from a review of
Giuliani's performance of his first concerto, Op. 30. AmZ. X (May 1803),
538, See Appendix I, 17.
190
concertos). Giuliani knew how to limit the orchestral accompaniment to
very soft, subdued use of the strings when the guitar would play. His
concertos thus remain monuments worthy of the study of modem composers

4
who may wish to experiment with the same genre.
"Correct" Harmonies
Another preliminary observation about Giuliani's music has to do with
its being always "correct,'' as he would have said, according to the classic
norms of harmony, voice-leading, phrasing, and rhythm. We recall what the
composer's contemporaries, Molitor and Klinger, wrote about him in this re
gard in the Preface to their guitar method:
Then (late in 1806) Herr Mauro Giuliani... came to us — a man

who had been led early in the right direction through a correct sense
of harmony.., During his extended stay he has already presented us
with a series of charming compositions which may all be regarded as
models of good style,5 [Emphasis mine]
A clear case of what "incorrect" harmonies, voice-leading, and so
forth, can mean is provided in the following excerpt (Example 2) from Anton
Graeffer’s Guitarre Sohule. This beautifully engraved method appeared
after Molitor's Op, 7 (i.e. 180? is a terminus a quo), and it is likely that,
because of its "musical calligraphy" — intermediate guitar notation
it was published c,1810-15.
^Romolo Ferrari (d. 1959) reconstructed the scores of Giuliani's three

concertos, and these are now in the Liceo Musicale of Modena, Italy.
5
From the Versuch elnor vollstandireen methodischon Anleitung gum Guitare-
Splelen (Vienna, c.1811/12), p.9. German in Appendix I , 10,
p
i 191
till t-
(Example 2)
#- II * '
I l«~
*_ Aii excerpt from
Aiiton Graeffer's
Guitarre Schule. of
*IQ _ c. 1812. This is an
example of really
IQ_
bad guitar music:
L i- poor voice-leading,
fl
I improper harmonies,
editorial mistakes,
IQ_ etc, etc.
m idL.
J
TO-
<L VOIQ_
rrl10-
V. IIQ_ IIQ_
!•—
ui. c4»
ML 110_
■'I «u- ml UOICL.

|wwf 7-1 0IQ_
i
Il'd_
I UOKL.
'■1IIOiQ—
ID
1ULIOIQ_
dL
I k1.
*
TdL
t-
h ** ikiL
i- s
o
Wf>-
A
i
id
-V
-41
11*
'I■ r3 IX) lil« WiIL
i
C
< io\-
i If
J
192
Some of the musical defects in Ex. 2 (p. 191) are listed below:
Poor voice-leading is found in the Trio, the second and fourth measure
after the repeat sign. There are lesser melodic faux pas throughout Ex, 2.
— Harmonic improprieties are seen in the second measure of Var. 1, where
the dominant is ushered in one beat too soon. There are parallel octaves
at the end of Variation 2, while Variation 3 is almost too ridiculous to
describe, from a harmonic point of view. The "composer” obviously had no
idea of how to use the various types of minor scales, nor of cross-relations.
The fourth-to-last measure of Var. 3 is enough to make one's hair stand
on end.
Editorial oversight may account for some of these errors, and also might
explain what happened to the third beat of measure 7 of the Thema.
It may be argued that this is pedagogical music, which inhibits the
author's revealing his creative talent in the best possible light. But such
an observation does not ring true when one considers the pedagogical works
of composers more worthy of the name men like Bach, Mozart, even
Stravinsky and Prokofiev.
Giuliani's music can, and must, be divided on esthetic grounds into
pedagogical works, and serious compositions for his own use in performance.
Although most of the former group are not particularly inspired, still they
do not betray or compromise the basic norms of musical propriety. As the
composer himself would have said, they are "correct." This may sound like
faint praise, but there is hardly another adjective which does comparable
justice to the countless pedagogical works of Giuliani. Considering how
193
poorly mo3t of his guitarist/colleagues wrote music, this is something
of a distinction! We may observe, too, that Giuliani did not capitulate
to the facility of the strum on the guitar, as was done here in Ex. 2, just
because it was available to him. Rather, he reserved it for those rare
instances when he wanted a certain kind of sforaato effect, as in the third
movement of Op. 15.
Preliminary Observations on the Works
With, and Without. Onus Humber
To what extent did Giuliani have control over his opus numbers, and
how did he himself regard the convention known as the opus? With a com
poser like Beethoven, the numbered works signified original compositional
endeavors, as opposed to those without opus number, which were arrangements
of other composers* works, or original pieces not deemed significant enough
to have the title "opus." In general, Giuliani and his publishers observed
this convention. It is safe to say, however, that not all of his numbered
works were generated solely from within. After he became established in
Vienna, the various music printers of that city seem to have solicited from
him certain types of works as they sensed a demand for them. In fact, they
would approach any composer of repute, from a Gelinek to a Beethoven, with
a "favorite theme," and they would ask that individual to write variations
on it for this or that instrument.or combination of instruments. The re
sulting composition would get an opus number, if its publisher had anything
to say about it (and they often did), for obvious reasons of prestige. It
might be a pedagogical work, or something dashed off to fulfill a promise
194
or an obligation, or even a rondo a day to keep the wolf away, so to speak.
Consequently not all of the numbered works of Giuliani, Hummel, Mayseder,
Moscheles, Boccherini, Gelinek, Pleyel, Romberg, Diabelli, Schoberlechner,
and so on, should a priori be considered genuine, inspired art music. And
as might be expected, these composers* works without opus number generally
represent a proportionately lower level of originality and artistic achieve
ment. It is the prerogative of history to judge accordingly, and to let
the works which show internal evidence of something less than genius lie
dormant.
It appears that Giuliani was at first (c.1807-1812) quite in control
of assigning opus numbers to works he himself intended to compose. Circum
stantial support for this thesis resides in such numerical relationships
as these: Opus 2 I-3 5 Rondeaux; Op. 12 is 12 Monferrine. Op. 16a is 16
Oesterreichische Landler. Op. 21 is 12 Waltzes (21 is the reverse of 12),
and Op. ;50 was originally Papillons (30 easy pieces).** By 1812, however,
the requests of various publishers for specific kinds of works make themselves
more and more evident.
For example, Artaria mu3t have, decided that pieces for two guitars
were in great demand in the winter of 181l/l2. He brought out five such
works in the space of a few months, all composed or arranged by Giuliani,
60p. 30, Papillons. was changed later to Op. 50 by agreement among

various Viennese publishers, so that the First Concerto could be assigned
Op. 30. The latter originally had Op. 29 as its designation, until a conflict
was discovered with a previous Op. 29!
195
with these plate numbers and designations:
PI.nr. Works for 2 guitars (from 181l/l2)
2214 Overture to Spontini's Vestale [WoO, 2G~l].

2218 16 Landler. Op. 16[a].
2233 Grandes Variations Concertantes. Op. 35.
2237 Overture to Mozart's Clemenza di Tito [WoO, 2G-2].
2240 Deutsche from the Apollo-Saal [WoO, 2G-3].
Something analogous happens in 1817, when Giuliani's publication
profile reveals a sudden surge of pieces for flute (or violin) and guitar
— works brought out not just by Artaria, but also by Weigl, Mechetti qm
Carlo, and Hollo, as if in competition with one another: Op. 75 , 76, 80,
81, 82, 84, 85, and 86. Just how much of this represents commissions from
publishers in response to public demand, and how much is due to Giuliani's
own artistic initiative, is difficult to say. I do not wish to imply that
solicited works are necessarily always inferior to those composed spon
taneously. But I do believe that musicians today have the right, and almost
the obligation, to consider the context (social, chronological, repertorial,
etc.) of any work,.insofar as it is accessible to them, in evaluating it.
One of the objectives of the thematic catalogue in Vol. II is to situate
every work of Giuliani's chronologically, and to provide as complete biblio
graphical information on it as possible. This makes available to the
interested reader such data as the names of dedicatees, the opinions expressed
by reviewers of certain works when they first came out; the extent to which
various works became known in other capitals (Paris and London, etc.)
through republications, and so forth.
196
One final observation on Giuliani’s opus numbers has to do with the
late works, Op, 124-151, which were handled almost exclusively by Ricordi
of Milan. It is apparent that this publisher desired complete control of
Giuliani’s later compositions, for whatever they were worth. He evidently
decided to buy everything the guitarist wrote, as of about 1823. Ricordi
would pay Giuliani an agreed price (possibly a downpayment) for a given
manuscript and subsequently treat it however he saw fit. The exact records
of the Casa Ricordi for such business dealings in the early 19th century
(including chronological matters) are apparently withheld from music
historians today because of the sensitive, private nature of the trans
actions recorded therein. The profile of Ricordi publications of the works
of Giuliani (see Vol. II, Appendix i) does, however, seem to raise serious
questions as to the honorable intentions of that publisher.
For examplej thirty-two Ricordi plate numbers are devoted to Giuliani's
works before the composer's death, while thirty-seven plate numbers are
posthumously published. Specifically, quite a few Rossini arrangements by
Giuliani are brought out just a year after the latter's demise (pl.nrs.
4946-4963). Ricordi's postponement of the publication of these works in
this manner suggests that there might have been a small downpayment which
he gave to composers upon initial receipt of a manuscript, to be followed
by a later percentage or lump sura payable upon publication of the work. In

•7
the interim Ricordi would seek out a suitable dedicatee, edit the work,
and so forth. Obviously there was no guarantee that a manuscript would be
7
Several Ricordi publications bear the remark, "dall’Editore dedicate..."
(to so-and-so), v. Op. 62, 109, 149 and 150.
197
published forthwith, or even during the composer’s lifetime. It was
probably to Ricordi's advantage to postpone publication until after the
author had died, especially if the piece were not of a topical or pro
motional nature (i.e. connected with an opera premiere).
The result of this behavior is that Giuliani's Op, 115, 117, 129,
131-36, and 138, a total of ten works probably sold to Ricordi, never
found their way into print. The manuscripts, as one might have expected,
did not survive. In addition, an eleventh "work" (Op. 146) is traceable
in its number designation solely to F« Hofmeister of Leipzig, who republished
many Ricordi editions of Giuliani, and who unquestionably appropriated this
opus number to his own edition, probably after consultation with Ricordi,
for the aforementioned reasons of prestige. Giuliani must have been justly
indignant at the poor treatment his works received at the hands of Ricordi,
for he turned again (within a year of his death) to his old friend Do
menico Artaria for the publication of Op. 147 and 148. Artaria did not
hesitate to bring these out. We still possess the contract through which
Giuliani sold them to this publisher:
Jo yfofAo uhe> aJ A y Aamtnito AfAr/ch TJ/ewta} fn\

.p r b f y n k r f/a n c /c r i/fi c/ae) / e) styfy o s/h»a A
'b e .//l/o rb t /e. AjuAocnik/eH* e.'}? t/>/o.ro ?>oa ' n vesA ) '
b/'/ro J?) trfapoA' / q sAhaa/h — -•= ~
A'frc w e n t ' v-v7 ^
m / b A'Oi/VAcofntne/prrltn)^ .
198
Here is a translation of that contract:
I, the undersigned, release to Signor Domenico Artaria, editor

of music in Vienna, the property of two manuscripts, that is, Opus
147 and 148, Tersicore del Nord. and Giulianate: and I affirm that
I have not given them to anyone
else. In faith, Naples, 14 May
1828, Note that the two afore- Mauro G i u l i a n i
mentioned manuscripts are express
ly countersigned, in addition to
my signature, with my seal, as seen
on this page.
The document is located in the Stadtbibliothek, Vienna, call no, J.N, 69734.
It has already been pointed out that quite a few first editions of
Giuliani’s works were published posthumously, mostly by Ricordi. There is
a sub-section in my thematic catalogue for compositions of this nature
without opus number, headed "WoO(posth)," which includes fifteen works for
solo guitar, and five duets for two guitars. There are also these works
with opus number which were published after the composer's death: Op. 104
(arr. G & P), 130, 137, 139, 140, 141, 142, 143, 144, 145, 146, 147b, 149,
150, 151, and 151bis. The unusual circumstances surrounding the appearance
of these opus numbers, some of which came out as late as July 1840, have
led me to add a comment in the thematic catalogue under most of them, to
the effect that the assignation by Ricordi of opus numbers to these post
humous editions may not reflect the composer's original intentions.
It is quite impossible now to revise the opus nuraberings which have
come down to us from the firm of Giovanni Ricordi; but it is still the
prerogative of historians to consider the matter critically, and to raise
questions regarding the propriety of Ricordi's handling of the later works
199
of Giuliani. The situation strikes this writer as highly irregular, if
not ruthless and unconscionable.
The original purpose of raising the question of opus numbers was to
determine if there might be any grounds for considering the numbered work3
as more "original,” or esthetically more interesting, than those without
opus. We have seen that Giuliani progressively lost control over the
attribution of these numbers as the years progressed, so that almost
nothing can be taken for granted after Ricordi gains control of the com
poser's creative output, c.1823. Because of Giuliani's tumultuous life,
reflected in the way that fate dislodged him from Italy to Austria, and
then to Rome, and finally to Naples, we can neither expect, nor do we find,
obvious signs of greater artistic maturity or serenity in the "later" (post-
1820) works, in comparison to the "earlier" compositions dating from the
Vienna period. This is disappointing in a sense, because music historians
pride themselves on being able to distinguish "early" Beethoven from "late"
Beethoven, and the like. Comparable or analogous stylistic evolution in
the works of Giuliani is not readily apparent.
In truth, Giuliani was no lone, introspective genius, but rather simply
a man with a great gift for music. As was mentioned at the beginning of
this chapter, some musicians develop their talent for composition through
the years, while others,.often as a matter of economic necessity, devote
themselves primarily to performance. Nevertheless, still by way of a general,
preliminary observation on Giuliani's compositional achievement, it is
possible to state that all of his music, early as well as late, relates to
200
and makes sense on the guitar in a most pleasing way, irrespective of when
it was written. Giuliani's undeniable gift for music, coupled with the
picture we have seen of him as far as personality goes, lead us to think
of him in the same terms that Caroline Pichler thought of Mozart and Haydn:
There is something wonderful, mysterious in this sense for

harmony, and still more in the ability to generate harmony and melody
by oneself. It is often found in men who, excepting this divine
gift, possess little in the way of intellectual capacities or edu
cation. They themselves have no clear conception of their talent,
and even less of the process which occurs inside them when they strive
to give form through tones to the creations stirring within them, or
to articulate via these tones some foreign [someone else's] poetic
product. .Mozart and Haydn, whom I knew well, were men who in their
personal relations revealed absolutely no other evident mental
power [besides music], and almost no kind of intellectual cultivation
in scholarly or other lofty directions. Ordinary personality, vulgar
jokes, and with the former [Mozart] a frivolous life — these were
all which they revealed of themselves in their relationships. And
yet what depths, what worlds of fantasy, harmony, melody, and feeling
lay hidden beneath these unpretentious appearances.®
The Compositional Genres in Which Giuliani Excelled
A. Concertos
Giuliani's three concertos (Op, JO, 36, and 70) unquestionably repre
sent the highest level of compositional skill to be found in the composer's
legacy. They are preeminent display pieces — works which he probably
never intended another guitarist to be able to master, and which he may
well have envisioned as his personal passports to immortality. Not since
Giuliani's death has any of them received a complete, \inabridged performance
^From Denkwxlrdirrkeiten aus meinem Leben. von Caroline Pichler rreb. von
Greiner. Vol. II (1798-1813) (Vienna/1844). 93. German in Appendix I, 52.
201
with the instruments designated in the original editions.
Opus 30, which dates from 1810, remains the best-known of the cori-
j
certos. Yet the version heard in concert and on recordings misrepresents
the work, particularly the first movement, by deleting the entire develop
ment section (mm. 2 0 2 - 3 2 7 ) The resulting movement is in normal sonatina
form, and is still an impressive piece of music, but is hardly something
on which to base one's assessment of Giuliani's skill as a composer. Other
wise, the woodwind and brass parts, and the timpani (v. "Pauken," Appendix
I, 17), are consistently omitted from performance today, perhaps because
they are available only in manuscript form, in the Bavarian State Library,
Munich.10 A diagrammatic formal analysis of the first movement of this
work (unabridged) is given in Appendix III, 1, where the incipits of the
main themes are also reproduced.
Opus 36 still awaits revival, as of 1970. It is clearly the most
lyric of the three concertos, the A and B themes being so songlike as to
have proven themselves perhaps unsusceptible to motivic development. The
soloist's exposition is unusual, in that it initially exposes entirely new
thematic material (Gp and G2 instead of Ai and A2 at mm. 96-148), but then
conventionally states the B theme at the dominant (mm. 149-202). The com
poser, not finding it expedient to develop themes previously exposed, brings
q
Op. 30 has been recorded by Karl Scheit on Turnabout, TV 34 1235, and by
Julian Bream on RCA Victor Red Seal, LM 2487. Both versions use only a string
orchestra, and both delete the development section of the first movement,
probably because of the time limitation imposed by a single side of a record,
10A11 of the orchestral parts are in Munich, loc.cit.. MSS Music 3028. A
timpani part has come down to us from the hand of Roraolo Ferrari, and is in
202
in fresh material (a D theme) at what would he the development section

t
(mm. 243 f.)> after which he digresses at length into C major (mm. 279-
322) — a technique used also in the first concerto — in order to round
out that section of the work before entering the recapitulation. On the
one hand, this movement may be considered ill-conceived because of Giuli
ani's inability to relate the so-called "development" section to anything
else in the work. On the other hand, one may choose to regard it as a
novel experiment, attempting to wed sonata-allegro form to the rondo (with
the development section as a very large digression) on a broad scale. If
such experimenting be a sin, then Mozart shares the guilt in his Piano
Concerto #23 in A major, K 488J A schematic analysis of the first move
ment of Giuliani's Op. 36 is given in Appendix III, 2.
Opus 70, like Opus 30, was written for guitar and full orchestra.
Unlike the previous two concertos, Op. 70 was intended for a terz-guitat.
The concert key is P major, and consequently the soloist's part is written
a minor third lower, that is, in D. Since terz-guitars are no longer general
ly available, the string parts have been transposed down to D in the one
recording now on tbe market. ^ Although Op, 70 exhibits a normal soloist's
exposition, by having the guitar state both the A and B themes (the latter
at the dominant), its development section does not appear to take cogni
zance of the material just exposed. As was the case with Op. 36, and with
Beethoven's Leonore Overture No.l, the development in this movement finds
its musical inspiration elsewhere. That is, the composer gives reign to
the Liceo Musicale, Modena, Italy, The modem edition of the concerto by
Symphonia-Verlag, Basel, was not available for this study,
■^The soloist is Ivanov-Kramskoy, on Monitor, MC 2024*
203
his creative fancy for some 61 measures, starting with an original theme
(another so-called "D" theme, m. 220), followed by a triplet figure in the
guitar (m, 235 f.), and then a quadruplet passage (mm. 247-61) leading
to a tutti and a closing section, with the usual virtuoso's cadenza at
m. 280. Op. 70 is similar to Op. 36 in that they both recapitulate only
the B theme in the tonic, before concluding. A schematic analysis of the
first movement of Op. 70 is found in Appendix III, 3*
Clearly the first concerto, Op. 30, is the most conventional with
respect to form. It develops theme B2 from the exposition, and it reca
pitulates both A and B themes at the tonic, thereby proving that Giuliani
had mastered the first-movement structure of the classic concerto early in
his career, before he began to experiment. Opus 36 seems perhaps ill-
conceived in having too many new thematic ideas, and too little integration
of the whole. The first movement of Op. 70 happily exhibits a return to
a more traditional formal scheme. One may judge, in view of these movements,
that Giuliani's ability to- develop themes really does not compare with
Beethoven's. That would make Giuliani normative instead of exceptional in
this regard, for who can name an Italian composer of classic music in the
early 19th century who really understood what was involved in motivic devel
opment? One does well to recall, too, that the word development was not
12
even applied to first-movement form by a theorist until 1824-26, well
12 r
Anton Reicha is thought to be the first to use the term "developpe-
ment principal" in describing the section after the double-bar in the normal
sonata-allegro form (which then went bjr the name of."Grand Couple Binaire"),
See ReichA's Traite de Haute Composition Husicale (Pari3, 1824-26).
204
after Giuliani had written his concertos and left Vienna.
The second and third movements of the three guitar concertos are
charming, but bear no particular comment, other than the fact that both
Op, 30 and Op. 70. have slow movements in g meter, marked "Andantino
Siciliano," followed by ever-popular alia Polacca finales. This again
points to Op. 36 as the odd concerto in the lot, with its slow movement
3 2
in ^ time, and its ^ Rond?) finale.
B. Ensembles
Several of Giuliani's works (not counting the concertos) were pub
lished in editions for guitar with string quartet accompaniment: Op. 65,
101, 102, and 103. They are composed on the concertante principle, and
utilize the guitar in a very brilliant way, generally alternating the
musical interest between the soloist and the quartet. All are in the form
of a theme with variations, which was so popular at the time.
If the above works are thought of as quintets, then the next smaller
instrumental ensemble for which Giuliani wrote would have to be the trio.
Only one such work has come down to us: the Serenade for guitar, violin,
and 'cello, Op, 19. It received a favorable review in the Leipzig AmZ a
few years after it was published. The reviewer stated'in part that .
the violin and the 'cello divided the melodies between them, while the
guitar generally provided an arpeggiated accompaniment. 13 In fact, each
-ÂmZ, XV (Jan 1813), 55-56.
205
instrument takes its turn with melodic material, starting with the 'cello
(1st movement), proceeding to the violin (2nd movement), and ending with
14
a Polonaise featuring the guitar, replete with two solo guitar cadenzas.
The only apparent reason that Giuliani never again experimented with this
combination of instruments is that similar serenades were being published
at a great rate by his lesser rivals, such as Leonhard von Call, in quanti-
15
ties more than adequate to meet public demand.
Duets account for some of Giuliani's finer moments. We have already
mentioned the two compositions in which our guitarist is known to have
sanctioned (with his own performance) the union of guitar and piano. The
duets for flute (or violin) and guitar achieve generally happier results,
and truly deserve more frequent revivals. The concertante principle is in
evidence in virtually all of them. Thus, when Giuliani's Op. 84, Variations
pour Flftte ou Violon avec accomnagnement de la Guitarre... first came out,
the reviewer promptly wrote:
[in these] variations on a theme in A major, one can remark that

the title is not wholly correct, inasmuch as the guitar is not ac
companying, but rather "konzertirend" fconcertante] throughout —
the second and fourth variations are entirely for the guitar — and
[the guitar part] is of significant difficulty,16
^Soe the thematic catalogue, Vol. II, for a close look at the beginning
themes of each movement of Op. 19.
15
Surviving serenades by Call include Op, 3, 5# 24# 30, 39# 66, 72, and
129 (the last reviewed in the AmZ, XVII [1815], 444, in this way: "so werden
sie [Call's serenades] immer eine grosse Anzahl von Liebhabem finden, be-
sonders so lange sich noch die Guitarre in Ehren erhalten, und nicht durch
ein anderes Instrument verdrangt wird."). These works are all available in
the Stadtbibliothek, Vienna. The list is by no means exhaustive.
•i£
Wiener Moden Zeitung. Nr. 28 (5 March 1818), 226. German in the
comments to Op. 84# .in the thematic catalogue, Vol. II.
206
One trait of Giuliani's style quite in evidence in the duets, where
the melody (for flute or violin) is so clearly separate from the harmony
(the guitarist's domain), is the practice of repeating a note a surprising
number of times, so that the harmony gets a chance to change from one
chord to the next while the melody remains at the same pitch (Ex. 3):
Op. 85, Grand Duo Concertant. 3d mvmt.- Scherzo

A JTivace
(Example 3)
The same device shows up in the scherzo to Op. 19 (see thematic catalogue),
which proves that it was an integral part of the composer’s style as of
1808, Less extreme cases of repeated notes are found throughout the
duet repertory.
Giuliani's works for two guitars are of two types: (l) A principal
guitar is accompanied by a very subordinate "Guitar II," typically in a
set of dances (Landler or waltzes), such as Op. 16a, 55, 75, 80, 92, 94,
and 116. We note that all but the last of these date from the composer's
Vienna period. They could have been pedagogical, that is, Giuliani would
take the difficult melodies and give his students the chordal accompani-
207
17
ments, or occasionally vice-versa. There is no doubt that they were
intended for popular consumption, (2) The guitar parts are of roughly
equal interest, and comparable difficulty. Such works come into evidence
in the composer’s creative output only when his eldest son, Michel, is
old enough (ll years) and adept enough to discharge his part creditably,
that is, by 1812, Op. 35, 66, and 67 would have been likely candidates
for the guitars of Giuliani pfere et fils. The Variazioni concertanti. Op.
130, and Tre Polonesi concertanti. Op. 137, both published posthumously,
were very likely written for performance by the composer and his daughter,
Emilia, They are among the more difficult duets in the guitar repertory,
on the order of Sor's Op. 34 and 63.
C. Work3 for Solo Guitar
The greatest part of Giuliani's musical legacy consists of studies,
themes with variations, potpourris, sonatas, and so forth, expressly for
solo guitar. We have already seen how the composer was able during his
lifetime to gain legitimate recognition and often admiration for this
special kind of chamber music. Even the journalists, many of whom fostered
the idea that 30I0 guitar music was "unnatural," had to make an exception
for the works which came from Giuliani's pen (for he never, as far as we
know, played anyone else's guitar compositions):
.,. Herr Mauro Giuliani has brought thi3 instrument to a height
X7
. The level of expertise demanded by the "Guitar I" parts is equivalent ./
to what is required in order to execute Ex. 11 of Chapter III. A look at
the incipit3 in Vol. II is also helpful, to get an idea of how great one's
mastery of the guitar must be.
208
which never would have been thought possible before him. Only with
him does one forget that [the guitar], according to its nature, is
intended for the accompaniment of a voice, or of some instrument,
and that it loses its essential character when it attempts solos,
sonatas, or concertos,
Our discussion of the works for solo guitar will be done on the basis of
form, rather than according to the previous categories of performance
medium.
The Theme with Variations
No type of composition in Vienna of the early 19th century was
more beloved, or more common, than the theme with variations. In fact,
Abbe Gelinek, music master to the Empress, is not known to have written
19
anything other than these for the pianoforte. There seems to have been
a "variation1' mentality shared by musicians at that time, for they not
only composed variations on any theme whatever, but also improvised them
on instruments extemporaneously. Some coloratura sopranos were even
singing variations with great public (if not critical) acclaim. Here is
a rather amusing witness to this state of affairs, from a certain V.
Hebenotreit, published in the Wiener Moden Zeitung. It is a review of the
premiere in Vienna (on 30 August 1817) of Rossini's Cenerentola (in German,
Aschenbrodel), and reads in part:
^Vaterlandisc.he Blatter. VII (31 May 1808), 53* German in footnote 55

of Chapter II (i.e. supra, p.96).
thematic catalogue (publ. Steiner) of the works of Gelinelc is now
in the Arcbiv der Gesellschaft der Musikfreimde, Vienna (call no. 1254/d,2).
It shows 87 opus numbers devoted exclusively to the theme & valuations.
209
... Choruses and orchestra went well; but what is the meaning of
the variations from the concertmaster's violin?' The music to an
opera in actual performance is no theme for variations. Rather,
the notes should be played as they are written. One owes it to the
composer, to the public, and to the singersJ20
The same reviewer, we assume, in a report several months later deal
ing with Rossini’s Tancredi. has these.more tactful, more veiled questions
to put to the public (and hopefully to the instrumentalists who were in
the orchestra pit, as well). We know, of course, what excess he is referring
to, even though he doesn't come right out and say it:
... The orchestra was not quite playing together, and yet there are
virtuosi in nearly every section. How can that be? And what is the
remedy for it?21
The ability to sing violin variations was one of the most popular
attributes of the highly acclaimed nrima donna. Madame Angelica Catalani.
She toured Europe extensively during the period c.1817-28, amassing both
fame and fortune. Here is a review of one of her favorite numbers, a piece
which invariably brought the house down:
Then Madame Catalani sang the famous violin variations by Rode

in G major, but only the theme and two variations, with a few changes
and an Italian text underlay which we could not understand. The piece
was transposed to D^, , Here it was excellent, for the singer had
the opportunity to display all of her marvelous artistic skill in the
most advantageous way... One must further remark that, regardless of
WiZ, Ho. 71 (3 Sept 1817), 170: "Chore und Orchester gingen gut; aber
was soil das Variiren auf der Violin vom Orchesterdirektor heissen? Die
Musik einer Oper ist bey der AufflQirung kein Theraa zu Variationen, sondem
die Hoten sollen gespielt werdcn, wie sie geschrieben sind. Das ist man
dem Kompositeur, dem Publikum und den Singenden schuldig."
WMZ. No. 92 (15 Nov 1817), 348: "Das Orchester stimmte wohl nicht ganz
zusaDinen, und doch besitzt es beynahe in jedcm Fache Virtuosen, Wie
geschieht das? und wodurch ist dem abzukelfen?"
210
how difficult these variations might be, nowhere do they involve

anything contrary to the nature of the v o i c e . . . 2 2
Obviously the reviewer was being a careful observer, not letting himself
be swept into a frenzied state of enthusiasm by the audience (which, inci
dentally, applauded the number so much that it had to be repeated). And
still he gave his full intellectual assent to the very idea of singing
concert variations for the violin! Those who criticize Beethoven's writing
"instrumental" melodies for trained soloists, for example, in the choral
movement of the Ninth Symphony, generally fail to recognize the precedents
and practices which the composer saw all around him.
It was this "variation" mania which reigned supreme in Vienna during
Giuliani's years there, and which explains why the theme with variations
figures fairly prominently in his works for solo guitar. In one sense,
our composer tells the story of his life in the themes which he chose to
"vary." Italy before Giuliani went north is represented in Op. 4, Six
Variations on "Nel cor piu," from Paisiello's Holinara. Austrian themes
are found in the works up to Op. 99, and include "A Schisserl und a Reindl"
(Op. 38), an "Air Autrichien" (Op. 47), "I bin a Kohlbauem Bub" (Op. 49),
themes from popular Slngspjsic (op. 7, 72, 88, 97, and WoO, G & F[v]-2),
and "Das ist alles eins" (Op. 99). Then arrangements and variations for
Rossini themes account for some of Giuliani's output during his years in
Rome (Op. 119-24 et al.). not to mention the Potpourri Nazionale Romano
^VJMZ. No. 80 (4 July 1818), 650. German in Appendix I, 53.
211
(Op, 108), which has several variations. Finally popular Neapolitan
tunes are "varied" in Op. 140—45, published posthumously by Ricordi.
Giuliani's variations reflect, in the idiom of the solo guitar, the
traditional practices pertaining to this genre: a movement in triplets
here, and one in quadruplets there, and others featuring small motives or
figurations. They are generally in a major key, and normally follow the
structure and harmonies of the theme faithfully. An interesting area of
exception would be in the variations (usually one per opus) in a minor
key. Here Giuliani often would depart entirely from the theme, even dis
regarding the normal phrase structure, and write a composition within a
composition — a so-called "character" variation.
Appendix IV of this volume contains a reproduction of the first
edition of Op. 49, Variations on "I bin a Kohlbauem Bub," It is a
textbook example of the aforementioned characteristics, and is useful
for illustrating other aspects of the composer's style, as well. The
overall sequence of musical events in Op. 49 is outlined below:
— The theme is very simple, deceptively so, consisting of two parallel
8-measure phrases. It gives no hint of the musical fireworks which are
to follow.
— Var, 1 begins as a study in two-voice contrapuntal texture, most of
the interest residing in the bass, Giuliani was uncompromising in his
requirement that a guitarist utterly master this most unwieldy register
of the instrument. No composer since him has been as exigent in this
matter. A free musical texture i3 seen in the consequent phrase, which
212
witnesses a return of the melodic interest to the upper range.
— Var. 2 is cast in a free instrumental texture, analogous to what was
"being written for piano at the same epoch, at least among the "better compos
ers. It lies somewhere between homophony and false polyphony, but it would
be difficult to say exactly where. The conclusion of this chapter will
return to this point.
— Var. 3 features triplets, and has already been mentioned in connection
with the artistic use of the slur (v. Ex. 9 of Chapter III).
— - Var. 4 is a study in small figures, rather conventional in its way; the
consequent phrase makes use of the guitar’s open e' string in a very idiomat
ic manner.
— Var. 5 is a "character" variation in a minor key. Its consequent phrase
loses all reference to the corresponding part of the original theme. This
variation is, in fact, a miniature Polonaise within the larger composition.
It gives needed relief from the simple harmonic scheme preserved in the
previous variations, and reflects the composer's true creative ability much
more than the previous variation had done.
— V&r- 6 is typical of Giuliani's "brilliant" style. It reaches above the
octave of the open e' string, and bridges directly into a finale.
— The finale begins very quietly; the fourth line of page 4 (Appendix IV)
again shows what kind of mastery of the bass strings the composer expects.
There are few guitarists even today who are able to effect the long, slow
crescendo which extends over lines 4-8. The octave passage at the bottom
of page 4 is the kind of device for which Giuliani is famous, and one which
here marks a momentary climax. There follows a diminuendo, and then a
213
bridge on the note A, which all of a sudden loses its identity as the tonic,
and becomes the mediant of F major. In a stroke of genius, the composer
uses this modulation to paraphrase loosely the beginning of the theme by
means of an arpeggiation (page 5, line 3). We note that it is the only
truly arpeggiated passage in the whole composition. Less gifted composers
for the guitar were always falling back on the broken chord for lack of
something more original to write, but here Giuliani's use of the arpeggio
is subtle, beautiful, and well planned. The return to the tonic is followed
shortly by a series of formula cadences, which many today would regard as
overworked. There was a propensity which Giuliani and many of his contem
poraries had toward ending little pieces in a big way. They would not have
dreamt of allowing a conclusion to take the listener by surprise! For this
reason sections of Giuliani's finales are often deleted in modern perfonn-

23
ance, with no loss either of balance or of effect. Apparently the Vien
nese audiences enjoyed a bit more of the solid V-I feeling at the end of
a piece than we do.
Sonatas and Sonata Form
Giuliani wrote only one three-movement sonata in the traditional
classic manner. His Senate. Opus 15, stands like a solitary gem in the
literature for the classic guitar. Its first movement is cast in mono-
thematic sonata form (not unlike Haydn's quartet, Op. 74, No.l). The
23
Thus Julian Bream deletes part of the formula cadences in Giuliani’s
Op. 61, recorded on RCA Victor, LSC-3070, I approve wholeheartedly.
214
development section is admirable for its new melodic ideas, and distant
harmonies. It is skilfully worked into the whole, and thus leaves the
listener with the impression that nothing could have been more carefully
composed. It is the kind of movement not a note of which should be revised,
A fine example of sonata-allegro form with two distinct themes ex
posed in their respective tonal areas (tonic and dominant) is encountered
in Giuliani's GrandeOuverture. Op. 61, a colorful and brilliant evocation
(almost a parody) of a classic overture to an opera. One can almost identi
fy the different sections of the orchestra — strings here, woodwinds
there -~ emanating from the guitar as the music runs its exciting course.
And this composition certainly cannot be dismissed as a mere virtuoso
show-piece. Initially there is a suspenseful 15-measure "Andante sostenuto"
introduction in A minor. The exposition of the "Allegro" movement which
follows displays the key signature of A major, but does not begin simply
and conventionally on the tonic (v. Example 4). The latter i3 reached
firmly only in the eighth measure! And from that point, the listener can
hardly catch his breath until the final cadence, so briskly does the music
move along.
The third, and final, occurrence of sonata-allegro form (with two
distinct themes) in the work of Giuliani is found in the one-movement
Gran sonata eroica. Op. 150, posthumously published in 1840. It is a work
which no professional guitarist in modern times, as far as this writer
knows, has yet found suitable for his repertory; this may indeed say some-
215
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CLr-■7mfVT:•
. ';'/'. *7■
/}..
. : ■. . ■•■: - - \ ' i
:--=r 1
P '-;V "'.44r p = £ T ptxr'J.
(Example 4)
Facsimile from the first edition of

Kauro Giuliani’s Op. 61, Grande Ouverture.
publ. Milan by Ricordi (plate number 185).
Reproduced with permission of the copyright owner. Further reproduction prohibited without
permission.
216
thing about it. The ambitious title, and the compositional style of the
work, involving numerous fortissimo passages, are currently regarded by
most connoisseurs as ill-advised for the guitar. But these opinions will
quickly change if and when a good guitarist is able to make a convincing
musical experience out of Op. 150.
Op, 15 (first movement), Op. 61, and Op. 150 represent the only
movements for solo guitar cast in sonata-allegro form in Giuliani's entire
artistic legacy. The first two, which have gained acceptance for them
selves in concert repertories around the world, were written during the
composer's Vienna period, when he would have had the models of the great
German-born masters (Haydn, Mozart, Beethoven) easily accessible for study
and emulation. Nothing is known of the circumstances surrounding the
composition of Op. 150, unfortunately.
It is noteworthy that neither Giuliani, nor any of the other early-
19th-century composers of'guitar music, including Sor and his Paris-based
contemporaries, found the sonata form especially compatible with their own
musical inclinations. Clearly they were able to adapt it to the guitar on
the few occasions that they wished, but they seem not to have elected to
use it often. Hence it is not surprising to encounter among Giuliani’s
works something like Op. 96, comprising three "sonatas" which have nothing
to do with the previously discussed form. Each consists of two short move
ments, for example, an "Andante" followed by on "Allegretto," both being in
one of the standard, song forms (bipartite or tripartite). By the same token,
217
the three sonatinas in Op. 71 have individual movements which are quite
simple from the viewpoint of form. Their merit lies principally in the
unique way they make the instrument come alive in the hands of the performer.
Studies
Giuliani's studies (Op, 1, 10, 29, 37, 40, 46, 50, 51» 56, 78, 98, 100,
and 159) were evidently conceived as short pieces to work on in private,
sooner than to play in public. They address themselves to the usual prob
lems posed in the more carefully composed larger works: sustaining or
dampening individual notes, execution of slurs, separation of melody from
accompaniment, exploration of the various ranges of the instrument, and so
forth. As far as the quality of composition is concerned, they generally
do not rate as highly as the studies of Sor or Coste, later exponents of
the guitar,, who had to keep their Etudes comparable in esthetic appeal to
what was being written for the piano c.1820-1860.
An exception would be Giuliani's character studies, such as those in
Op. 46, Choix do mes fleurs cheries. They are lovely evocations, quite de
manding of control over the instrument, and can succeed beautifully or fail
miserably depending on how they are interpreted. They await deserved revival
by any guitarist who feels capable of performing them convincingly. Another
set of rather exceptional studies is found in Op. 148, also character pieces
with titles ("11 Sentimentale," "L'Amoroso," "Lo Scherzo," etc.). One or
several of them might make an admirable contribution to a modern guitarist's
218
concert repertory.
Sets of Dances
Giuliani’s musical legacy is different from that of most other com
posers of guitar music with respect to the large quantity of dances, such
as Austrian Landler and waltzes, which he has left us. They belong every
bit as much to the cultural history of Vienna in the early 19th century as
do the innumerable themes with variations of which we have spoken. A char
acteristic of the Landler is its folksy, Jodler-like melody, leaping from
note to note of a triad, up and down and up again. If one connected the
notes with a continuous pencil line, he would almost be tracing the peaks
and valleys of the Alpine terrain where the dance originated. The rustic
flavor ("le godt de la nature”) which so appealed to the nobility at Ver
sailles that it led them to retreat to the mock-peasant "Hameau,” finds
its counterpart in Vienna with the Jodler ringing forth from the bushes in
>■ 24
the elegant gardens of Count Palffy, during the pause in a musical soiree.
Upper and middle class Viennese were clearly taken with this kind of music,
either as amateurs or as spectators. This led Giuliani, Schubert, Moscheles,
Diabelli, and their colleagues to write numerous sets of Landler (usually in
groups of 12) for various instruments, usually as solos or duets. Giuli
ani's dances of this type for solo guitar include Op. 12, 21, 23, 33, 44,
24
See Appendix I, 25, or its translation supra, p. 109. The account of ■
that soiree is in Moscheles' Tagobuch for the year 1815.
219
57, 58, and 90. If we add those for two guitars (Op. 16a, 55, 75, 80, 92,
94 and 116), we get a total of 184 individual Landler or waltz movements,^
The aforementioned composers were doubtless imitating the folk music
of the so-called Landler-Kapelle. which had captivated the hearts of the
Viennese public, especially those who liked to dance. Here is a descrip
tion of how the music was made:
Landler-Kanellen are not large: up front two fiddlers are

seated, and next to them often a clarinettist,,. One fiddler plays
the melody, that is, the "Prim," the second plays the "Ueberschlag,"
almost always a .third higher, but also often a third lower when
necessary. This player must be very talented ["feinftfhlig"], for
often his part is not written out. He has to play it from the
"Prim" part,., A skillful bass player is the cheerful member of
the group, and is indefatigable in [contributing to] merry musical
goings-on.26
As far as the performance of the music is concerned, this is what the same
source has to say:
Most handler move in three-quarter time, and those in duple

time are rarer. These [latter] are called "Geraden" and are danced
in a very original way. Normally the first Landler i3 played comfort
ably slowly — a real grandfather's dance, but then there follows a
quicker one and yet another in an endless series, until once again
the serious [slow] one3 return. Nearly all are 8 measures in length,
and divided exactly in two halves... A Landler tune is often repeated
in various way3, for example, an octave liigher or lower...27
25
The incipits of all of them are in the thematic catalogue of Vol. II.
The titles Landler and waltz are interchangeable at this time.
26
Karl Liebleitner, "Einiges tfber den 'Landler'," Zoitschrift fur die
Gitarre. V (Vienna, .1926), 155. German in Appendix I, 54(a).Notice that
all one has to do is add a guitar to a Landler-Knpelle to got a Schrammel
quartet]
p ry
Ibid.. 154. German in Appendix I, 54(b).
220
True to these descriptions, Giuliani’s Landler are in three-quarter time,
feature parallel thirds very often, have an utterly functional bass, and
exhibit regular phrasing, with few exceptions. One of the exceptions,
having 6-measure phrases, is given here (Ex. 5):
Opus 44, 12 IAENDLER. No. 11.
J i JX 5 4 J -j J r | J/jrj J:
S e i
m
T * s
tecj
f t *j ijfo> ij w - 1“b i
T *J J f r > rf *n xr7 f r l f
(Example 5)
In this selection, Op. 44, No, 11, we notice not only the stylistic elements
of Austrian folk music already mentioned, but also the notational refine
ment of 3-voice texture. One must bear in mind that a Landler. such as
thi3 one, was never meant to stand alone, but rather to be situated in a
"Landler-Reihe," or series of dances in the same key. Valid performance
of such a series would require beginning at a slow tempo, building up to
almost a presto, and then toward the end effecting a ritardando. There
should hardly be a pause between the individual numbers, it goes without
saying, lest one lose sight of the integrity of the whole, Thu3 the
Landler suites which Giuliani and so many of his colleagues left U3 are
not nearly as simple from the angle of interpretation as one might think.
221
Musical Textures and the Guitar
It is common knowledge among historians interested in classic and
romantic keyboard music that conventional adjectives such as "polyphonic"
and "homophonic" do not adequately describe the textures of free-voiced
instrumental music. Apel's Harvard Dictionary of Music puts it very suc
cinctly in stating, in its definition of texture:
Between the anti-poles of strictly polyphonic and strictly

homophonic music there exists, of course, a large variety of inter
mediate types of textures. [Here the author cites a passage from
Beethoven's Piano Sonata, Op. 106, "Hamraerklavier." The example]
illustrates a mixture of horizontal and vertical elements which is
particularly frequent in 19th-century piano music of high standing
(Beethoven, Brahms).
In a discussion of Chopin's music, to take this line of thought one
step further, the term "pianistic" invariably comes up. It is an effort
to describe the idiomatic character of his literature for the piano. One
could truly spend months discussing the pianistic aspects of Chopin's
Etudes, for example, if only one could organize one's thoughts and language
around the concept of the "pianism," that is, that certain passage which
can only have been conceived on and for the pianoforte, in the light of its
peculiar musical properties. By the 3ame token, the classic guitar generates
or gives rise to its own idiomatic textures. These may usefully be dis
cussed under the heading of the "guitarism."
Consider, for example, the beginning of the second variation in Giu
liani's Op, 49 (Appendix IV). Its texture defies description in conventional
222
terminology. But it makes beautiful sense, and lies well, on the guitar.
As such, the passage may be regarded as "guitaristic." By that I do not
mean something so vulgar as the strum — which is certainly idiomatic for
the guitar — but rather a style of music which relates well to the finger
board, which takes due advantage of the open strings of the instrument,
and which produces particularly pleasing sonorities.
The "Guitarisia"
At the heart of idiomatic classic guitar music are the elements of -
the chord (vertical) and the melody (horizontal). .Giuliani and his col
leagues tried normally to mold a composition out of both, and they seem
to have done so spontaneously, without thinking critically of the two
theoretically distinct elements which made up their music. Moot of the
time they were capable of combining the two instinctively, in a highly
esthetic manner.
If we imagine a continuum, or spectrum, at one end of which is the
chord, while the other end represents unaccompanied melody, then we can
easily conceive of a given guitar composition, ■or section of it, being
situated closer to one pole than to the other, depending on its texture.
At the "vertical" or chordal end of the spectrum we find the arpeggio
3tudy, an ordered progression of broken chords which lends itself admirably
well to the guitar. One particularly "guitaristic" one, Giuliani'3 Op. 48,
No. 5 (v. Ex, 6), starts by leaving the first and sixth (E) strings to
223
resonate in their open positions, while the left hand is made to progress
up the fingerboard on strings 2, 3» and 4« In other words, the motion is
confined to just those inner strings. Marvelous dissonances result when
the second string is stopped on the d’#, next to the open e' string. One
can hear the second string overtaking, as it were, the first one as the
left hand ascends the fingerboard (Ex, 6):
(Example 6)
At the other (horizontal) end of the spectrum one finds purely
monophonic studies of a pedagogical nature, designed to perfect the
student's handling of the legato. We have already seen that Giuliani
knew how to use the slur to achieve subtle cross-rhythms — artistically,
one might say (Chapter III, Ex. 9). But for the sake of his students he
would also employ it "guitaristically." In Ex. 7, taken from Op. 48, No,
4, the composer has the ascending slur always start on an open string,
thus not requiring that the left hand move out of the first position:
Modero.-to
•ilbt--- ■ r f / j - y j i
> •
(Example 7)
224
Conversely, the descending slur never ends lower than the open position
of the string on which it "begins.
The artistic fusion of vertical and horizontal elements to create a
musical texture which lay and sounded well on the guitar was a challenge
which only guitarists with many years of practical experience were able to
meet successfully. Giuliani was truly a genius in this respect. His
ability to make the guitar speak with its own accent the musical language
of his era has left posterity with a wealth of very resourceful and
charming guitar music, that is, music which can exist only on and for the
guitar.
We have already seen how very important the element of song was in
Giuliani's compositions. The Song H i e given in Volume II has 224 entries
(text incipits and titles of songs used in any way by the composer). His
28
unusual ability to wed a careful accompaniment to a pre-existent melody,
and still come up vdth a particularly pleasing "guitaristic" texture,
fusing the elements of melody and harmony in an idiomatic way, is demon
strated in Ex. 8. In this posthumous work (WoO[posth], G-14), Sei Arie
Nazionali Scozzosi variate per la Chitarra. o Lira.... he renders the theme
(not a variation) of "The Blue Bells of Scotland" (excerpt given in line
A) in the manner shown in line B.
28
This skill was mentioned by Giuliani's first biographer, Isnardi,
who said, "But his greatest innovation was that of adapting to the guitar .
any musical piece or chord whatever..." The entire biography is found
on pp. 73-74, vdth the original Italian in Appendix I, 7.
225
w
--- ^ • .TT
m u =
ju----
[ J - Jj - 4 - *f ..i~r_:_.... a
--- 1 -—
-- f-1---- ---
He's ! jovia to -Tigfit -Jhe ■foe. fsv Geoyt. u
/«on ~H\e- 'Ihrone, ^
'
/n
a >
—? | / T1.A..J.
.... T l r_
& i f * < * n
j—> — —4--- j—
« r ■=;-> * T y
= r T t
f l I f f '
(Example 8)
Here Giuliani adapts the uppermost notes of each arpeggio to melodic
ends. Although the melody does not readily appear to the eye in his solo
guitar version (line B), it most definitely does emerge from the web of
arpeggiation in a characteristically "guitaristic" way when performed.
Certainly this broken texture has much in common with unaccompanied music
for violin. It makes one think, too, of something like the Allemande from
Bach's Fifth French Suite for harpsichord. In the present case, and
throughout most of Giuliani's works for solo guitar, the composer abun
dantly reveals his talent (through treating sequentially what could else
where be done simultaneously) for making music pour forth from the
instrument.
Conclusion
The emergence of a six-string guitar at a time when the classic musical
style was pervasive meant that the instrument was destined to acquire a3
its earliest body of literature one with an unmistakable late-18th-ear.ly-
19th-century flavor. Among the first generation of masters composing for
226
the guitar in .this style, using improved, ''intermediate" notation, Mauro
Giuliani holds a unique position. He was able to develop his talents to
their fullest in Vienna, the music capital of the world at that time. His
relationships with various Viennese musical celebrities (Beethoven, Hummel,
Mayseder, Moscheles) were extremely beneficial to his professional de
velopment, a fact which is amply reflected in his compositions, particular
ly in regard to genres and forms.
It would not be possible, on the basis of the knowledge we currently
possess, to argue that there existed a Viennese "school" of guitarists
of which Giuliani was the leading exponent. There was, however, a great
deal of activity on the classic guitar in Vienna, which resulted in a minor
deluge of printed music for this instrument. Most of the works by Call,
Molitor, KLingenbrunner, Tandler, Topfer, Graeffer, Schulz, Diabelli, Her,
Mendl, Wolf, and others of basically German background unfortunately do not
equal the compositions of Giuliani as far as style, wit, and suitability
to the guitar are concerned. The former should be regarded as evidence of
the earliest rise of the classic guitar to cultural (if not artistic)
significance in the Imperial City.
Giuliani's works, on the other hand, are more than just documents of
passing interest to cultural historians. They constitute a body of litera
ture known to a small degree, and respected to a great degree, by everyone
who has ever studied the classic guitar. They make the guitar come alive
in the hands of beginners and experts alike in a particularly pleasing man-
227
ner. They make a well-ordered, succession of tones emerge in a full-voiced
and perfect way from this instrument which, prior to Giuliani*s advent,
had been regarded as irredeemably weak-voiced and imperfect.
No music historian could possibly maintain that Giuliani's compo
sitions contributed, in their purely theoretical aspects (phrase structure,
harmonic rhythm, the progressive use of remote keys, and so on), to the
evolution of musical style in general. But in regard to the development
of the first body of literature for the Austro-Italian classic guitar, in
particular, there can be no doubt that Mauro Giuliani was the mo3t sig
nificant and gifted composer of his generation.
During his Vienna years (1806-1819), he turned out a series of works
for guitar which were unquestionably superior both to what had been writ
ten earlier in Italy (cf, Nava's Stardoni dell'Anno, pp. 157-59), and to
what was being composed all around him in Vienna (cf. Exs. 1 and 2 of this
chapter), And after about 1817, when the guitar cult had spread to Pari3,
Giuliani's works were extensively republished in that city (and subse
quently in London). They became criteria of compositional quality which
only a handful of later figures, like Sor, Aguado, Hertz, and Coste, had
the vision to equal and at times to surpass.
Thus Giuliani retains his place in the history of music as the first
truly great virtuoso/composer for the classic guitar. His manner of play
228
ing was widely, acclaimed and emulated; his works, in particular, became
standards of the repertory during his lifetime, and remain so today.
Classic guitar music in the 19th century might have been very slow in
attaining the qualities of balance, integrity, and perfect suitability
to the instrument without the works of Giuliani to serve as models.
* * *
229
A P P E N D I X I
I, 1 — Josef Zuth, Simon Molitor und die Wiener Gitarristik um 1800 (Vienna,
1920), 5.
Die kunstsinnige GroBherzogin Anna Amalia von Weimar hatte 1788 von einer •
Reise aus Italien das dort unter dem Namen spanische Gitarre gangbare Instrument
an ihren Itlrstenhof verpflanzt, wo in der Polgezeit das Gitarrespiel eifrige
Pflege fand. Das Beispiel der hofischen Gesellschaft fand in den bttrgerlich-
en Kreisen Nachahmung und bald wurde die Gitarre allenthalben volkstumlich.
Das jahr 1788 gilt deshalb als Stichjahr ftlr die Einfuhrung des Gitarrespieles
in Deutschland,
I, 2 - Jakob August Otto, "Ueber die Guitarre," See footnote 15 of the

Introduction with regard to the authenticity of this text.
Dieses Instrument ist aus Italien zu uns gekommen. Im Jahre 1788 brachte
die Herzogin Amalia von Weimar die erste Guitarre von da mit nach Weimar, und
sie gait damals als ein neues, italienisches Instrument. Es erhielt so-
gleich allgemeinen Beyfall. Vom Herrn Kammerherrn von Einsiedel bekam ich
den Auftrag, fur ihn ein gleiches Instrument zu verfertigen. Nun musste ich
noch ftlr viele andere Herrschaften dergleichen raachen, und bald wurde die
Guitarre in mehreren grossen Stadten, in Dresden, Leipzig, Berlin, bekannt
und beliebt. Von dieser Zeit an hatte ich zehn Jahre hindurch so viele Be-
stellungen, dass ich sie kaum befriedigen konnte. Dann aber fingen immer
mehr Instrumentenmacher an, die Guitarren zu verfertigen, bis sie endlich
fabrikmUssig in grosser Anzahl gemacht wurden, z.B. in Wien, Neukirchen und
Ilyrol,
Jene erste italienische Guitarre wich aber von den jetzigen ab; derin
sie hatte nur 5 Saiten, und bloss eine besponnene Saite, namlich das tiefe
A, Weil die D-Daite sehr stumpf klang, versuchte ich diesem. Uebelstande
durch eine tibersponnene Saite abzuhelfen, was mir auch gelang,
Vor ungefahr 50 Jahren [i.e., circa 1798] erhielt der Herr Kapellmeister
Neumann in Dresden eine Guitarre dieser Art mit 5 Saiten, Bald nach Emp-
fang derselben forderte er mich dazu auf, dass ich eine Guitarre ftlr 6
Saiten einrichten und noch eine Saite ftlr das tiefe E anbringen mochte. Mit
dieser Vervollkommnung baute ich nun mehrere und fand bald die allgemeinste
Anerkennung,.,
I, 5 - Heinrich Christoph Koch, Musikalisches Loxikon...(Frankfurt a/Main,

1802).
Gultarro. Ein Saiteninstrumcnt, welches in Ansehung der Behandlung
unter die Gattungen der Laute oder Zither gehort, sich aber in Rucksicht
auf das Corpus sowohl von der Laute, als auch von der gemeinen Zither sehr
merklich nuszeichnet. Das Corpus der Guitarre gleicht dem der Bogenin-
strumente, lxat aber eine flacho Resonanzdecke und keine F-Locher, sondcm
in der Mitte ein rundes Schalloch. Der Boden ist ebenfalls flach, und die .
Zarge nach dem Verhaltnisse der GrcJBe der Decke und des Bodens hoher, als
230
bey den Geigenarten, Die Grosse des Corpus halt ohngefahr das Mittel
zwischen einer Violine und einem Violoncell. Der Hals der Guitarre ist
breit, und auf dem Griffbrete sind die Tongriffe mit sogenannten Bunden
bezeichnet, die aber von Elfbein in das Griffbret eingelegt sind. Oben
an dem Halse befindet sich anstatt des Wirbel-Kastens ein flaches rltckwarts
gerichtetes Bretchen, in welchem die Wirbel laufen. Der Steg, welcher
breit imd stark, aber sehr niedrig ist, wird auf der Resonzdecke angoleimt.
Das Instrument ist mit sechs Saiten bezogen; die vier hohem sind gewohn-
liche Darmsaiten, zu den beiden tiefem bedient man sich aber tibersponnener
Saiten, die aus SchluBseide verfertigt werden. Die Stimmung dieser Saiten
ist, G A d g h e' [Einige beziehen das Instrument auch nur mit fUnf Saiten,
die sie in die Tb*ne a d g h d stimmen]; sie werden, indem die linke Hand
die Tone gre'ift, mit den Fingem der rechten Hand, so wie bey der Laute,
gerissen, und das Instrument wird an einem Bande hangend, welches Uber
die Schultem gezogen wird, unter dem rechten Arme gehalten.
' Die Guitarre ist besonders zur harmonischen Begleitung des einstimmigen
Gesanges geeignet, und wird am gew'dhnlichsten und h'aufigsten in Spanien
gebraucht. Bey uns hat sie sich seit einiger Zeit zum Lieblingsinstrumente
der Bamen zu erheben gewuBt.
Dieses Instrument ist von einem deutschen KUnstler zu London mit
einer Art von Clavtatur versehen worden, wodurch es in Ansehung seiner
Behandlung fUr die linke Hand Guitarre bleibt, fUr die rechte aber sich
in ein Pianofort verwandelt, daher man ihm auch den Namen Pianofortguitarre
gegeben hat...
I, 4 - Pietro Lictenthal, Dizionario e Bibliografia della Musica. I

(Milan, 1826).
Una cavatina, un Notturno, una Romanza, un Duettino, accompagnati
colla chitarra, fanno un buon effetto; i suoi suoni velati e gravi, danno
delle masse d'armonia molto favorevoli alia voce, col sostenerla senza co-
& prirla. Que3to strumento b perb ridotto quasi al silenzio, quando si fa
cantare. La sua forza consiste nelle vibrazioni moltiplicate de varie corde
pizzicate successivamente o simultaneamente. Dal momento che si devono la-
sciare gli arpeggi per I'unisono, e passare da'Bassi sonori all'Ottava
acuta, composta di Tuoni ottenuti mediante la corda raccorciata, e che non
vibra pib; in allora il Canto debole e languente, privo del soccorso dell'
armonia, non h piu che un pizzicato magro, secco, e spriwisto di tutta
specie d'attrative.
I, 5 - J» P« Reichardt, Vertraute Briefe.... I (10 Dec 1803), 218-220.

Einem Liebhaberkonzert, das fttr den Winter angegangen ist, habe ich
hier auch schon beigewohnt, das mich seiner auBern Einrichtung nach aber
fast getcJdtet hat, ungeachtet die Gesellschaft sehr angenohm war. In drei
ziemlich kleinen Zimmem,' vde ich sie hier fast noch nie gesehen hatte, war
eine groBe Kcnge Zuhorer aus alien Standen und eine fast eben so groBe von
Musikem zusammengepfropft, daB mir Luft und Geho‘r verging. Zum Gluck
verging mir nicht das Gesicht auch; denn es waren zum Theil sehr hUbsche,
ferine Damen da, von denen einige auch sehr artig sangen. Aber selbst sehr
gate Sachon von Bethoven, Romberg, Par u.a. konnten keine V/irkung thun, da
man in dem engen Raum von dem Lerm dor Trompeten und Pauken und alien
231
moglichen Blaseinstrumenten ganz betaubt ward, IndeB bekam ich doch etwas
sehr Vollkommnes zu horen, das d e m auch ganz hieher paBte, und dadurch um
so wohlthatiger wirkte, Es war ein Neapolitanischer Guitarrenspieler, der
so vollkommen spielte, daB er mir oft die sch'dne alte Zeit des echten
Lautenspiels zurtJckrief: ich habe nie etwas so Vollkommnes auf einem so
unvollkoromnen Instrumente geh'drt. Dann sangen noch zwei Italiener mit ihm,
mit angenehmer Tenor- und BaBstimme, eine kleine Franz'dsische Romanze:
La Sentinelle, die vor dem Feinde in heller Nacht auf dem Posten steht •
und seine WUnsche und Betheurungen den Winden an sein Madchen giebt, daB
er fttr sie nur wache, lebe, fechte, sterbe, Eine allerliebste, marsch-
massige Melodie hatte der feine Italiener, der auch ein sehr schoner junger
Mam, ein wahrer Antinous war, sehr artig fiir die Guitarre eingerichtet und
mit lebhaften Zwischenspielen bereichert. Das paBte ganz ftirs Zimmer und
ftlr die Gesellschaft, die auch davon entzttckt war; es aber nicht zu ftfhlen
schien, daB der ganze angenehme Eindruck durch Bethovens ttbermachtige
gigantische Ouverture zu Collins Coriolan, wieder zerstort wurde,
I, 6 - AmZ, X (March 1808), 427f.

Mauro Giuliani ist ein sehr guter Kopf, ein feiner und gebildeter
Mam, der vor einiger-Zeit, so viel Rec, bekannt, aus Bologna nach Wien
kam, und durch interessante Talente von mancherley Art, vomamlich aber
durch seine gute Kenntnis und (zum Theil) eigene Ansicht der Musik, so
wie durch sein wahrhaft bewundemswerthes, durchaus in Deutschland ihm
allein eigenes Spiel eines Instruments, das bis dahin, ausser Neapel und
einigen andera Hauptstadten des untem und mittlem Italiens, nur als
leichtes, galantes Spielwerk, hb‘chstens als angenehmes Accompagnement
kleiner, leichter GesangstUcke gebraucht worden war — die Aufmerlcsamkeit,
und d a m leicht auch die Gunst fast aller BeschUtzer der Tonkunst in Wien
auf sich zog, Unter denen, die man die elegante Welt nennet, wurde er,
wenigstens auf einige Zeit, der musikal. Held des Tages; und man muss
gcstehn, dass diese Welt ihre Helden nicht selten weit imgeschicktcr
wShlt, Seine Kompositionen fUr die, den dichtenden Musiker so sehr be-
schr’
ankende Guitarre, .,. zeigen Geist und Geschmack, zeigen besonders
auch eine neue Ansicht und eigenthtfmliche Eehandlungsart dieses Instruments —
welche letztere aber freylick durch sein meisterhaftes Spiel noch besonders
klar und eimehmend hervorgehet. Er gebraucht namlich die Guitarre nicht
nur durchaus als obligates, sondem auch als ein Instrument, auf welchem
zu einer angenehmen, flie3senden Melodie, eine vollstimmige, regelmassig
fortgeftihrte Harmonie vorgetragen wird..,
I, 7 - Filippo Isnardi, "Cenni Biografici intomo a Mauro Giulion[i],.

L f0mnibu3. foglio periodico. IV, 3 (Naples, Saturday 30 April 1836).
Nacque Idauro Giulian[i] in Barletta Provincia di Bari nel 1781. Studib
in patria ed amb sommamente le belle arti e specialmente la musica. Appreso
il contrappunto, in eta di 16 a m i compose una Messa che gli fece molto onore.
A 18 anni, l'ardente desiderio di meglio istruirsi lo trasse a viaggiare.
In Vienna si perfezionb nel contrappunto, nel suono .del violoncello e sopra- -
tutto della Chitarra, alia quale interamente si diede, Illustrb l'inven-
zione della sesta corda fatta dal Maestro Fabbricatorello in Napoli; ma la,
sua grande innovazione 3i fu quella di applicare alia chitarra qualunque
232
pezzo musicale, qualunque accordo, e di crearvi una infinite di concerti e

componimenti, oltre al toccare lo strumento con una maestria, con un garbo
e con una vibrazione non ancora insino a lui praticata, Meritb per la sua
bravura gli elogi e l'amicizia d'illustri personaggi, Fu nominato virtuoso
di camera da S.M. Maria Luisa, la quale gli donb la celebre lira che Napo-
leone avea fatta lavorare per lei stessa; il guiderdonb di altri sontuosi
regali, e gli ottenne la nomina di Cavaliere del Giglio.
Nel Congresso di Vienna diede a'Sovrani colb riuniti un concerto di
chitarra che gli meritb i maggiori applausi.
Tomava da Vienna in Napoli, ardentissimo di ripatriare, ma giunto a
Roma il 3 Agosto del 1819 vi si fermb avendovi trovati i famosi Rossini e
Paganini, coi quali diede divertimenti tanto celebz'ati che la loro unione fu
denominata il Triumvirato musicale.
Quivi pubblico molte delle migliori sue opere, che riuniscono ottimo
gusto, armonia e sentimento, Fu il primo ad inventare ed applicare alia
chitarra una nuova ortografia musicale, riformando gli accordi dei tuoni
rendendoli eseguibili da chiechessia: il che b omai riconosciuto, stante
che le sue produzioni sono state stampate in Parigi, Vienna, Milano ed altre
capitali.
Parti finalmente per Napoli nel di 8 Luglio 1823» e dopo aver riscossi
universali applausi nelle diverse accademie che vi diede, e specialmente in
quella tenuta in Portici alia presenza di S.M. Francesco I, vi mori. nel gior-
no 8 Maggio 1828.
In queste diverse accademie si produsse pib volte in unione della sua
figliuola allora di tenerissima eta, e che intanto mostrava voler essere un
giomo I'emula della valentia paterna nel suonc della Chitarra. II Giomale
di Napoli del 14 Maggio 1829 nell'annunziare la perdita di Mauro Giuliani,
lo indica famoso suonator di chitarra...
I, 8 - .AmZ, VII (29 May 1805), 569-70.

Zum Sehluss noch einige Worte liber Nebensachen. Die Kultur der Instru-
mente ist hier, in der Regel, Nebensache; und kein Instrument vrird so kulti-
virt als — die Guitarre. Wahr ist es indessen, es giebt hier brave Kompo-
nisten ftlr dies kleine Wesen, und treffliche Virtuosen, in einem hohern Sinn,
als man bey der Guitarre vennuthen sollte, auf derselben. Die Liebhaberey zu
befricdigen, hat man unzHhlbare Lehrer, und zwey Fabriken, die Guitarren
aller Art verfertigen, — Dass man hier mehrere Fabriken hat, die die besten
Saiten in der Welt verfertigen, und sie in alle Lander versenden, ist bekannt.
I, 9 - AmZ, VII (28 Aug 1805), 760-61.

... in dem letzten Jahrzehent eine grauelvolle Revolution alles zu-
itickwarf; dass verheerende Kriege und deren gew'dhnliches, trauriges Gefolge,
diese im Prieden heiter traumende Nation, die jener Ruhe, jener heitem
Traumerey, sogar su ihrer Existenz, wie vie3jmehr zu ihrer Bildung und Kunst-
thatigke.it bedarf, gewaltsam aufrissen: und dann verdamme man die Neapoli-
taner, wenn mann — kanni
Von jenem traurigen Gefolge des Krieges flthre ich nur Eins an, als das
■was liber den Gegenstand, den ich hier zunachst zu beleuchten habe, am meisten
entschiod: das Vermogen, die Fonds, der beyden Conservatorien irurden zum
Theil eingezogen, zum Theil gepltindert; die Institute leben nur noch kUmmer-
lich vom SchvjeiBe ihrer Zoglinge, statt dass sonst die Zoglinge von den Fonds
233
der Conservatorien nnstandig lebten. Dies war der starkste, und wirklich
alles lahmende Schlag. Seitdem gehet alles rttckwart3. Wenn die Mutter ver-
schmachtet, stirbt der Saugling.., woher sollen die JHnglinge Unterricht,
woher Muster nehmen?
I, 10 - From the preface to Versuch einer vollstandigen methodischen An-

leitung zum Guitarc-Spielen... von S. Molitor und R. Klinger. Vol. I
(Vienna: c. 1811-12).
Die erste Verbesserung der Guitare war die BeyfUgung des fttnften Chors.
Es ist ungewiB, ob sie in Italien oder in Frankreich zuerst eingefilhrt wor-
den sey; da die Benennung franzosische Guitare, winter der sie in dieser Gestalt
vor geraumer Zeit in Deutschland hie und da belcannt war, uns keinen hinlang-
lichen Beweis ihres Ursprunges zu geben scheint. Auch in diesem Zustande
muBte sie noch der weit vollkommeneren Laute und Mandora weit nachstehen,
Sie kam erst dann allmalich in Aufnahme, und fing an in der musikalischen
Welt gennant zu werden, als die Laute und Mandora beynahe vo'llig verschwunden,
und dennoch das BedUrfniB eines leicht tragbaren, leicht zu behandelnden
instrumentes, vorzUgll.ch ftlr die Begleitung der Singstimmen, neuerdings
fUhlbar geworden war. Man fing nun an, die gewbhnliche Notenschrift ftlr die
Guitare einzuftthren; man schaffte die unbequeme doppelte Besaitung ab; es
erschien Anleitungen die Guitare zu spielen, und Compositionen fUr dieselbe,
Allein noch konnte man sich von den alten beschrankten Forraen, welche in
jedem Takte mehr als eimahl gegen die ersten Regeln der Harmonie anstieBen,
nicht lonioachen, Man war zufrieden, wenn zum Gesange nur so beylaufig etwas
mitklang. In diesem Zustande cchlich sich das Guitarespiel vor ungefahr
18 bis 20 Jahren in Oesterreich und Deutschland ein, wo es vorher sehr
selten gewesen war; die Mode brachte das Instrument zwar in Aufnahme; aber
die Art, wie es fast allgemein getrieben wurde, konnte das Vorurtheil,
welches die Kenner bey dessen Erscheinung wider dasselbe gefaBt hatten,
nicht aufheben.
Nun erhielt indeB die Guitare eine zweyte wesentliche Verbesserung
durch Beyfugung der sechsten Saite, riahmlich des tiefen E, welches bey
uns bald allgemein wu r d e ...
Zu diesem Zustande konnte die Guitare sich wenigstens zu dem Range
erheben, den einst in der musikalischen Welt die Mandora mit Ehren ein-
genommen hatte. Wirklich thaten sich Guitarespieler hervor, die es in
Ausftihrung von Schwierigkeiten zu einer groBen Fertigkeit brachten. Allein,
UnkenntniB der Harmonie, gerade des Theils, in dem die Guitare glanzen
sollte, Verkehrtheit des Geschmackes, Vorurtheil, und auf einer andern
Seite der Schlendrian, und die Frivolit&t der meisten Liebhaber dieses
Instruments der Mode, schienen .der Vervollkommenung desselben so unUber-
steigliche IlinderniBe zu setzen, daB der baldige Verfall desselben nicht
mehr feme zu seyn schien.
In dieser Periode fing indessen eine Neuerung an, welche allein jjn
Stande war, dem Gocchmacke eine andere Richtung zu geben, und dem Instrumente
in der musikalischen Welt Achtung zu verschaffen: wir raeynen die neue Art
fur die Guitare zu notiren. Diese besteht darinn, daB man die vcrscliiedenen
Stimmen, welche die Melodie und Huimonie ausmachen, gehorig unternchoide t,
und dergestalt notirt, daB der BaB sich von den tibrigen Stimmen, und diese
sich untercinander und von der Oberstimme deutlich sondem, und gleich beym
234
Anblick der geschriebenej* Parte dem Leser ins Auge fallen.
Wie sehr auch das Vorurtheil und die Bequemlichkeit sich gegen diese
Neuerung straubte, so fand sie doch bald an den besten Professoren des
Instruments in unserer Kaiserstadt ihre Vertheidiger* und wurde von ihnen
in ihren Compositionen angenommen. Hiedurch war der wichtigste Schritt zu
einer reellen Verbesserung gewonnen. Nun konnte der Compositeur nicht
mehr einen musikalischen Galimathias in unlesbaren Hierogliphen verdecken;
er wurde nicht mehr von bloBen ungebildeten oder verbildeten Guitarelieb-
habem beurthe.il t; seine Werke konnten nun von jedem Kenner gewUrdigt
werden, und gehcirten der Critik an. Hieraus muBte das Streben nach
Correctheit nothwendigerweise entspringen, und es konnte nicht fehlen,
daB damit auch eine neue bessere Art, das Instrument zu behandeln, ver-
breitet wurde. Den beyden verdienstvollen hiesigen Professoren und Com
positeurs fUr dieses Instrument, H. H. Mathiegka und Diabelli gebUhrt die
Phre, daB sie zuerst die bessere Schreibart angenommen, und deren Aus-
breitung sowohl, als die EinfUhrung einer correcteren und.manchfaltigeren
Art zu spielen, durch Beyspiel und Unterricht befordert haben. Es fehlte
auch nicht an Guitarespielem, welche die Effekte dieses neuen Spieles in
der Ausflihrung zeigten. Man erinnert sich hier noch mit Vergnugen eines
Dilettanten [Der Mediciner Franz Tandler, dem das obenerwahnte 7 Werk ge-
widmet war. Er starb im Jahr 1806], der — selbst ein braver Clavierspieler
und Kenner der Harmonic — berufen zu seyn schien, die Guitare zu einer
vielleicht noch nicht geahnten Hohe von Vollkommenheit zu erheben, aber zu
friih der Kunst und seinen Freunden entrissen wurde.
Nun kam (im Spatjahre 1806) Herr Mauro Giuliani, ein Neapolitaner,
zu uns; ein Mann den ein richtiges Gefuhl in der Harmonie, fruh ebenfalls
auf den rechten Weg gefuhrt hatte, und der, als vollendeter Virtuose, mit
dem richtigsten Spiele zugleich die groBte Vollendung in Hinsicht auf
Fertigkeit und Geschmack verband. Er fing hier an, in der neueren Art
zu schreiben, und hat uns seit seinem fortgesetzten Aufenthalte allhier
schon mit einer Eeihe anmuthiger Compositionen beschenkt, welche durchaus
als Muster gutor Spielart angesehen werden k'dnnen. Durch seinen Unterricht,
und durch den Wetteifer, den er unter den Professoren und Liebhabem des
Instrumentes geweckt hat, hat er una so viele ausgezeichnete Dilettanten
gebildet, daB schwerlich irgendwo die wahre Art, die Guitare zu behandeln,
so ausgebreitet ist, als bey un3 in Wien.
Nur wer die Fortschritte, welche die Guitare in diesen letzten acht
bis zehn Jahren gemacht hat, nicht kerrnt, wer sie nur nach dera (leider
noch nicht ganz zur Maculatur gewordenen) Wust armlicher Guitare-Compositionen,
und nach dem Spiel der noch existirenden Coryphaen der alteren Methode
beurtheilt, kann noch gegen dieses Instrument eingenommen seyn. Wer er-
suchen ibn, einen Blick auf die bessercn V/erke zu werfen, die in der neueren
Zeit entstanden sind, und einen Giuliani zu horen, urn sein Urtheil liber dieB
zu wenig gekunnte Instrument zu berichtigen.
I, 11 - Addressonbuch von TonkUnstler. Dilettanten... in Wien (Vienna, 1823)»

271-72.
Zur EinfUhrung einer zweckmassigen Controlle boy diesem Gefalle hat die
Mesige Landcsstelle angeordnet, daB jedermann, welcher eine der Einrichtung
des Tcinz- und Kusikimpostes unterliogende Muciltunterhaltung geben will, vor-
pflichtet v/erde, davon vor allem bey der betreffenden Polizey-Bezirksdirection
die Heldung zu machen, v/elche, wenn der AusfUhrung des Vorhabens kein Bodenken
L '■
235
entgegen steht, die Partey durch eine gedruckte, unentgeltlich zu ertheil-

ende Bolette an den Magistrat der Stadt Wien zur Bezahlung dee Musik-Im-
postes anweisen, und nur nachdem sich die Partey Uber die geleistete Zahlung
ausgewiesen hat, die Bewilligung zur Abhaltung der Musik ausfertigen wird,
Endlich hat die hohe Hofstelle fUr die Bevortheilung des Gefalles den Erlag
des fttnffachen Betrages der dem Gefalle entgangenen GebUhr als Strafe
festgesetzt.
I, 12 - Prom the Archives of the City of Vienna, Haupt-Registr. B 1, 142,

folio 183v» opposite entry R4 - 31.224/ 1814. This excerpt refers
to a concert of April, 1814:
Der Mauro Giuliani wird von der Beitragsleistung zum Zuchthausfond
ftlr sein Concert enthoben.
I, 13 - Prom the Archives of the City of Vienna, Haupt Registr. B 1, 193

(1818). R4 - 11610/ 1818, This is in reference to a concert series
given by Giuliani, Moscheles and Mayseder in latter April 1818:
Den vom Mayseder,' Giuliani, und Moscheles zu entrichtenden Pauschal-
betrag betreffend.
I, 14 - Prom the Archives of the City of Vienna, Protokoll Contentiosa,

S, Akt-Fasc. 7, Registratur 2568, p. 180:
Jakob Scholze contra Mauro Giuliani, puncto 660 Gulden, Pfandung des
Beschuldigten presentatum 27 9br [November 1819],
I, 15 - From the Oesterreichisches Staatsarchiv, Abteilung Allgem, Ver-

waltung, Polizeihofstelle 3782.
Der bekannter Zitherspieler Giuliani soli hier mit einer gewissen
Wieselberger in vertraulichen Verhaltniose stehen, wahrend er sein Weib und
Kind in Triest oder in Venedig in groBer Not darben lasst, Ich habe aus
diesem AnlaB schon am 23 Feb 1814 an die Polizeistelle ein Decr8t erlaosen,
Nachdem Giuliani nun auch fur h'dhere Standespersonen mit Kuppelei sich ab~
geben solle, so kann sein regelloser Lebenswandel nicht geduldet werden.
Die [Polizeistelle] wird denselben daher ungesaumt zur strenge Be
handeln ziehen, und den AufscMLag [Auftrag?] davon mir gut echtlich vor-
tragen. Wien^ ^ g Sept 1815
[verso] Guitarrenspieler Giuliani soli mit einer Mile Wieselberger hier

leben und hoheren Standespersonen einen Kuppler abgeben.
I, 16 - AmZ, IX (4 Ncv 1807), 89.

Unter den hiesigen, sehr zahlreichen Guitarrespielern macht ein
gewisser Giuliani durch seine Kompositionen fur dies Instrument sowol, als •
durch sein Spiel, vieles Glttck, ja sogar grosses Aufsehen. Wirklich be-
handelt or die Guitarre mit einer seltenen Anmuth, Fertigkeit und Kraft.
236
I, 17 - AmZ, X (May 1808), 558-39.
Wien, im April. Am 3ten dieses gab M, Giuliani, vielleicht der
Erste aller Guitarre-Spieler, welche bis jetzt existirten, im Redouten-
saale eine Akademie mit verdientem Beyfalle. Man muss diesen KUnstler
durchaus selb3t gehort haben, urn sich einen Begriff von seiner ungeraeinen
Fertigkeit, und seinem pracisen, geschmackvollen Vortrage machen zu
1'onnen. Er spielte ein Konzert und Variationen mit Begleitung des vollen
tx*chesters, beydes von seiner eignen Komposition, welche in der That
eben so lieblich war, als die Art, mit der er sie vorzutragen wusste.
Bewunderung und Beyfall konnte ihm gewiss Niemand versagen, und das
Auditorium bezeigte sogar einen Enthusiasmus, wie er selten, auch von
dem trefflichsten Meister hervorgelockt wird. In wiefem man damit das
Ausgezeichnetste, was bisher in Deutschland fUr dies Instrument geschrieben
und auf demselben ausgefUhrt worden ist, belohnen wollte — denn dass
dieses beydes Hr, G. geleistet habe, ist gewiss — in wiefem man dieses,
sag1 ich, belohnen wollte, ist dieser Enthusiasmus allerdings zu rUhmen:
siehet man aber auf die Sache selbst... Nun, man denke sich nur eine
Guitarre und ein Orchester mit Trompeten und Pauken: gehbrt nicht ein
fast unbegreiflicher Grad von Liebhaberey an diesem, doch ewig an Klang
armen Instrumente dazu, vim bey so schbnem Talent, sich ihm so ganz aus-
schliessend zu widmen, wie Giul. gethan hat, und eine wenigstens eben so
lebhafte Theilnahme an dem Virtuosen, wie an seiner Kunst, urn diese seine
Produktionen so hoch zu stellen? Ich wenigstens konnte mich bey Anhorung
derselben des Gedankens nicht erwehren: Was wvtrde nicht die Kunst dabey
gewonnen haben, wenn dies Talent, dieser unsagliche Fleiss, und diese
Beharrlichkeit in Ueberwindung der grbssten Schwierigkeiten auf ein
anderes, auch fur den KUnstler selbst darikbareres Instrument verwendet
worden ware! — Kat denn nicht ein jedes Instrument seine von der Natur
ihm angewiesenen Granzen? und muss nicht, werden diese Uberschritten,
etwas Wunderlich Erkunsteltes, vielleicht Verschrobenes, allezeit die
Folge davon seyn? Man weise die Guitarre in die ihrigen zurtick — sie
bleibe Accompagnement — vrnd sie wird jederzeit sehr g e m gehbrt werden:
aber als Solostimme, und besonders als Konzertinstrument, kann sie nur
die Mode rechtfertigen und sch'o’n finden! Dass ich damit dem wahren
Verdienst, das G., als Komponist vmd Virtuos hat, keinen Abbruch thun
will, versteht sich von selbst.
I, 18 - Johann Friedrich Reichardt, Vertraute Briefe...(Amsterdam. 1810),

465-67. Letter of 1 March 1809.
Daher ist es mir auch sehr lieb, daB die Liebhaberkonzerte der Frau
von Rittersburg, welche abends von sieben bis zehn gehalten werden, wieder
angehen und die Fastenzeit uber fortdauem werden. Die Einrichtung wird
kunftig auch fUr die Zuhbrer vortheilhafter sein; man wird die Musik im
mittleren Zimmer allein placieren und die Zuhbrer in den beiden geoffneten
Nebenzimmera sitzen lasson. In diesem Konzerte werden- besonders angenehme,
italienische Singsachen sehr gefallig ausgefUhrt. Die Frau von Rittersburg
selbst singt sehr angenehm, und das Fraulein von Zois vmd die junge Frau
von Franke, alle auch sehr hubsche reizende Geschopfe, singen zusamraen mit
einigen Italienischen und Deutschen Tenor- vmd BaBstimmen Enoemblestucke
aus Italienischen Opem und Operetten mit vielem Geist und Geschmack. Man
237
ftthlt sich oft in die Italienische Blihne angenehm versetzt, wozu die aus-
serliche, liebliche und belebte Representation gewiB nicht wenig beitragt.
Ein Italienischer Banquier, Bridi, dessen Tenorstimme in einzelnen Tonen
noch ihre frUhere Schonheit und Ittlle ausdrUckt, singt da oft mit vielem
Vortrage und Ausdruck. An schonen BaBstimmen zeichnet sich da ein Herr von
Kiesewetter, Herr von Hennigstein und ein Italienischer Abble aus. Auch der
FHrst von Lobkowitz nimmt mit seiner starken, vollen BaBstiinme, mit der er
ganz in die Italienische Vortragsweise eingeht, oft lebhaften Antheil an den
Ensemblestucken. Sein Orchester raacht da den groBten Theil der Instrumental-
musik aus, von welchem einzelne Symphonien -und Ouverturen oft sehr brav aus-
gefuhrt werden. Mehrere gebildete Dilettanten verstarken aber auch oft da3
Orchester. Den allerliebsten Guitarrenspieler Giuliani hort1ich in diesem
Konzert auch zum ersten Mahle, und mich verlangte sehr danach, ihn oft
wieder zu horen.
Eine groBe Annehmlichkeit fur die Unterhaltung gewahrt dieses Konzert
auch durch das angenehm gemischte Publikum aus alien Standen. Man findet
hier die ersten Manner des Staats und des Hofs mit den Familien des kleinen
Adels und Burgerstandes auf eine sehr gute freie Keise vereinigt, und oft
hat man noch nach dem Konzert eine angenehme Stunde der Unterhaltung.
I , 19 - AmZ, XII (6 June 1810), 573.

Am 23sten gab Hr. Mauro Giuliani, vielleicht einer der groBten jetzt
lebenden Virtuosen auf der Guitarre, zu seinem Vortheile in dem kl. Red.
Saal Concert, und emtete vielen Beyfall.
I, 20 - AmZ> XIII (19 June 181l), 428.

Am 5ten lieB sich Hr*. Mauro Giuliani im kleinen Redoutensaale zum
letzten Mai In einem Concerte und in einem Pot-pourri fur die Guitarre
(beydes von seiner Composition) horen, und amdtete, wie immer, durch sein
bewundemswerthes und ausdruckvolles Spiel auf diesem Instrumente den voll-
esten Beyfall.
I, 21 - Karl Benyovsky, J.H. Hummel der Mensch und Kunstler (Bratislava,

1934), 145-46.
Die Verehelichung Hummels im Jahre 1813 mit der Burgtheatersangerin
Elisabeth Rockel, der Schvjester des Opems'dngers Josef August Rockel, des
Freundes Beethovens, gab den Musikhistorikern wieder Gelegenheit, sich mit
der angeblichen Feindschaft der beidcn Meister zu befassen. Sie behaupten
namlich, dass diese Verbindung beitrug, die bereits bestehnde Kluft zvdschen
Beethoven und Hummel noch mehr zu vertiefen, da sich auch Beethoven urn die
Gunst der Schwester seines Freundes bevorben, diese aber Hummel bevorzugt
hatte.
Demgegenl'ber erzahlte Frau Hummel dem Musikhistoriker Ludvdg Hohl
seinerzeit, dass ihr Beethoven allerdings zur Zoit, als sie eine sehr be-
liebte jimge hlibsche Sangerin war, allerhand Schones gesagt habe, wenn sie
und ihr Bruder zusammen mj.t dem Meister speisten, wie man cben jungen
Madclien tue; allein eine ern3te Neigung zu ilir ]iabe er niemals ausgesprochen
258
und noch viel weniger habe er ihr je einen Heiratsantrag gemacht. Auch
sei es ganz unrichtig, dass sich nach ihrer Verheiratung das Verh’altnis
der beiden' MHnner geandert habe. Vielmehr erirmerte sie sich ausdruck-
lich aus der Zeit ihrer Ebe, wie sie einmal alle drei zusammen bei dem
bertthmtesten Gitarrespieler Giuliani zu Tisch gewesen seien und Beethoven
in der Ausgelassenheit seines rheinischen Naturells nicht nachgelassen
habe, sie zu stupfen und zu necken, sodass sie sich schliesslich gar
nicht vor ihm zu retten gewusst habe; er habe sie namlich aus lauter
Zuneigung immer in den Arm gekniffen.
I, 22 - MZ, XV (June 1815), 418.

Am 9ten gab Hr. Ign. Moscheles, Kapellmeister-Adjunct der k. k.
Hoftheater, Concert in kleinen Redoutensaale. Sein Spiel auf dem Piano
forte ist pracis, gewandt und ausdrucksvoll; seine Compositionen konnen
jedoch noch wenig Anspruch auf Kunstwerth machen. Hr. Giuliani spielte
mit ihm eine Sonate flir Piano und Guitarre, welche von Beyden entworfen,
und vom Letzteren bearbeitet wurde. Das Spiel des Ersteren auf der
Guitarre schien uns heute nicht so bedeutend zu seyn, als wir es sonst
von ihm, dem vollendeten Meister, zu hb’ren gewohnt sind. G e m hatten
wir Em. M. das Phantasiren auf dem Piano am Schlusse, mit dem angehangten
Pot-pourri, erlassen, hatte er uns daftir eine gehaltvolle Composition
von Beethoven oder einem andern beriihmten Componisten zu horen gegeben.
Hr, Wild sang Matthissons Adelaide, in Musik gesetzt von L. v. Beethoven,
und vom Hm. Kapellm, Gyrowetz am Pianoforte begleitet, sehr schon und
mit vieler Empfindung.
I, 25 - MZ, XVII (15 January 1815), 46.

Auch Hr. Louis Spohr (der uns mit seiner Gattin bald verlasst),
gab am 11ten, und Hr. Mauro Giuliani am 26sten Concert dm kl. Red. Saale.
Beyde Kunstler bewahrten ihren Ruf als vollendete Meister ihrer Instrumente,
erster auf der Violine, letzter auf der Guitarre,
I, 24 - Eduard Hanslick, Geschichte des Concertwesens in Wien. I (Vienna,

1869), 215-16.
Nomentlich in Wien war Hiimmel Mode vor alien anderen Virtuosen und
Componisten seines Instruments. Er verstand es, diese Beliebtheit zu
niltzen. Da der violinist Mayseder und der Guitarrespieler Giuliani
damals ahnlicher Weise die Wiener enthusiasmirten, so verband sich Ilummel
mit diesen beyden im Frtihling 1815 zu einem Cyclus von sechs Subscriptions-
Concerten, welche in "einem gesclimackvollen Privatlocale am Haarmarlct"
gegeben wurden. Der Subscriptionspreis betrug flir den Cyclus (es musste
fur alle sechs Productioncn gezeichnet warden) einen Dukaten, weshalb
diese Concerte unter dem Namen Dukaten Concerto bekannt waren. Jeder der
drei Concertgeber trug ein oder zwei Solosttlcke vor, in der Schlussnummer
vereinigte sich die Virtuositat von alien Dreien. Dieser Schluos und
Haupttriumpf war "La Sentinelle," eine franz'dsiche Romance, von Hummel so
arrangirt, dass jedem der drei Soloinstrumente seine brillante Variation
darin zu Theil wurde. Dieser "Sentinelle" folgte in spateren Cyclen das
239
Seitenstttck "Der Troubadour," gleichfalls ein franztJsische Romanze in

gleicher Weise herausgeputzt. Spater wurde die Anziehungskraft dieser
Modenummem noch dadurch erhoht, dass irgend ein Sanger oder Sangerin von
Beliebtheit (Hr, Barth, Frl. Wranitzky) die Romanze sangen, und zu den
variirenden Instrumenten noch Merck’s Violoncell trat...
I, 25 - Aus Moscheles1 Leben. nach Briefcn und TagebUchera. ed, "von

seiner Frau" (Leipzig, 1872), 23.
Von Interesse sind die Notizen, die das Tagebuch liier Uber die damals
Ublichen Serenaden ("Nachtmusiken") einflicht, Graf Palffy gab in diesem
Winter deren sechs (im botanischen Garten). Als Mitwirkende sind ausser
Moscheles Mayseder, Merck, Giuliani und Hummel genannt. Gleich bey der
ersten sind die Kaiserin Marie Louise, die Erzherzoge Rainer und Rudolf
u.s.w., und da3 Programm enthSlt ein Arrangement der Ouverture zu Fidelio
(die Hauptstimmen von Moscheles und Mayseder), Sonate von Beethoven mit
Horn (Moscheles und Radezki), Polonaise von Mayseder, Rondo von Hummel mit
Quartett-Begleitung, gespieit von Moscheles, Dazwischen lustige Jodler,
die aus den GebUschen hervorklangen und ein noch lustigeres Souper. Die
tibrigen fUnf Serenaden, die sich bis in den September hinein vertragen,
sind nicht minder interessant. Dazwischen liegt noch eine ftir die Kaiserin
Marie-Louise veranstaltete, und wohl ein halbes Dutzend, welche Privat-
leute den Ihrigen zu ihren Namens-Tagen gegeben.
1, 26 - AmZ, XIX (June 1817), 430-31.

[a]
Sonntags den 18ten gab Mad, Gentile Borgondio im Theater an der Wien
eine Akademie... Noch wurden gegeben der erste und letzte Satz aus Beethovens
Symphonie in C dur, und Variationen ftir Violin und Guitarre von Maizro
Giuliani, welche sich aber, trotz dem, dass sie von ihm selbst und Hm.
Mayseder unverbesserlich ausgeftlhrt wurden, dennoch dem grossen Locale nicht
recht aneigen wollten.
0]
In dem, von eben gennantem Hm. Giuliani am 26sten im kleinen Re

doutensaale gegebenen Concerte horten wir: 1. Ouverture von Cherubini.
2. Maestoso des neuen Guitarre-Concerts in F dur, comp, und gesp. von M.
Giuliani. 3. Neue Cavatina von M. Giul., ges. von Dem, Bondra. 4. Neue
Variationen fur zwey Guitarren, von Giuliani, Sohn, uber das Thema: di
tanti nalpiti, ausgefUhrt von M, Giul. und H m. N. 5. Scene und Rondo:
Perch'fe turbar la nace. aus Tancredi. ges. von Mad, Borgondio. (Viele Hande
sollen noch v.Tund seyn, wegen des ubergevaltigen Klatschens.) 6. Neues
grosses National-Potpourri von Hummel, filr Pianoforte und Guitarre, gesp,
von Hrn. Moscheles und dem Concertgeber, der in alien seinen Leistungen die
wohlverdiente Auszeichnvmg, als einer der ersten Virtuosen auf seinem In-
stmmente, empfing.
240
I, 27 - AmZ, XIX (October 1817), 694.
So wurden in Wiens nachsten Umgebungen, Dobling, Modling, Baaden, Meid-
ling, etc. musikal. Unterhaltungen zu wohlthatigen Zwecken veranstaltet, wo-
bey die Tonkiinstler Moscheles, Giuliani, Merk, Pechatscheck, Bohm, Leides-
dorf, Bogner, Halm, Worzischeck, u.a. ihre Talents zur Ausfiihrung trefflicker
Compositionen vereinigten,
I, 28 - AmZ, XIX (December 1817), 841.

Am 21sten wurde zur Unterstlitzung der Nothleidenden im Augarten-Fest-
Saale eine mu3ikal, Akademie folgenden Inhalts gegeben: 1. Mozarts Ouverture
aus la Clcmenza di Tito. 2. Violin-Polonoise von Mayseder, sehr brav vorge-
tragen von seinem Schuler, Hm. Vinzenz Neuling. 3. Arie aus der Oper, il
filosofo. von Mosca, mit allgemeinem Beyfall gesungen von Mad. Borgondio.
4. Concert-Polonoise fur das Pianoforte, comp, und meisterlich gesp. von Hm.
Moscheles, 5. Arie aus Artemisia, von Cimarosa, ges. fon Hm. Tarquinio,
einem Soprano, mit einer angenehmen Stimme von seltener Hohe. 6. Variati
onen fur die Trompete, comp., und mit einer Uberraschenden Fertigkeit vor-
getragen von Hm. Werner, Orchester-Mitglied des k.k. Theaters an der Wien.
7. Terzett aus Virginia von Federici, ges, von den Damen Borgondio und
Campi, und dem Hm. Barth. 8. Der Dank der Armen, nach der Melodie: la
Sentinelle. mit Solos, Chor und Variationen, ausgeflihrt von den Hm , Barth,
Moscheles, Mayseder und Giuliani. Allgemeiner, wohlverdienter Beyfall.
9. Chor aus Handels Timotheus.
I, 29 - Intelligenzblatt der (jsterreichischen Literatur. Vaterlandische

Blatter. Ho. 29 (11 Apr 1818), 116.
Auf der
HARFE
zeichnet sich Mad. Gollenhofer (k.k. Hofharfenmeisterinn), deren Talente
noch von keinem Kunstler auf diesem Instrumente Ubertroffen worden, ehren-
voll aus.. Ein Gleichos ist in der
GUITARRE
von Hrn. M. Giuliani zu sagen, dessen unermudetes Studium dieses Instrument

zur hocbsten Vollendruig gebracht, und dessen sich meines V/issens noch kein
Kunstler auBer ihm ruhmen kann. Auf der
VIOLIN
zeichnet sich Hr. Mayseder vorzug3weise aus...
30 -AmZ, XX (1818), 295.

Ebendaselbst [im Saale zum romischen Kaiser] am 15ten [ifarz 1818],
der Declamator Hr. C. F. MUller. Vor unser Tribunal gehorten: 1. Eine
Ouverture von Hm. Schubert, ftir 8 Ilande und 2 Pianoforte. 2. Violin-
241
Variationen gespielt von Hm . Molique. 3« Beethovens Adelaide, ges. von

H m . Jaeger. 4. Guitarre-Variationen von Giuliani. 5. Rondeau a 4 mains
von Moscheles.
I, 31 - AmZ.XX (1818), 388.

Die am 5ten im k.k. Universit’atssaale von der juridischen Facultat
zur Unterstlitzung ihrer Wittwen u, Waisen veranstaltete mu3ikal. Alcademie
enthielt: 1. Beethovens Ouverture zu Coriolan. 2. Rec. und Arie aus
Joseph, ges. von Hm. Barth. 3. Variationen fUr die Flote, gesp. von
Hm . Keller. 4. Theodor Ifdmers Legende: Die heilige Cacilia. in Musik
ges. von Hm. Leidesdorf — eine herrliche Composition, die dem jungen
Tonsetzer zur groBen Ehre gereicht, und in welcher Fraulein von Mosel
die Hauptstimme vortrefflich ausftlhrte. 5. La Sentinelle. ftir Gesang,
Pianoforte, Violine und Guitarre, von Hummel, vorgetragenvon den Hm,
Barth, Moscheles, Mayseder und Giuliani. — Die letztgenannten drey
Ktinstler hatten auch ftir sich eine Tripelallianz geschlossen, und im
landstandischen Saale ein Abonnement ftir drey wochentlich auf einander
folgende Concerte eroffnet, in welchen sie wechelsweise ihre allgemein
anerkannte und hoch gepriesene Virtuosit'at entfalteten. Von Novi taten
horten wir dabey; Pianoforte-Variationen von Moscheles, Rondo brillant
ftir die Violine von Mayseder, Potpourri ftir P.forte und Guitarre,
Variationen ftir Violin u. P.forte von Mayseder, Rondo brillant ftir Pf.
mit 0rche3terbegleitung von Moscheles, ein neues Guitarre-Concert von
Giuliani u. s. f., wobey man nicht wusste, ob man mehr die ktinstlerische
Vollendung des Vortrags, oder die gr'dsstentheils ausgezeichtneten Com-
positionen bewundem sollte. Dem. Wrantizky, die Herren Barth und Jager,
so wie Pr. Linhard, erhohten durch gefallige Mitwirkung den auserlesenen
Genuss, und eine neue Ouverture & la chasse von Beethoven, C dur 6/8,
fand zahlreiche Vei’ehrer.
I, 32 - WMZ, No. 56 (9 May 1818), 450-51.

Die beyden letzten d6r von den HH. Moscheles, Giuliani und Mayseder
veranstalteten musilcalischen Unterhaltungen, gehoren nicht weniger als
die ersts derselben, durch den Gchalt der vorgetragenen Tonstticke, so
wie durch deren kunstvolle Behandlung, zu den genuBreichsten, welche
der Kaiserstadt in der letzten Zeit dargebothen wurden, Mehrere unserer
ausgezeichnetsten Talente im Gesang hatten sich mit den genanntcn Kiinstlem
vereinigt, und so dem Genusse groBere Mannigfaltigkeit und hoheren Reitz
geben helfen. Eine eben so zahlreiche als glanzende, und eben so gebildete
als kunstsinhige Gesellschaft von Zuhorem v;ar dabey versammelt und ver-
herrlichte durch ihre Gegenwart das Ganze. Zu beklagcn blieb nur, daB
so manche andere Musilcfreunde und Kenner, in deren Weise es nicht ist, den
bey Konzerten gewohnlichen Preis um einen seltenen KunstgenuB zu scheuen,
von dem der gegenwartigen aus dem entgegengesctzten Grande abgelmlten wurden.
Unter den MusikstUcken, welche im zweyton dieser Konzerte vorgetragen
wurden, zeichneten sich vorzUglich aus: eine Ouverture von unserm untiber-
troffcnen Beethoven, welche dasselbe wtirdig eroffnete; Vuriationen fttr
Violine und Fortepiano, komponirt von Hm. Mayseder und Hm. Moscheles,
242
und von beyden mit gewobnter Kunstfertigkeit und mit rauschendem Beyfalle
vorgetragen; eine Arie aus Sir Marcantonio, gesungen von Hm. JSger,
und ein Satz aus einem Guitarre-Konzert von Hm. Giuliani gespielt. Sein
ganz vorziigliches Spiel und die ungemeine Fertigkeit, womit er die
Guitarre zu behandeln weiB, erregte die Bewunderung aller Anwesenden.
Noch folgte eine Arie aus der Oper Cyrus, gesungen von Dlle, Linhart,
mit Begleitung von Hm. Moscheles, und ein Rondo, von Letzterm gesetzt
und unter lautem Beyfall gespielt, beschloB diese Unterhaltung.
Die dritte, und letzte, welche den 30. April gegeben wurde, trug
rUcksichtlich der. Wahl der Musikstucke und des Eifers der Untemehmer,
welche alles aufgebothen zu habon schienen, um den lebendigsten Eindruck
bey ihren Zuhorem zurllck zu lassen, vor den beyden ersten den Preis davon.
Insbesondere gefiel das erste Stuck eines Violinkonzerts, gesetzt und
gespielt von Hm. Mayseder; eine Cavatine mit Variationen von Mad.
Catalani, gesungen von unserer:liebensvriirdigen Mile, Wranitzky; eine
Polonaise fur die Guitarre mit Orchester-Begleitung, komponirt und
gespielt von Giuliani, und dann Blangini's Boleros, gesungen und auf
einstimmiges Verlangen wiederhohlt, gleichfalls von Mile, Wranitzky.
Mit grosser Kunst der DurchfUhrung eines gegebenen Thema phantasirte
Hr. Moscheles auf dem Fortepiano und wurde von den Kennem mit lautem
Lobe belohnt, Trefflich trug Hr. Barth nun eine Arie aus A-dur, aus
der Oper Joseph vor, die seine reitzende Stimme noch zu verherrlichen
wuBte. Diese kunstgenuBreiche Unterhaltung endete eine Romanze: der
Abschied der Troubadours, von H m. Castelli, mit Beybehaltung der Original-
melodie, neu komponirt fl!r Gesang, Fortepiano, Violine und Guitarre,
in abwechselnden Variationen, von den Konzertgebem, und vorgetragen
von Mile, Wranitzky und den Verfassera.
Ueber diese Kunstunterhaltungen herrschte nur Eine Stimme, die
fur die Unternehmer um so schmeichelhafter seyn kann, als jene, welche
sie aussprachen, zu den ersten der hie3igen gebildeten Kenner und Freunde
dieser herrlichen Musenkunst gezKhlt werden.
I* 33 - WMZ, No. 104 (29 August 1818), 852.

Baden. Einen freundlichen KunstgenuB gewahrte uns eine Serenade,
welche die so ausgezeichneten Virtuosen von Wien, Giuliani, Moscheles,
Merk, dann Hr. Wranitzky, und der bertihmte konigl. Vfurtembergische
Kammer-Virtuos Hr. Keller, am Vorabende des Irouisentages hier brachten.
Dieses liebliche Kunstfest wurde vor der Wohnung I. M. der Erzherzoginn
Marie Louise, Herzoginn von Parma, gegeben, und von II. k. k. HM. und
den anwesenden Gliedern der durchlauehtigsten Herrocherfamilie aus den
Fenstem angehort. Eine unzahlige Menge von Zuhorem hatte sich dabey
eingefunden, die Damen und Herren waren vor ihren Wohnungen auf Sitzen
gelagert; die Witterung begtlnstigte es, Zuerst spielte Hr. Wranitzky
Variationen auf der Violine von Rode. Diesen folgte eine Polonaise,
gesetzt und auf der Guitarre gespielt von Hm. Giuliani, Alle Zartheit
und Grazie, womit dieser Ktinstler sein Instrument zu behandeln veiB,
entwickelte er hier und entzuckte seine Zuh'drer. Hierauf trug Hr. Keller
Variationen, von ihm selbst komponirt, auf der Flote mit joner Meister-
schaft vor, die wir immer an ihm bewunderten, und worin er so einzig
ausgezeiclinet .ist. Hr. Merk spielte codann ein Potpourri von Bomhard
243
Romberg auf dem Violoncello mit gewohnter Vortrefflichkeit, und Hr,

Moscheles schloB den viel zu schnell entschwindenden genuBreichen Abend
durch Variationen uber den Alexander-Marsch, von iiim solbst gesetzt,
und mit der bekannten groBen Kunstfertigkeit gespielt, die ihn zu einem
der ersten Meister auf dem Piano-Forte macht. Sammtliche Kunstler
erhohten den GenuB noch dadurch, daB sie sich von der Gegenwart des
allerhochsten Hofes, und der k, k, Familie, so wie einer groBen Anzahl
der gebildetsten Kurgaste, wie sie Baden in diesem Augenblicke in sich
vereinigt, begeistert und gehoben fiihlten, Mochte uns bald wieder
ein so hoher KunstgenuB zu Theil werden,
I, 54 - AmZ, XXI (May 1819), 363.

Am 25sten gab die Hofsangerin Dem, Wranitzky im kleinen Redouten-
saale Concert; zwey Arien, von Rossini und Generali, so wie die Varia
tionen uber den Troubadour, bey welchem auch die Virtuositat der Herren
Mayseder, Moscheles, und Giuliani in hellsten Lichte glanzte, gewannen
durch ihren entzlickenden Vortrag einen erhoheten Reiz.,,
I, 35 - AmZ, XXI (June 1819), 430.

Am 25sten gab Herr Moscheles eine musilcalische Privatunterhaltung
und zum Finale diente das ofter, aber stets g e m gehorte Quatuor: Der
Abschied der Troubadours, gesungen von Dem. Wranitzky, begleitet vom
Concertgeber, den Herren Mayseder und Giuliani.
I, 36 - Diario di Roma. Notizie del Giomo #16 (20 April 1820).

II Signor Mauro Giuliani Virtuoso di Camera di S.M. la Principessa
Imperiale Maria Luigia Arciduchessa d 1Austria, proveniente da Vienna, e
diretto a Parigi, trovasi di passaggio in quests Cittk: egli £ celebre
per aver scritto 117 opere istrumentali, e perchb a niuno h secondo nel
suonare la Chitarra.
I, 37 - Diario di Roma #37 (6 may 1820).

Mauro Giuliani Filarmonico, e Virtuoso di Camera di Sua Maestk 1'
Arciduchessa d ’Austria, essendo di ritorno in Italia sua patria da stran-
ieri paesi, ove per 20 anni ha dimorato, dark un concerto musicale la sera
del Venerdi 12 maggio nella Sala del Palazzo di S. E, la Duchessa di Fiano,
avendo ottenuto il superiore permesso. II costante gradimento con cui fu~
rono accolte le sue produzioni, e faticho in varie Capitali lo rendono
cognito ad ogni Amatore ed Artista. L'Italia sempre oadre feconda, ed amo-
rosa degl'ingegni sa apprezzare e sostenere quelli, che- fra i suoi figli
particolarmente si distinguono.
244
I, 38 - Diario di Roma. Notizie del Giomo #21 (25 May 1820).
II Sig, Mauro Giuliani Filannonico, adempiendo a].la sua proraessa
inserta in altro foglio la sera del 19 del cadente, nella Sala degli ap-
partamenti di S. E. la Sig. Duchessa di Piano, tenne pubbliea accademia
istrumontale, e vocale. Noi aspettavarao un felice successo dalle sue
promesse, ma superb questo la nostra a3pettazione. E 1 inesprimibile, con
quanta armonia, precisione, agilitb. e dolcezza sapesse ricavare ogni suono,
o forte, o delicato, o robusto, o tenero, da un istrumonto, che quanto
comunemente va per la mani di tutti, tanto diffieilmente rinviensi, chi
sia di quello suonatore perfetto. A1 Sig. Giuliani convien dare il vanto
di averci rapito, e colle suonate a solo, e con quelle accorapagnate dagli
altri istrumenti; e se nella esecuzione riconoscemmo un eccellente pro-
fessore, nella composizione di varj pezzi, che produsse da lui coraposti
ammirammo l'esperto maestro, il quale combinando le antiche leggi dell1
armonia con i modemi capricci, corre per le vie del vero gusto. Ci com-
piacemmo poi dell'aria graziosamente cantata dal giovane dilettante Sig,
Vincenzo Galli...
I, 39 - Diario di Roma. Notizie del Giorno #14 (3 April 1823)*

E' arrivato in questa capitale da pochi giomi il famoso Professors
di flauto Giovanni Sedlatzck di Vienna, membro prowisorio della Cappella
Imperiale, il quale ebbe la gloria di far umile tributo de'suoi talenti
agli augusti Sovrani riuniti ultlmamente a Verona, e d'esser dagli stessi
compatito, raccogliendovi nuovi allori. Egli previene il nobile e cortese
Pubblico, che nel corso dell'andante settimana darb un concerto musicale
col sig. Mauro Giuliani, virtuoso di camera di S. M e I'Archiduchessa Maria
Lui3a, tanto rinominato, ed in questa capitale conosciuto. Qualche spar-
tito vocale rendera piu piacevole il trattenimento. Gib sarb eseguito
domani a sera, 4 aprile, in sala particolare; ed i biglietti d'ingresso
per chi vorrb compiacersi onorare i suddetti Professori si trovano vendi-
bili nella bottega delle carte musicali a piazza di Spagna.
I, 40 - Diario di Roma #27 (5 April 1823)*

L*accademia musicale data jersera dai Professori sigg. Sedlatzch e
Giuliani ebbe un eaito felicissimo, e furono applauditi a segno di essere
invitati a darne un'altra, la quale avra luogo quanto prima. In altro
foglio parleremo piu a lungo de1talenti di detti Professori.
I, 41 - Diario di Roma #28 (9 April 1823).

Circondati da nobile corona delle persone piu dictinte, sopratutto
dell'estera nobilita, che onorano questa capitale, adempierono la sera 4
correlate alia loro promcssa il famoso Professore di flauto Giovanni Scd-
latzclce di Vienna, ed il non meno celebre Professore di chitarra Mauro
Giuliani, Padrone del suo strumento da lui costrutto con nuovo metodo per
tre tuoni piu profondi, e con esso padrone del cuore di chiunque l'ascolta,
il Sedlatzcke rapl nell'adagio con variazioni da liii composto, sorprese
nelle seconds variazioni, incantb tutti nella nobile gara del Pot-pourri di
245
motivi Rossiniani in cui ebbs a competitore il Giuliani autore di questo

pregevole pezzo musicale. Questi poi, di cui gran fama gib da lungo tempo
corre in questa citta, come altrove, seppe al solito trasformare al tocco
delle magiche sue dita l'umile chitarra in tanti strumenti quanti a lui oc-
correvano per esprimere i varii affetti, e non fu secondo al Sedlatzcke
nel ricevere ne1 frequenti plausi i segni della piu marcata soddisfazione
dell'udienza ammiratrice. L'espettazione generale rimase appagata, e si
l'uno che 1'altro valoroso atleta colse i nobili allori che avea ben meri-
tati colla sua straordinaria maestria nella propria arte, e ha lasciato in
chi gli ascolto il piu vivo desiderio dell'altra Accademia che si dice
sarb da essi data fra pochi giorni a piena soddisfazione del Pubblico.
I, 42 - From the Archives of the City of Vienna, Passprotokol 1822, f.256v;

and 1824, f.l23v » (English translation by the author.)
Entries m &
Passport number No. 1531 No. 735
Name(s) [a] Willmuth, Maria Willmuth, Maria

Giuliani, Emilia Giuliani, Emilia
Address Vienna, inner- Wieden 365 [a suburb
city, #1005 of Vienna],
Staying with whom? Teresia Tramonto Guardian: Sebastian

(Bey wem im Aufenthalt?) [Dramondo?] Reindl, Stadtsequester.
Birthplace [a] Vienna, Austria [a] Vienna, Austria

[b] Vienna, Austria [b] Vienna, Austria
Age [a] 15 [a] 17

[b] 9 M 11
Character or Profession Guitar Maestro's Guitar Maestro's

Daughters Daughters
Marital status Single Single
Destination Palermo, to remain

with their benefactor.
I, 43 - Gioraalo del Regno delle Due Sicilic (26 Nov 1823), 1134.
La sera stessa ebbe luogo nel palazzo di Calabritti altra accademia
istruraentale e vocale data dal professor di Lira Sig. Mauro Giuliani, II
concorso fu per lui assai lusinghiero si pel numero che per la qualitb delle
persone, Vi si contavano fra le altre non pochi distinti stranieri, I
musicali concerti furono eseguiti maestrevolmente, e il chiaro professore
riscosse particolari e moritati applausi da quella scelta adunanza.
I
246
I, 44 - Giomale del Rermo delle Dae Sicilie (lO May 1825), 456.
. II Signor Matteo Gaspare Lionesi, poeta estemporaneo, al quale, come

gia cennammo in altro foglio, son familiari i cimenti'della severa Melpo-
mene, ha gi& con fausti auspici cominciato a trattar per ora sulle sponde
del nostro Sebeto la lira della versatile Polirmia.
Le prove invero di pronto ingegno da lui date la sera di ierlaltro in
casa di D.E. il Consigliere Ministro di Stato Marchese Tommasi, gli attira-
rono i plausi delle sceltissime persone intervenutevi, fra le quali conta-
vansi diversi Ministri Segretari di Stato, e Direttori di Reali Segretarie
e Ministeri di Stato.
II sig. Lionesi improvisb su non pochi brillantissimi temi si eroici,
che ameni, Egli usando vario metro a seconda de’vari soggetti, spiegb
sovratutto singolare abilitb nelle ottave, da lui non cantate ma declamate
con somma rapiditA, lo che esige una gran pieghievolezza delle facolta
intelletuali. L’Etna, la Morte di Priamo, gli Scavi di Pompei, furono sog
getti felicemente trattati in metro cosi difficile; nell'ultimo di essi si
notb molta precisione nella descrizione de quegli avanzi preziosi dell*
Antichitb; ed eccito un generale applauso l'elogio dell'Augusta Dinastia
de'Borboni, alle prowide cure della quale andiam debitori della loro sco-
perta e conservazione. Ma il veloce corso della fantasia del Lionesi vie-
maggiormente si osserva ne'sonetti a rime e parole date, de1quali egli vari
assai rapidamente ne compose in questa occasione, e taluni in guisa che
letti, o dal primo verso in gib, o dalla chiusa in su, formavano sempre
egualmente sul proposi;o argomento un senso ben connesso e compiuto. Tra i
sonnetti ne furono piu degli altri ammirati due, uno sul gastigo di Simon
Mago, 1 'altro sulla morte di Socrate.
II nostro poeta ne'cuoi canti anacreontici venne accompagnato colla
chitarra dal Signor Giuliani, il quale h uno de'piu felici pulsatori di
questa modema cetra, e che co'suoi grazio3i concerti negl1intervalli di
I riposo del Lionesi trattenne piacevolmente la nobile udienza. Noi avremo
I occasione di parlar piu diffusamente di lui, quando questo artista darb
pubblico saggio de'suoi talenti.
I, 45 - Giomale del Regno delle Due Sicilie (26 Oct 1826).

Hoi abbiam fatto altra volta nenziono del Sig. Mauro Giuliani suona-
tore egrbgio di chitarra. II suo stile di suonare infatti addolcisce e
modifica in modo un tale strumento, che con esso giunge non solo a piacere
ma benanco a commuovere. Dobbiamo ora congratularci seco per aver egli
ottenuto jersera il pieno plauso delle LL. I'M. nel Real Soggiomo di Portici,
ove esegui alia presenza delle IM. LL. vari brillanti concerti della sua
cosx detta Lira di Apollo.
I, 46 - Giomale del Rca-no delle Rue Sicilie (30 Nov 1826).

I Sentiaro che il professor di rnuoica Signor Mauro Giuliani, Virtuoso di
I Camera di S.II. 1'Arciduchessa Maria Luigia Duchessa di Parma, si disponga
| a partire dalla Nostra Capitale. Noi lo accompagneremo co'voti cb'egli
incontri sempre una fortuna corrispondente al suo merito, [Over]
247
Questo abilissimo artista ha fatto subire una specie di trasforma-

zione alia chitarra, dalla quale sa trarre suoni cosi soavi da destare in
chi gli ascolta le piu grate emozioni. II pubblico napoletano gli ha reso
giustizia durante la sua dimora tra noi; ed egli ha avuto per fino il
singolar bene di dar un saggio di tanta sua espertezza alia presenza delle
LL. MM. che gli plaudirono in modo assai lusinghiero come fu da noi cennato
nel num. 248 del nostro giomale, ed ha ottenuto pur l'onore dell'inter-
vento di S.M. la Regina all'Accademia da lui ultimamente data nel Teatro
de'Fiorentini.
I, 47 - Giomale del Regno delle Due Sicilie (13 Feb 1828), 144.
La sera de'6 del corrente il sig. Mauro Giuliani, celebre Professore
di musica e virtuoso di Camera onorario di S.M. 1'Arciduchessa Duchessa di
Parma, dette un1Accademia Istrumentale e Vocale nel Teatro’Nuovo. I con
certi ui chitarra eseguiti da lui e da una sua figliuola per nome Emilia,
di anni 12, piacquero tanto, ch'egli e questa fanciulla di ottime speranze
vennero replicate volte applauditi e infine chiamati fuori dal Pubblico.
I, 48 - Excerpt from a letter by Mauro Giuliani to Domenico Artaria, dated

Naples, 8 March 1828. Vienna, Handschriftensammlung of the Oester-
reichische Nationalbibliothek, 117/29. •
... Vi prego per altro ad essere esatto a scrivirmi, e dare quest'ordine
subito, giacche se ritardate non sard piu in questa Capitale avendo riso-
luto fare un Viaggio subito dopo Pasqua, e sicuramente per Antunno saro a
Vienna non avendo potuto dimenticare 1'accoglienza ricevuta, ne i buoni
Zeechini che ho guadambiato nei Concerti, e spero che come i Viennesi sono
stati per me generosi nell'Anni del mio soggiomo, che vi ho fatto, tanto
piu me lo saranno ora, che troveranno forse il mio raetodo migliorato.
I; 49 “ Giomale del Regno delle Due Sicilie (9 Oct 1828), 944.

Iersora S. K. la Regina onorb di sua presenza il Real Teatro del Fondo
colle LL. AA. RR. il Principe e la Principessa di Salerno, e la Principessa
D, Maria Christina. Essendo Serata della giovinetta di anni 14 signora
Emilia Giuliani, figlia del celebre ouonator di chitarra; ed essendosi la
medesima mostrata ne' concerti dell'indicato istrumento, eseguiti nell1
intervcllo degli atti dell*opera Gianni di Calais, non solo degna discepola
ma emula del padre, merito i pieni applausi delle Auguste Persone e del
pubblico.
I, 50 - Giomale del Regno delle Due Sicilie (14 May 1829),444.

Nella mattina degli otto del corrente trapasso in questa Capitale
Mauro Giuliani, famooo suonator di chitarra, che si trasfonaava nolle sue
mani in un istrumento emulo dell'arpa, dolcemcnte molcendo i cnori. Egli
ha lasciato una figlia di tonera eta che mo3tra di essere erode della sua
abilita non comune; circonstanza che sola pub rattemperare il dolore di
questa -perdita.
248
I, 51 - Prom the Preface to Mauro Giuliani's Op. 1, Studio -per la Chitarra.
Lo studio della chitarra fu sempre la mia occupazione favorita, ed

arrivarci alia perfezione loscopo mio principale
Anzioso di ritrovare ilpiu giusto ed il piu drittosentiero, che
conduce a questa meta, mi fu d'uopo aprire una stradanon battuta, per av-
vicinarmi all'ideale, che fisso mi 3tava nella mente.
Vedendomi poi inoltrato a forza di zelo e di costanza, e non senza
qualche successo, nacque in me il desiderio di rendere partecipi del frutto
delle mie veglie quelli, che corrono l'istessa carriera, e di preservargli
dagli sviamenti, mettendo in ordine le mio idee su tale assunto, e oom-
ministrando loro una guida corta, sicura, e nuova, quale, a mio sapere,
fino adesso si desiderb ma invano.
Questi studj, che vengo a presentare al pubblico, sono il risultato
delle lunghe e moltissime mie fatiche, confinnate dall'esperienza e dalla
pratica; e sono persuaso che gli amatori della chitarra, con un assiduo
esercizio, in breve tempo saranno in grado di eseguire con espressione
quanto h stato composto in un genere piu corretto per questo istrumento.
I, 52 - Prom Denjprurdigkeiten aus meinem Leben. von Caroline Pichler...

Vol. II (Vienna, 1844), 93.
E3 liegt etwas V/underbares, Geheimnisvolles in diesem Sinn ftir
Harmonie, und noch mehr in der Pahigkeit, selbst Harmonien und Melodien
zu schaffen. Sie findet sich oft bei Menschen, die ausser dieser Himmels-
gabe wenig geistige Pahiglreiten oder doch wenig Bildung besitzen. Sie
selbst haben keine deutliche Vorstellung weder von ihren Anlagen, noch
veniger von dem Prozesse, der in ihrem Innern vorgeht, wenn sie sich be
streben, die Schopfungen. die in ihnen gahren, durch 'tone deutlich zu
machen, oder irgend ein fremdes poetisches Produltt in diesen Tonen auszu-
sprechen. Mozart und Haydn, die ich wohl kannte, waren Menschen, in
doren personlichem Umgange sich durchaus keine andere hervorragende Geistes
kraft und boinahe keinerlei Art von Geistesbildung, von wissenschaftlicher
oder hoherer Richtung zeigte, Alltagliche Sinnesart, platte Scherze, und
bei dem Ersten ein leichtsinniges Leben, war Alles, wodurch sie sich im
Umgange Kund gaben, und wolche Tiefen, welche Vtelten von Phantasie, Harmo-
nie, Helodie und Gefuhl lagen doch in diesen unscheinbaren Hiillen verborgen
I, 53 - WMZ, Mo. 80 (4 .Tul 1818), 650.

Hiei-auf sang Mad. Catalani die bekannten Variationen fUr die Violine
von Rode aus G-dur, jedoch nur das Therna und zwoy Variationen mit einigcn
Varianten und unterlegtem italieni3chen Texte, den vriLr aber nicht ver-
stauden haben. Das Stuck war nach Des tranoponirt... Hier war es nun vor-
zuglich,.wo die SHngerinn Gelegenheit hatte, alle ihre .bewundemngswurdigon
Kunstfertigkciton von der vortheilhafsten Seito zu zoigen... Mann muss
tfbrigens noch bemerken, daS3, so schwer diesen Variationen seyn mogen, sie
doch durcliaus nichts gegen die Natur der Stimme enthalten..,
249
I, 54 - Karl Liebleitner, "Einiges Uber den 'Landler'," Zeitschrift fur

die Gitarre V (Vienna, 1926), 155 (a) and 154 (b).
(a)
Landler-Kapellen aind nicht gross: Im Vordergrund sitzen zwei Geiger,

denen haufig eine Klarinette beigegeben ist. Oefters werden die beiden
Geigen durch zwei Schwegelpfeifen ersetzt. Der eine Geiger spielt die
Melodie, das ist 'der Prim,' der Sekund spielt 'den Ueberschlag',' fast
durchwegs um eine Terz haher, ofters aber auch je nach dem Bedurfnis eine
Terz tiefer. Diese Spieler muss sehr feinfuhlig sein, denn oft ist sein
Port nicht ausgeschrieben; er muss ihn aus der Primstimme spielen... Ein
kundiger BaBspieler ist die heitere Rigur dor Kapalle und ist unerschopf-
lich in lustigen musikalischen Wendungen.
(b)
Die meisten Landler bewegen sich in Dreiviertel-Takt, seltener sind
die im Zweiviertel-Takt. Diese heissen die "Geraden" und werden sehr ori~
ginell gctanzt. Gewohnlich wird der erste handler gemUtlich langsam ge
spielt, es ist ein rechter Grossvater-Tanz; dann aber folgt ein rascher
und wieder einer in endloser Folge, bis wieder die seriosen in die Reihe
kommen. Fast alle sind aeht-taktig und teilen sich in gleiche Halften...
Eine Landlerzeile wird oft verschiedenartig wiederholt, z.B. eine Oktave
holier oder tiefer...
APPENDIX II
Letter from Mauro Giuliani to Domenico Artaria <
The autograph, dated Venice, 20 November 1819,
is in the Handschriftensammlung of the Stadt-
bibliothek, Vienna, call number J. N. 69730.
N.B, An English translation is on pp. 129-30.
(Appendix II) 251
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APPENDIX III, 2
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A P P E N D I X IV
Mauro Giuliani's Op. 49*
a facsimile of the first edition.
257
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262
RESEARCH BIBLIOGRAPHY
Music historians interested in the classic guitar have not yet had
at their disposal a well-organized, basic bibliography of the subject.
Those who consult the Literatur section of the "Gitarre" article in Die
Musik in Geschichte und Gegenwart (publ. 1956) with the expectation of
finding the essential references there are invariably disappointed by its
many shortcomings. These were mentioned already in the Introductory
Remarks, pp. 26-28.
In view of the pressing need for a comprehensive bibliography dealing
with the classic guitar, I have decided to make the present labor much
more than a "List of Works Consulted." It has been drawn up as a first
attempt at a research bibliography, and is subdivided into eight sections:
SECTION A - General bibliography of books and articles which provide his
torical information about the guitar, and about the epoch treated in
this dissertation. The works about the guitar cited here do not limit
their scope to one of the particular areas covered by sections B through E.
I SECTION B - Eibliography of selected works about the guitar as an instru-
ment, including its historical development and its construction.
SECTION C - Books and articles on guitar technique, excluding methods and
I tutors. See the explanation regarding the omission of the latter, infra.
263
SECTION D - Biographical dictionaries of guitarists, and articles dealing
collectively with guitarists. Biographical dictionaries of musicians
in general are not cited here, although they are often helpful.
SECTION E - Works about individual 19th-century guitarists, organized
chronologically under the names of the artists or personalities concerned.
SECTION F - A bibliography of plate-number chronologies for various early-
19th-century music publishers.
SECTION G - A checklist of 19th-century periodicals dealing in whole or
in part with music in Vienna, Rome, & Naples in the early 19th century,
SECTION H - A checklist of 20th-century research periodicals about the
guitar, limited to those in German and in English.
It would have been useful to include in this bibliography a ninth (l)
section: a checklist of guitar methods and tutors. Unfortunately there are
too many such lists already in existence which are far from complete. The
author's file of guitar methods is of considerable size already, but it,
too, cannot be considered complete. Consequently there is hardly a reason
to publish it at tbis time.
* * *
SECTION A - General bibliography
Addresscn-Buch von Tonkunstlcrn. Dilettant.cn, Hof-Kammer-Theater- und

Kirchen-Kuslkorn. Vorcinen, Lehr- und Pensions-lnstituten. Bibltothekcn
sum Behufo der Tonkunst; k.k, privil. Knrist- und Kusikalienhandlungen,
Instrumentenmachera... etc.. ed. Anton Ziegler. Vienna: A,Strauss, 1823.
(A - general) 264
Albert, Heinrich. "Die Gitarre in der Haus- and Karomermusik vor 100
Jahren," Der Gitarrefreund. XVIII (Munich, 1917), 12-14, 23-25* 31-33*
and 39-40.
Alfonso, F. See Hipkins, A.J.
Anderson* Emily, See [Beethoven, Ludwig van].
Andreis, Josip, ed. Muzi&ca Enciklopedia. 2 Vols. Zagreb: Leksikograf-
ski Zavod FNRJ, 1959.
Anon. "I do not like the Guitar. Being an Examination of the objections
raised against that instrument," Per Guitarrefreund. IV, 3 (Munich, 1903),
29-31, republished from the Giulianiad. Vol. I, No. 2, 13-16(text), publ,
London, 1833.
Appleby, Wilfrid M. "Song and Guitar in Britain," The Guitar Review. No.
12 (1951), 17-18.
Aus Moscheles* Leben. Nach Briefen und Ta/rebUchem. herausgegeben von
seiner Frau. 2 Vols. Leipzig: Duncher & Humblot, 1872.
Azpiazu (de), Jose. La Guitare et lcs Guitaristes. des origlnes aux temps
modemes. Basel: Symphonia-Verlag, 1959.
Bachmann, Werner. Die Anfange des Streichinstrumcntenspiels. Leipzig:
B. &H., 1966.
[Beethoven, Ludwig van]. The Letters of Beethoven. Collected. Translated,
and Edited with an Introduction. Appendices. Notes and Indexes, by
• Emily Anderson. 3 Vols. New York: St. Martin’s Press, 1961.
. See Forbes, Elliot.
Bellucci, M.A, "I Musicisti baresi," La Musica porolare (1885), 134.
Benyovsky, Karl. J.N. Hummel, der Mcnsch und Kunstier. Bratislava: Eos-
Verlag, 1934.
Beran, Alois. "Zum Stand der Gitarristik in Russland," Zeitr.chrift fur die
Gitarre. IV (Vienna, 1925), 10, Heft (October), 1-3; and 11. Heft (Dec.),
2-5.
Beran, Alois, "Ueber den Stand der Sechssaitigen Gitarre in Russland,"
Zeitschrlft fur die Gitarre.V. 5 (Vienna, July 1926), 100-102; 7. Heft,
150-153.
Bickford, Vadah Olcott. "The Guitar in America," The Guitar Review. No,
23 (1959), 17-19.
(A - general) 265
Biemath, Ernst, Die Guitarro seit dem III. Jahrtausend vor Christus,
Berlin: A.Haack, 1907. Reviewed "by Josef Bauer in Der Guitarrofreund.
VIII (Munich, 1907), 26-27.
BlHmml, Emil Karl. "Der Wiener Geigen- und Gitarrenmacher Johann Georg
Staufer," Zeitsehrift fttr die Gitarre. Ill, 1. Heft (Vienna, Sept 1925),
6-9; 2. Heft (Nov 1925), 3-5; 3. Heft (Jan 1924), 2-5; 4. Heft (March),
2-5? 5. Heft (May), 2-4.
BBckh, P.H. Wiens lebende Schriftsteller. KHnstler und Dilettanten im
Kunstfache. Vienna, 1822.
Boetticher, Wolfgang. "Gitarre. C. Gitarrenmusik & Literatur," Die Musik
in Geschichte and Gegenwart. V, ed. Friedrich Blume, Kassel & Basel:
Earenreiter-Verlag, 1956.
Bonaccorsi, Alfredo, ed. Nuovo Dlzionario Musicale Curci.... Milan:
Archetipografia di Milano S.p.a., 1954.
Bone, Philip J. The Guitar and the Mandolin: Biographies of Celebrated
Players and Composers. 2d ed. London: Schott, 1954.
Bowles, Edmund. "The Guitar in Medieval Literature," The Guitar Review. No.
29 (1966), 3-7.
Bremer, Friedrich, ed. Handlexikon der Musik. eine Encyclopadie der ganzen
Tonkunst.... Leipzig: Philipp Reclam Jun. [1882].
Brion, Marcel. La vida cotidlana en Viona en la epoca de Mozart y Schubert,
tr. Horacio A, Manglia. Buenos Aires: Ilachette, [1962].
Brondi, Haria-Rita. II liuto e la chitarra. richerche storiche sulla loro
orig.ine e sul loro sviluppo, Turin, 1926.
Buck, Fritz. Die Gitarre und ihre Meister. Berlin: Lienau & Schlc3inger,
1926. There are several later editions.
Burney, Charles. An Eighteenth-Century Musical Tour in France and Italy.
being Dr.'Charles Burney's Account of his Musical Experiences fin 1770]...,
ed. Perc3r 4. Scholes. 2 Vols. London: Oxford University Press, 1959.
Castclli, I.F. Homoiren meinos Lehens. ed. Josef Bindtner. 2 Vols.
Munich: Georg Muller, n.d,
Catalogo della Collozione d*Autografi lasciata alia R. Accademia Filarmoni-
ca de Bologna dall'academico Ab. Pott. Masseangelo Hnar.eangeli... .
Bologna: Collezione di Ritratti, 1831.
(A - general) 266
Chamassl, Helfene. "Sur 1’accord de la guitare," Recherches sur la musique

francaise classique. VII (Paris, 1967), 25-37.
Chase, Gilbert. The Music of Spain. New York: Norton, 1941.
Chronologisches Verzeichnis aller Schauspiele. deutschen u. italienischen
Qpem. Pantomimen. und Ballette. welche seit dem Monath April 1794 bis
wieder dahin 1807. nainlich durch voile 15 Jahre 3owohl .in den k.k. Hof-
theatem. als auch in den k.k. privil. Schausplelhausem. vormahls auf
Wieden. nun an der Wien, und in der Leopoldstadt aufgefuhret worden sind...
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Contreras, Segundo N, La Guitarra. sus antecedentes historicos y biografias
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. La guitarra argentina. apuntes para su historia y otros arti-
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(1954), 2.
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Paravia & Comp., 1952.
Denkivurdlgkeiten .'ms Altoestcrreich. ed, Gustav Gugitz. Vols, I-XXI.
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Diccionario de la Musica Labor. Vol. I. Barcelona: Talleres Graficos Ibero-
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Donington, Robert. See Hiplcins, A.J.
Duarte, Jack, "Music and the Guitar," a continuing series of short articles
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Edelmann, Otto. "V/ie dachte und schrieb man vor 100 Jahren uber Gitarre und
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Eggli, Eva. Problemo dor muslkalischen Vtertasthotik im 19. Jahrhundert: eln
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(A - general) 267
Engel, Emil, "Der Dichter und die Gitarre," Die Gitarre. IX (Berlin,
1928), 74-78; X (1929), 23-24, and 36-38.
Ferrari, Romolo, Mauro Giuliani. Bologna: ed. "La Chitarra," 1934,
Fetis, F.-J. Biographie Universelle des musicians et bibliographic gene-
rale de la musique. 2d ed. Vol. IV. Paris: Firmin-Didot, 1874,
Forbes, Elliot. Thayer’s Life of Beethoven, revised and edited.... 2 Vols.
Princeton, N.J.: Princeton University Press, 1964,
Kihrer durch die Gesamtliteratur der Gitarren- und Lautenmusik, Supplement
to Die Gitarre. II, 7, Heft (Berlin, April 192l).
Gassner, F.S., ed. Universal-Lexikon der Torikunst.... Stuttgart: F.H,
XBhler, 1847.
Geillustreerd Muzieklexikon. ed. G.Keller <5k P.Kruseman. 2 Vols. The
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Geiringer, Karl. "Die Flankenwirbelinstrumente in der bildenden Kunst der
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_________ . Neues Historisch-biographisches LexUcon der Tonkunstler..,.
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Gombosi, Otto. "Miscellanea: Ad vocem cithara, citharista," Acta Musico-
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_________, "Karl Maria von Webers Theaterlieder zur Gitarre," Zeitschrift
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Haas, Theodor. "Die Verwendung der Lauteninstrumente in der O p e r , Zeit

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Hoboken, Anthony van, ed. Joseph Haydn Thematisch-bibliographisches
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(A - general) 269
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(A - general) 270
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L . “ ' ___________
(A - general) 271
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Rottmayer, Ilans. "Gitarre und Kunstlied," Dio Gitarre. IV, 12 (Berlin,
1923), 87-89.
(A - general) 272
Sajaitzky, S. "Kurze Uebersicht des Guitarrespiels in Russland," Kitteilun.fr

des Intemationalen Guitarristen-Verban.ds (e.V.). No. 2 (June 1900), 18 f.
Sartori, Claudio. Casa Ricordi (1808-1958). Profilo storico... Itinerario
grafico editoriale.... Milan: Ricordi, 1958.
Sartori, Claudi, ed. Dizionario Ricordi della musica e dei muslcisti. Mi
lan: G.Ricoz’di, 1959.
Sasser, William G. "The Guitar Works of Fernando Sor," unpubl. diss.,
University of North Carolina, I960.
. "In Search of Sor," The Guitar Review. No. 26 (1962), 1>-21.
Schilling, Gustav, ed. Encyclopadie der gesammten musikalischen Wissen-
schaften. oder Universal-Lexikon der Tonkunst. 6 Vols, plus supplement.
Stuttgart: F, II. Kohler, 1855-38 and 1841.
Schilling,' Gustav. Versuch einer Philosophie des Scho'nen in der Musik.
oder Aesthetlk der Tonlmnst. Mainz: Schott’s Sons, 1838.
. Geschichte der heutigen oder modemen Musik in ihrem Zusammen-
hange mit der allgemeinon Welt- und Volkergeschichte. Karlsruhe:
Christian Theodor Groos, 1841.
. Das musikalische Buropa. oder Sammlung von durchgehends authen-
tischen Lebens-Nachrichten liber .jetzt in Europa lebendc ausgezeiclmete
Tonkunstler. Kusikgelehrte, Componisten. Virtuosen. Sanger, etc.
Speyer: F.C, Neidhard, 1842.
Schroen, E, Die Gitarre u. ihre Geschichte. Leipzig: C.A. ICLemm, 1879.
Extensively commented upon by E. Schv/arz-Reiflingen,"Bcitrage zur Ge
schichte der Gitarrenmusik nach 1840," Die Gitarre. IV, lO/ll (Berlin,
1923), 74 f.
Schuncinann, Georg. Ludwig van Beethovens Konversationshefte im Auftrage
der PreuBischen Staatsbibliothelc. 3 Vols. Berlin: Max Hesse, 1941-43.
Schwarz-Reiflingen, Erwin. "Die gitarristische Etudenliteratur," Der
Gitarrenlchrer, supplement to Die Gitarre. IV, 4/5 (Berlin, Feb 1923),
35-3S; 7/8 (May 1923), 59-61.
_________ , "Joseph Haydn, Quartett in D-Dur fUr obligate Laute, Violine,
Viola und Violoncello," Die Gitarre. IV, 12 (Berlin, 1923), 96-97.
. "Beitrage zur Geschichte der Gitarristik nach 1840," Die
Gitarre. IV (Berlin, 1923), 65-68, 74-70, 90-93; V (1924), 103-05, & 35-39.
(A - general) 273
Schwarz-Reiflingen, Erwin. "Yfege zur alten Lautenmusik," Die Gitarre. VI,

3/4 (Berlin: Dec/Jan 1925), 23-26; and 7/8 , 46-48.
_________ . "Das Problem der gitarristischen Kammermusik," Die Gitarre.
VIII (Berlin, 1927), 28-30.
_________ . "Paul Hindemith. Musik ftfr drei Gitarren," Die Gitarre. XI
(Berlin, 1930), 39-40.
Segovia, Andres. "A Note on Transcriptions," The Guitar Review. No. 3
(Hew York, 1947), 3.
Sharpe, A.P. The Story of the Spanish, Guitar.2d ed. London: Clifford
Essex Music Co., 1959.
Simoes, R. "The Guitar in Brazil," The Guitar Review.No. 22 (1958), 6-7.
Skovran, Dulan. "Gitara," Muzicka Enciklopedi.ia. Vol. I (Zagreb, 1958).
[Sor, Fernando], "Sor" (a biography of him done during his lifetime, pre
sumably under his direction), in Encyclopedia pittoresque de la musique
Vol. I (Paris, 1835), 154 f. German translation by Ulrich Rodiger, Der
Gitarrefreund. XIII (Munich, 1912), 1-2, 11-12, 21-22, 29-31, 37-38,
45-47; and XIV (1913), 1-2.
Sorrenti, .V. I musicisti di Puglia. Bari: Ed, Laterza, 1966.
Stubenrauch, Eugen von, "Das Leben mit Musik verglichen. Ein humorist-
ischer Versuch," Wiener Zeitschrift fur Kunst. Literatur, Theater und
Mode (Vienna, Oct 1817), 263-65 and 271-73.
Tappcrt, W. "Zur Geschichte der Gitarre," Honatsheft flir Musikgeschichte
(1882), No. 5.
Tempcl, Kans. "Pariser Gitarrenkonzerte 1828-1839, nach den Bcrichten der
Revue und Gazette mu3icale de Paris." Der Gitarrefreund. XXVII (Munich,
1926), 92-96, 103-111, and 140-143.
Thayer, Alexander Nheelock. "Maelzel, Johann Nepomuk." Grovel Dictionary
of Music and Musicians. 5th ed., ed. Eric Blom, Volume V, London:
Macmillan & Co. Ltd., 1954.
Trend, J, B. Sec Ilipkins, A.J.
"Uebersicht des gegenwartigen Zustandcs der Tonkunst in Y/ien," Vnter'lHnd-
ische Blatter ftfr den oestorroichischon Kaiserstadt (1808), <19f. & 63.
Ullrich, Anton. "Die Musik im Wiener Almanach von 1777-1817," unpubl.
diss., University of Vienna, 1953*
(A - general) 274
Viotta, Henri, ed. Lexicon der Toonkunst. Vol. I. Amsterdam: P.N.

van Kanpen .& Son, 1883.
Vol’man, Boris L. Gitara i gitaristy. Leningrad: Izdatel'stvo "Muzyka,"
1968.
¥einstock, Herbert A. Rossini, a Biography. New York: Alfred Knopf, 1968.
Wurzbach, Constant von. Biographisches Lexikon des Kaiserthums Oester-
reich. enthaltend die Lebensskizzen der denkwurdigen Personen. welche
1730 bis 1830 im Kniserstaate und in seinern Kronslander gelebt haben.
60 Vols. Vienna: Universitats-Buchdruckerei .von L.C. Zamarski, 1856-91*
Zenei lexikon. ed. D. Bartha. 3 Vols, Budapest: ZenemUkiado Vallalat, 1965*
Zuth, Josef. Simon Holitor und die Wiener Gitarristik (um 1800). Vienna:
A. Goll, 1920.
. "Die Leipziger A.M.Z. (1793-1848) als gitarristische Quelle,'1
Die Gitarre. I (Berlin, 1920), 64-65, 83-85, 102-104, 123-124, 140-141,
156-157f 168-170, 183-184; Vol. II, 2-3, and 11-12, also 115-17 and 127-30.
. Handbuch dor Laute und Gitarre. Vienna: A.Goll, 1926.
. "Beethovens Kompositionen flir Lauteninstrumente," Musik im
Haus.VI. 3 (Vienna, 1927), 106-09.
-x- -K- * * * * * * -x- * -x- * * * * * * * * * x * * * * -x- * * * * * * * * x- * * -x-
SECTION B - Bibliography of selected works about the guitar as an instru

ment, including its historical development and its construction.
Albert, Heinrich. "Vom Gitarrenbau," Die Gitnrro. V, l/2 (Berlin, 1923/24),

101-03*
Arzberger, "Vorschlag zu einer wesentlichen Verbessorung im Bau der Gui-
tarre," AmZ, Vol. 11, Ho. 31 (3 May 1809), 481-88.
Bathioli, Franz. Guitarro-Flageolett-Schule mit Benerkungen uber don
Guitarrebnu. Vienna, 1833[?].
Bauer, Josef. A review of V/. L. Freiherm von Lutgendorff's Die Geigen- .
und Lautenmncher vom Mittclalter bis zur Ccgcnwart (Frankfurt a/M., n.d.),
in Dor Ouitarrcfround. VIII (Munich, 1907), 9-12.
Becker, Richard, "Die Quart-Gitarre," Der Guitarrefreund. X (Munich, 1909),25.
(B - the instrument) 275
Beran, Alois. "Ueber altrussische Lauteninstrumente, " Musik im Haus. VI

(1927), 167-69.
Blumml, Emil K. "Beitrage zur Geschichte der Lautenmacher in Wien, I:
Die Altwiener Lau+enmacherinnung (1696),” Zeitschrift fUr Musikwiss..
II (Leipzig, 1920), 287 f.
Buek, Fritz. "Die Torres-Gitarre;" Der Gitarrefreund. XXIX (Munich, 1928),7-8.
Duarte, Jack. "Variants of the Classic Guitar, an Evaluation," The Guitar
Review. No. 25 (l96l), 22-25.
Edelmann, Otto. "Unser Instrument," Dor Guitarrefrennd. IV (Munich, 1903),
38-42, 55-56j V(l904), 1-5, 23-24, 45-47, 61-63, and 97-99.
Feuerstein, Arnold. "Einige Y/orte zum Gitarrenbau," Zeitschrift fur die
Gitarre. I, No. 3 (Vienna, Feb 1922), 8-10.
Gamer, Emil. "Die Mensur der Instrumente in ihrer Beziehung zur Hand-
spanne," Der Guitarrefreund. VII (Munich, 1905/06), 58.
Gelas, Lucien, "Das System ’Gelas1," Die Gitarre. VII (Berlin, 1926), 23-26,
36-37, 47-49, 75-76.
Haupt, H. "Y/iener Instrumentenbau vim 1800," unpubl, diss.,University of
Vienna, 1952.
Heubuch., A. "Unser Instrument. Der Guitarrehals, ein Vorschlag..," Der
Guitarrefreund, VII, 3 (Munich, 1905/06), 31-52.
Jahnel, F, Die Gitarre und ihr Bau; Technologie von Gitarre. Laute. Sister.
Tanbnr imd Salte. Frankfurt a/M.: Verlag das Musikinstrument, [1964].
Kilian, Hermann. "Vom Gitarrenbau," Zeitschrift fur die Gitarre, IV, 10
(Vienna, October 1925), 12-14.
Koczirz, Adolf. "Die Alt-Wiener Gitarre um 1800," Gitarristische Mit-
teilung aus Oesterreich. Vol. I (Vienna, 1925), 5. Heft, 1-2; 4. Heft,
2-3; and 5. Heft, 2-3.
Kolon, Victor. "Die Pariser Gitarre von Paganini - Berlioz," Zeitschrift
fur die Gitarre. V, 3 (Vienna, April 1926), 50-53.
Otto, Jokob August. "Ueber die Gitarre," Ueber den Bau der Boêninstru-
raenbe und uber die Arbeiten der vorzugllchsten Instrumontenmncher,
Weimar, 1823.
Panum, Hortence. The Stringed Instruments of the Middle Ages, ed. & tr,
J, Pulver. London: William Reeves, [1939-?].
(B - the instrument) 276
Paret, Otto. "Griffbrett fUr Gitarren, Lauten und ahnliche Saiteninstru-

mente," Der-Guitarrefreund. XII (Munich, 1911')» 25-28.
Pujol, Emilio. “The Guitar in Portugal,” The Guitar Review. No. 5 (New
York, 1948), 6-7.
Scheibler, H, “Guitarre-Eintheilung,” M , XVIII (1816), 625-24.
Scherrer, H. "Vom Stimmen der Guitarre," Mitteilung des intematlonalen
Guitarristen-Verbandes. No. 5 (Munich, July 1900), 29-52.
Schopfer, Auguste, “La Guitare," Mitteilung des intemationalen Guitarristen-
Verbandes. No. 2 (Munich, June 1900), 14-18.
Schuster, Friedrich. “Zur Geschichte des Gitarrenbau in Deutschland;11
Die Gitarre. X (Berlin, 1929)# 85-87,
Schwarz-Reiflingen, E, “Die Form der Gitarre und ihr Einfluss auf den
Ton.” Die Gitarre.'IV. 5 (Berlin, 1925)# 25-26.
_________ . “Zur Geschichte des Gitarrenbaues," Die Gitarre. VIII (Berlin,
1927), 55-56.
. “Die Torresgitarre.“ Die Gitarre. IX (Berlin, 1928), 47-55.
. A review of J. Tessarech's Evolution de la Guitare. in Die
Gitarre. XI (Berlin, 1950), 65-68.
Segovia, Andres, "Guitar Strings Before and After Albert Augustine," tr.
Eithne Golden, The Guitar Review. No. 17 (New York, 1955)# 7-10.
Tessarech, J. Evolution de la Guitare. Paris: Henri Lemoine, [192-?].
Zuth, Josef. “Die englische und deutsche Gitarre des ausgehenden 18.
Jahrhunderts,” Der Gitarrefreund. XXII (Munich, 192l), 77-79, 88-90,
and 99-100.
* -x- * * * * x * * x * * * x * -x- * * -x- * * * * *- * x- * * * * * x * * * -x * •*
SECTION C - Books and articles on guitar technique, excluding methods and

tutors. See the explanation regarding the omission of the latter, p. 265.
Albert, Heinrich. “Gitarronsolospiel und Gitarrcntechnik.” Die Gitarre. Ill

(Berlin, 1922), 106-03.
______ _“Vom Barrespiel und anderem," Die Gitarre, IV, 7/8 (Berlin,
1925), 51-54.
(C - technique) 277
Bohr, Heinrich. "Aus der Aguadoschule," Zeitschrift flir die Gitarre. IV,
11 (Vienna,-Dec 1925), 12-14.
. “Der Daumcngriff," Ibid., 24.
Buek, Fritz. 'Uebor den Nagelanschlag," Der Gitarrefreund. XXII, 1 (l92l),5-6.
Danok, flax. "Einleitungskapitel aus dem Nerk Die Technik des Gitarresniels
auf nhysiologisch-anatomischer Grundlage." Der Gitarrefreund. XXVIII
(Munich, 1927), 41-44.
Guthmann, Fr. "Ueber Guitarrenspiel," AmZ. VIII (March, 1806), 362-66.
Heubach, A. "Soli man beim Guitarre-Spiel den kleinen Finger der rechten
Hand auf die Decke stUtzen?" Per Guitarrefreund. VI (Munich, 1905), 97.
Hinz, Richard, "Etwas Uber die Abdampfung der Saiten beim Gitarrespiel,"
Die Gitarre. I (Berlin, 1919), 15-16.
Hofmeester, TheodorusM. "Is there a school of l'arrega?" The Guitar Re
view. No. 1 (1946), 2-4.
Jann, Franz,' "Grundlegende FLageolettUbungen," Zeitschrift fUr die Gitarre.
IV, 4 (Vienna, Jan 1925), 17-19.
Joesten, Kurt and Birkel-Smith, Fr. "Der kombinierte Anschlag," Die Gitarre.
VIII, 1/2 (Berlin, 1927), 1-3.
Just, Elsa. "Die Flageolettone und ihre Hotierung," Der Gitarrefreund.
XX (Munich, 1919), 11-15, 23-26, and 35-37.
Koczirz, A. "Ueber die Fingemageltechnik bei Saitenin3trumente^" Fest
schrift Guido Adler. Vienna, 1930.
Laible, Friedrich. "Physiologie des Anschlags," Die Gitarre. II, 9
(Berlin, June 192l), 95-99.
. "Physiologie des Greifens," Die Gitarre, IV, 6 (Berlin, 1923),
45-47.
Pujol, Emilio. "Hie 'Supported' Stroke," tr, Eithne Golden, The Guitar
Review. No. 16 (1954), 3-4.
. El Dilema del sonido en la guitarra. Buenos Aires: Ricordi
Americana, I960.
Schwarz-Reiflingen, Erwin. "Der Wechselschlag," Die Gitarre. I, 2 (Berlin,
Nov. 1919), 31.
. "Mein System der Gitarrentochnik," Die Gitarre, VI, l/2
(Berlin, Oct/flov 3.924 [publ. 1925]), 4-7, and 31-34.
(C - technique; D - guitarists, general) 278
Schwarz-Reiflingen, E. "Kuppen- oder Nagelanschlag?” Die Gitarre. VI,

11/12 (Berlin,1925), 65-68.
. "Die moderne Gitarrentechnik," Die Gitarre. XI (Berlin, 1930),
17-25, 34-56, 49-52, and 81-86.
Seyffert, Oskar. ”Ueber das Gitarrespiel rait Ring und Nagelanschlag,"
Der Guitarrefreund. VIII (Munich, 1907), 35-35, and 41-43.
Tempel, Hans. "Kuppen- oder Nagelanschlag?," Per Gitarrefreund. XXVI
(Munich, 1925), 49-59.
Usher, Terry. "Manual Dexterity," The Guitar Review. No. 10 (1949), 29-30.
. "The Elements of Technical Proficiency," The'Guitar Review.
No. 15 (1953), 6-8.
. "Tone and Tonal Variety," The Guitar Review. No. 16 (1954),
23-24.
Wachter, Heinrich. "Ueber den Fingersatz beim Guitarrspiel," Der Guitarre
freund. IV, 4 (Munich, 1903), 46-47.
Walker, Luise, "Einiges liber das Ueben," Die Gitarre. XI (Berlin, 1930),47-48.
* * * * * * * * * * -x- * * * * * * * x * * * * * * * * * * * * * * * * * * *
SECTION D - Biographical dictionaries of guitarists, and articles dealing

collectively with guitarists. Biographical dictionaries of musicians
in general are not cited here, although they are often helpful.
Bone, Philip J, The Guitar and the Mandolin: Biographies of Celebrated

Players and Composers. 2d ed, London: Schott, 1954.
Buelc, Fritz. Die Gitarre und ihre I-Ieister. Berlin: Robert Lienau, 1926.
Contreras, Segundo N. La Guitarra. sue anteoedentes historicos y blografias
de e.jecutantes celebres. Buenos Aires: Emilio Perrot, 1927.
Henze, Bruno. Die Gitarre u. ihre Meister des 18. und 19. Jahrhunderts.
Berlin: Poster Verlag, 1920.
Koczirz, Adolf. "Zur Geschichte der Gitarre in Wien," Musikbuch aus Oester-
reich. IV (Vienna, 1907), 11-18.
Maschkewitoch, W. P. "Russische Gitarristen," Die Gitarre. XI (Berlin,
1930), 68-72.
(D - guitarists, general; E - guitarists, individual) 279
Prat Marsal, Domingo. Diccionario biografico de guitarras y guitarristas.

Buenos Aires: Romero y Fernandez, 1934.
Sharpe, A. P. The Story of the Spanish Guitar. 2d ed. London: Clifford
Essex Music Co., 1959.
Simpson, Clinton. "Some Early American Guitarists," The Guitar Review. No.
23 (1959), 16.
Terzi, B. Dizionario dei chitarristi e llutai italiani. Bologna: Ed.
Rivista "La Chitarra," 1937.
Zuth, Josef. Handbuch der Laute und Gitarre. Vienna: A. Goll, 1926.
* * * * * * * * * * * •* * * * * * * * * * * * * * * * * * * * * * * . * * * # • *
SECTION E - V/orks about individual 19th-century guitarists, organized

chronologically -under the names of the artists or personalities concerned,
Aguado, Dionysio.
Ledhuye, Adolplie. "Aguado.11 Die Gitarre. X (Berlin, 1929), 79-60. This
is a translation of the original article in theEncyclopedic pit-
torasnue do la musique. I, ed. A. Ledhuy and H, Bertini (Paris, 1835).
Berlioz. Hector.
Zuth, Josef. "Die Gitarre des Hector Berlioz," Zoitschrift fur die
Gitarre. I, 4 (Vienna, April 1922), 8-11.
Kolon, Victor, "Die Pariser Gitarre von Paganini-Berlioz," Zeitschrift
fur die Gitarre. V, 3 (Vienna, Apr 1926), 50-53*
Carulli. Ferdinando.
Schwarz-Reiflingen, E. "Ferdinand Carulli," Die Gitarre. I (Berlin, 1919/
20), 86- 88.
Carulli. Gustav (son of Ferdinando).
Kolon, Victor. "Gustav Carulli," Musik im Haus.VI.2 (Vienna, 1927), 41-43.
Coste. Napoleon.
Stockmann, J. "Napoleon Coste," Der Guitarrefreund, III, 5 (Munich, 1902),
55-56. French translation, Ibid., IV, 2 (1905), 17-18.
(E - guitarists, individual) 280
Coste. Napoleon (cont'd.).

Colas, Lucien.."Biographische Noti2 uber Napoleon Coste," Die Gitarre.
VIII, 11/12 (Berlin, 1927), 82.
Rischel, Thorvald. "Bibliographische Notizen zu den Gitarrenwerken vpn
Napoleon Coste," Ibid.. VIII, 47-51*
Schwarz-Reiflingen, Erwin. "Napoleon Coste," Ibid.. 43-47.
. "Costes Bearbeitung der Sor-Schule," Ibid.. 51-52.
Costenoble. Carl Ludwig.
Orel, Alfred. "Ein Burgschauspieler als Gitarrist," Zeitschrift fur die
Gitarre. V (Vienna, 1926), 31 f*
Diabelli. Anton.
Haas, Robert. "Ein Trauermarsch Anton Diabellis fUr Gitarre,"Zeit
schrift fur die Gitarre. V, 4 (Vienna, 1926), 77-80.
Ferranti. See Zani de Ferranti.
Giuliani. Mauro.
The known biographical essays and books dealing with Mauro Giuliani are
referred to in Chapter II of this dissertation, especially pp. 66-76.
KSmer. Theodor.
Grahn, ¥emer and Haas, Robert. "Theodor Komer und dieGuitarre," Per
Guitarrefrenrid. VII (Munich, 1905./06), 1-6.
KKffner. Joseph.
[Buek, Fritz], "Joseph Kuffner," Der Gitarrefreund. XVI (Munich, 1915),45-46.
Legnanl. Luigi,
See Josef Zuth, "Die Leipziger A.M.Z. als gitarristische Quelle," Die
Gitarre. I (Berlin, 1920), 84-85 and 102-104.
Makarov. N. P.
See section A of this bibliography, p. 270. '
Karescot. Charles de.
See "La Guitaromanie," The Guitar Review. No. 8 (1949), 42-44.
Matiegka. Wenceslas Thomas,
Deutsch, Otto E. "V.7, Matiegkas Citarre-Trio und Schubert," Zeitschrift
fur Kuoikwissonschaft. XIV (1920/21), 126.
Hertz, Johann Kaspar.
[Mertz, Josefine,] "Johann Kaspar Herts," Der Guitarrefreund. No. 12
(Munich, Dec ISOl), 83-85, and III (Feb 1802), 9-12.
Molitor. Simon.
[Anon.? Buek?]. "S, Molitor, ein Reformator der Gitarremusik vor 100
Jahren," Der Guitarrefreund, IX (1908), 11-13, 21-24, 28-32, 35-59.
Zuth, Josef, Simon Molitor und die Wiener Gitarristik um 1800. Vienna:
A. Goll, 1920.
Paganini. Nicolo.
Zuth, Josef, "Der Gitarrist Paganini," Moderne VoUcsmusik (Zurich, 1922),
. "Paganini in Karlsbad [-1828]: ein Beitrag zur Paganini-
forschung," Zeitschrift fUr die Gitarre. IV, 1 (Vienna, 1924), 2-5.
Orel, Alfred. "Ueber einige Kompos. aus dem Nachlasse Paganinis," Zeit
schrift fur die Gitarre. IV, 8 (Vienna, July 1925), 5-8.
Prusik, Karl. "Nicolo Paganini (1782-1840) und die Gitarre," Zeitschrift
fUr die Gitarre. IV, 7 (Vienna, June 1925), 10-13.
Schwarz-Reiflingen, E. "Zur Verdffentlichung der gitarristischen Kompo-
sitionen Nicolo Paganinis," Die Gitarre. VI (Berlin, 1924), 7-9, 27-30,
45-46; and VII (1925), 10-11.
Radke, Hans, "Paganini und die Gitarre," Zeitschrift fur die Gitarre. V
(Vienna, 1926), 124-129, and 145-150.
Kolon, Victor, "Die Pariser Gitarre von Paganini-Berlioz," Zeitschrift
fur die Gitarre. V, 3 (Vienna, 1926), 50-53.
Alver, A.V. "New Light on Paganini," The Guitar Review. No. 2 (1947),
1-2; No. 3 (1947), 1-2; No. 5 (1947)» 7-9; No. 6 (1948), 7-8.
Regondi. Giulio.
Zuth, Josef, "Eine Handschrift von Giulio Regondi," Musik im Haus. VI
(1927), 78-80. A portrait of Regondi is Ibid.. p. 88.
Ruszanov. V. A.
Beran, Alois. "V. A. Ruszanov?," Zeitschrift fur die Gitarre. V, 2
(Vienna, March 1926), 26-29.
Schubert. Franz.
Anon. "Eranz Schubert als Gitarrist," Der Gitarrefreund. Vol. 21 (Mu
nich, 1920), 1-2.
Schwarz-Reiflingen, Erwin. "Ein unbekanntes Schubert-Quartett mit Gitarre,
Die Gitarre. IV (Berlin, 1922), 11-15.
Schubert. Franz (cont'd.).

Zuth, Josef, "Franz Schuberts Sonate fUr Streichgitarre und Klavier,"
Musik im Haus. VI (1927), 159-42,
Kinsky, G. "Zu Schuberts Gitarre-Quartett," Zeitschrift fur Musik-
wissenschaft. XI (1928/29), 459 f. Republ, Der Gitarrefreund. XXXI
(Munich, 1950), 169-72, i
Deutsch, Otto E. "¥, Matieglcas Gitarre-Trio und Schubert," Zeitschrift fur
Musikwissenschaft. XIV (1952/55)» 567 f.
Schulz. Leonhard.
Zuth, Josef. "Schulz Leonhard, der Jtingere," Zeitschrift flir die Gitarre.
Ill, 4, Heft (Vienna, March 1924), 5-6; and 6. Heft (July 1924), 5-5.
Sokolow3ki. M. D.
Russanow, V.A. "H.D. Sokolowski, Historisch-biographische Skizze," Der
Guitarrefreund. No. 9 (Munich, 9 June-1901), 54-56.
Sor. Fernando.
"Sor," Encyclop'odie nittoresque de la musique. I (Paris, 1855), 154 f.
Bone, Philip J. "Ferdinand Sor," Der Guitarrefreund. VIII (Munich, 1907),
45-44; and IX (1908), 1-5.
Tempel, H. "Bemerkungen und Gedanken Uber Sor," Der Guitarrefreund.
XXIV (Munich, 1925), 5-7, 21-29; XXV (1924), 8-9; XXVI (1925),5-6, & 24.
Schusse, Erich. "Wegweiser durch Sors Gitarrenwerke," Die Gitarre. V,
3/4 (Feb 1924), 24-26.
Rossi,. A. "Sor und seine Gitarrenschule," Die Gitarre. V, 3/4 (Berlin,
Feb 1924), 16-19; and 5/6 (Kay 1924), 29-55. This is a translation
by 0. Lorenz of on article first appearing in II Plettro. of Milan.
Schwarz-Reiflingen, ed. & tr. "Ferd. Sor/ Ueber den Anschlag," Die
Gitarre, V, 3/4 (Feb 1924), 19-22; and "Zwoif Regeln des Gitarren-
spiels;" Ibid., 22-25.
Romea, Alfredo, "Ferdinand Sor," Die Gitarre. IX (Berlin, 1928), 55-56,
65-67, and 70-81.
[Ferrari, R,?] "Fernando Sor, A Biographical Sketch," The Guitar Review.
Ho. 1 (l946), 5-6, This was presumably translated from an article
appearing in La Chitarra (Bologna, Sept 1959).
Sor. Fernando (cont'd.).

Rocamora, Manuel, Fernando Sor: Ensayo biografico, Barcelona: Los
Talleres de Enrique Tobella, 1957.
Sasser, William G. "The Guitar Work3 of Fernando Sor," unpubl. diss.,
University of North Carolina, I960.
Radke, Hans. "Sor," Die Musik in Geschichte und Gegenwart. XII (1965).
Tandler. Franz.
BlUmml, Emil Karl. "Franz Tandler, der Gitarrist," Zeitschrift fur die
Gitarre. IV (Vienna, 1924), 2. Heft, 4-6; and 3* Heft, 2-4,
Koczirz, Adolf. "Der Gitarrist Franz Tandler, Biog. Nachtrag," Zeit
schrift fur die Gitarre. IV, 10 (1925), 5-6.
Tarrega. Francisco.
All of Heft l/2 of Die Gitarre. XI (Berlin, 1930) is devoted to Tarrega:
Lopez, Antonio. "Francisco Tarrega Eixea," Ibid.. 1-5.
Pedrell, Felipe; Llobet, Miguel; Pujol, Emilio, etc. "Tarrega als Kensch
und KUnstler im Urteil seiner Zeitgenossen," Ibid.. 5-8.
Schwarz-Reiflingen, E, "Tarregas Gitarrentechnik," Ibid., 9-11.
Buek, Fritz. "Franzisko Tarrega," Der Gitarrefreund. XXV (Munich, 1924),
18-22.
Weber, Carl Maria yon.
Roemer, Kammersangor Dr. "Karl Maria von Webers Gitarrewerke,11 Der
Gitarrefreund. XXII (Munich, 192l), 49-51.
Ilaas, Robert. "Karl Maria von Webers Theaterlieder zur Gitarre," Zeit
schrift fur die Gitarre. V, 5 (Vienna, July 1926), 97-99.
Schwarz-Reiflingen, E. "Die Gitarre in C. M. v. Webers Musik zu Donna
| Diana," Die Gitarre, IX (Berlin, 1928), 25-26 plus musical examples.
1 Zani de Ferranti, Marcus Aurelius.
I Fetis, F.-J. "La Guitare et Zani de Ferranti," Revue musieale. VIII, 14
(Paris, 1834), 27-29. This vra3 translated in Der Gitarrefreund. XXVI
(Munich, 1925), 34-38.
Bone, Philip J. "Zani de Ferranti," Per Guitarrefreund, V, 4 (Munich, 1904),
63-64.
-I- -
(F - plate number chronologies) 284
SECTION F - A bibliography of plate-number chronologies for various

early-19th-century music publishers,
Bcitrage zur Geschichte des Alt-Wiener Musikverlages. Verzeichnis der

Nusikalien aus dem k.k, Hoftheater-Musik-Verlag. von Alexander Weinmann.
Vienna: Universal Ed,, n.d.
Beitrnge..,(v. supra). Kataloge Anton Huberty (Wien) und Christoph Torri-
cella, von Alexander Weinmann. Reihe 2 Polge 7» Vienna: Universal
Edition, 1962,
Beitrage... (v. supra). Die Wiener Verlagswerke von Franz Anton Hoffmeister.
von Alexander Weinmann. Reihe 2 Folge 8, Vienna: Universal Ed., 1964.
Beitrage... (v. supra). Verlagsverzeichnls Tranquillo Mollo (mit und ohne
von Alexander Weinmann. Reihe 2 Folge 9. Vienna: Universal
Ed., [1964].
Beitrage... (v. supra). Verlagsverzeichnis Pietro Mechettl Quondam Carlo.
von Alexander Weinmann. Reihe 2 Folge 10. Vienna: Universal Ed., 1966.
Deutsch, Otto Erich. Musikverlags Numraern. eine Auswahl von 40 datierten
Listen 1710-1900.... Berlin: Herseburger, 1961.
Heck, Thomas F, "Ricordi Plate Numbers in the Earlier 19th Century: a
Chronological Survey,11 Current Musicology. X (New York, 1970).
Hill, Richard S. "The Plate Numbers of C, F. Peters' Predecessors," Papers
• Rond by Members of the American Musicological Society. 1938 (Washington.
1940), 113-134.
Hopkinson, Cecil. A Dictionary of Parisian Music Publishers 1700-1950.
London: The Author, 1954.
Neighbour, O.W. English Music Publishers' Plate Numbers in the First Half
of the 19t.h Century. London: Faber & Fabor, 1965.
Sartori, Claudio. Dizionario dogli editori musicali .italiani. Florence:
Olschki, 1958.
Weinmann, Alexander. Vollstandiges Verlngsverzeichnis Artaria & Comp.
Vienna: Ludwig Krenn, 1952.
Weinmann, Alexander. "Vollctandiges Verlagsverzeichnis der Musikalien des
Kunst- und Industrie-Coraptoirs in Wien 1801-1819," Studien zur Husik-
wlssenschaft.. XXII (Vienna, 1955), 217-252.
(G - 19th-c, periodicals) 285
SECTION G - A checklist of 19th-century periodicals dealing in whole or

in part with music in Vienna, Rome, & Naples in the early 19th century.
Allgemeine musikalische Anzeiger. Vienna: Verlag der k.k. Hof- und priv.
Kunst- und Musikalien-Handlung des Tobias Haslinger, 1829-1840.
Allgemeine musikalische Zeitung. Leipzig, 1798-1840.
t
Allgemeine Musikalische Zeitung, mit besonderer Rucksicht auf den oester-
reichischen Kaiserstaat. Vienna: S.A, Steiner, 1817-1825.
Diario di Roma, Rome, 29 June 1808 - 15 Jan 1848. This journal superseded
the Diario ordinario d ’Ungheria. which appeared in Rome’from 5 Aug 1716 -
June 1808.
Giomale del Regno delle Due Sicilie. Naples, 1816 f.
Notizie del Giomo. supplement to Diario di Roma. Rome, 27 April 1815 -
15 Jan 1848.
Vaterlandische Blotter fur den oesterreichischen Kaiserstaat. Herausge-
geben von mehreren Geschaftsmannem und Gelehrten. Vienna: Degenschen
Buchhandlung, 1808 f,
Wiener Ho den Zeitung und Zeitschrift ftlr Kunst. schone Literatur und
Theater. Vienna j Jan 1816 - June 1817. It was succeeded by the
Wiener Zeitschrift fur Kunst. Literatur. Theater und Mode. Vienna:
Anton Strauss, July 1817 f.
Wiener Zeitung. Vienna, published before,-during, and after the first
quarter of the 19th century.
* * * * - * * . * • * * * * * * * * * * * * * * * * * -x- * * * * * -x- * * * * * * *
SECTION H - A checklist of 20th-century research periodicals about the

guitar. Only German- and English-language journals are listed.
Gitarre. Die. Konatsschrift zur Pflegc des Gitarre- und Lautcnsplels und
der Hausmusdk. ed. Erwin Schwarz-Reiflingen. Berlin, 1919~1955[?].
Guitar Review. The. New York: The Society of the Classic Guitar, 1946 f.
Gultarrefreund. Der. See Mitteilung.
(H - periodicals devoted to the guitar) 286
Mitteilung des •Intemationalea Guitarristen-Verbands (e, V.). Munich,

May - July 1900, This was superseded by Der Guitarrefreund, Mitteilung
des Intemationalen... etc, Munich, Sept 1900 - March 1910. The spelling
of the title then changed to Der Gitarrefreund. Mitteilung... etc. May
1910 - Dec 1920. The title is then modified to read Der Gitarrefreund.
Monatschrift zur Pflege des Gitarre- und Lautensniels und der Hausmusik.
Jan 1921 - 1933[?].
Oesterreichische Gitarre Zeitschrift. ed. Jacob Ortner. Vienna, 1926-28,
Zeitschrift flir die Gitarre. ed, Josef Zuth. Vienna: Gubemer & Hierhammer,
1921-1926. It is superseded by Musik im Haus. VI. Vienna, 1927. N.B,
the title of the first volume (1921/22) of this periodical was Zeitschrift
der Arbeitsgemeinschaft zur Pflege und Forderung des Gitarrenspiels.
■x * *
© 1971
Thomas FitzSimons Heck
ALL RIGHTS RESERVED
THE BIRTH OP THE CLASSIC GUITAR
AND ITS CULTIVATION IN VIENNA, REFLECTED IN
THE CAREER AND COMPOSITIONS OF
MAURO GIULIANI (d. 1829)
Volume II:
Thematic Catalogue of the

t
Complete Works of Mauro Giuliani.
Thomas P. Heck
Baccalaur6at, Paris, I960

B.A. University of Notre Dame, 1965
M.Fhil. Tale University, 1968
A Dissertation Presented to the Faculty of
The Graduate School of Tale University
in Candidacy for the Degree of
Doctor of Philosophy
New Haven, Connecticut
19 7 0
DEDICATION
to
Dr. Alexander Weinmann
This catalogue could not have attained its present state of completeness
in the brief space of two years without the generous and friendly assistance
of Dr. Alexander Weinmann of Vienna. His selfless efforts on behalf of the
RISK project in Austria have saved many scholars countless hours of biblio
graphical toil. Generations to come will continue to reap, as I have, the
benefits of his lifetime of productive scholarship.
COPYRIGHT NOTICE: Copyright 1971 by University Microfilms, Ann Arbor,

Michigan, USA, in the author’s name. The author hereby grants per
mission to anyone to reproduce small portions of the contents of this
volume for use in audio commentary, concert program notes, record
jackets, and scholarly writing, provided that acknowledgment of the
source of such information is given.
TABLE OP C O N T E N T S
TITLE Page
DEDICATION
ABBREVIATIONS .............................................. iii
FORMAT.................................................... v
WORKS WITH OPUS NUMBER..................................... 1

WORKS WITHOUT OPUS NUMBER
- for guitar (g ) .................. ........ ............... 150
- for two guitars (2G) 160
- for guitar and pianoforte (G & P)........ 163
- for guitar and flute or violin (G & F[v]) 166
- for voice, with G or P accompaniment .......... 171
- with only G accompanimentby Giuliani ............. 184
POSTHUMOUS WORKS WITHOUT OPUS NUMBER
- for guitar ......................................... 187
- for two guitars ..... 194
List of Unresolved "WoO" Works ............................. 196
APPENDIX I - The Works of Mauro Giuliani

Published by Ricordi of Milan......... 197
APPENDIX II - ArTh, Useful as a Thematic Index ........ 201
APPENDIX III - Song P L l e ........... 206
APPENDIX rV - Index of Names............................ 211
APPENDIX V - Systematic Index of Genres....... 217
Abbreviations iii
AmZ - Allgemeine musikalische Zeitung. Leipzig, 1798 f.
Arils - "Catalogue des Oeuvres de Mauro Giuliani," a manuscript from the

Artaria NachlaB. See page ix, infra.
ArTh - Catalogue Thematique des Oeuvres Composles par Mauro Giuliani...

Vienna; Artaria & Comp., no plate number. See page x.
BeitrHge 11,9 - Beitrage zur Geschichte des Alt-Wiener Musikverlages. Reihe

II, Folge 9. Verlagsverzeichnis Tranquillo Mollo (mit u. ohne Co.).
by Alexander Weinmann. Vienna; Universal-Edition, copyright 1964.
BeitrHge 11,10 - Beitrage zur Geschichte dea Alt-Wiener Musikverlages. Reihe

II. Folge 10. Verlagsverzeichnis Pietro Mechetti Quondam Carlo, by
Alexander Weinmann. Vienna; Universal-Edition, copyright 1964.
BeitrHge, Hof - BeitrHge zur Geschichte .des Alt-Wiener Musikverlages.

Verzeichnis der Kusikalien aus dem k.k. Hoftheater-Musik-Verlag.
by Alexander Weinmann. Vienna: Universal-Edition, n.d.
C&D - Verzeichniss samtlicher Original-Werke von Mauro Giuliani... Vienna:

Cappi & Diabelli, plate number C.et D. N° 219.232, See page x, infra.
DeutschMvN - Deutsch, Otto Erich, Husikverlags Nunraern. eine Auswahl von

40 datierten Listen 1710-1900.... 2d ed. Berlin: Merseburger, 1961.
G - Guitar. G* (with an asterisk) means a terz-guitar is involved. See,

for ex., Op. 70.
GdM - Archiv der Gesellschaft der Musikfreunde, Vienna.
Hdbuch (with date) - The various Meysel-Hofmeister-Whistling Handbttcher

der musikalischen Literatur. See page xiii-xiv, infra.
HeckR - Heck, Thomas P. "Ricordi Plate Numbers in the Earlier 19th Century:
A Chronological Survey," Current Musicology. X (New York, 1970).
Krick - The Krick Collection of the Gaylord Library, Washington University,

St. Louis, Mo. USA.
L. of C. - Library of Congress, Washington, B.C. USA.
OeNB - Oesterreichische Nationalbibliothek, Vienna.
PI .nr. - Printer’s plate number, found at the bottom of the page.
RicordiCat,1857 - Catalogo (in ordine numerico) delle onere pubblicate dall*

I.R. stabilimento nn'/.ionale privilegiato di calcografia. copisteria e
tipografia musicali di Tito di Gio. Ricordi. Milan: Ricordi, 1857.
Abbreviations iv
SteinTh - Thematisches Verzeichnis der samtlichen Original-Werke von Mauro

Giuliani... Vienna: S.A. Steiner & Co., no pi.nr. See page xi, infra.
WeinArt - Weinmann, Alexander. VollstHndiges Verlagsverzeichnis Artaria

& Como. Vienna: Ludwig Krenn, 1952.
WeinBAI - Weinmann, Alexander. "Vollstandiges Verlagsverzeichnis der

Musikalien des Kunst- und Industrie-Comptoirs in Wien 1801-1819,"
Studien zur Musikwissenschaft. XXII (Vienna, 1955), 217-252.
WeinCap - The dated catalogue of publications by Cappi, Cappi & Diabelli,

and Diabelli & Co., now in preparation by Ignaz Weinmann of Vienna.
WeinPrep - Chronologies of various publishers' plate numbers, now in

preparation by Dr. Alexander Weinmann of Vienna. Of relevance to
the present catalogue are:(l) Bermann, (2) Imprimerie Chimique -
Steiner - Haslinger, (3) Mechetti, (4) Sprenger - Matthias Artaria,
and (5) Thad6 Weigl.
WienerAMZ - Allgemeine Musikalische Zeitung mit besonderer MIcksicht auf

den Oesterreichischen Kaiserstaat. Vols. I-VIII. Vienna: S.A. Steiner
& Comp., 1817-23.
WMZ - Wiener Moden Zeitung und Zeitschrift fttr Runst. Schb'ne Literatur und
Theater. Vienna, Jan 1816 - June 1817. Its name changed to Wiener
Zeitschrift fUr Kunst. Literatur. Theater und Mode. Vienna: Anton
Strauss, July 1817 f.
WoO - Without opus number (used adjectivally).
WStB - Stadtbibliothek, Vienna.
ZuthN - The NachlaB of Dr. Josef Zuth. His legacy is now in the
Musikwis3enschaftlich.es Institut of the University of Vienna.
Format v
Introduction.
Until now no critical thematic catalogue of the works of any guitarist
composer has been done. The need for such a guide to the works of Sor,
Aguado, Carcasai, Carulli, Coste, TArrega, and others will be felt in
creasingly as record Jackets, commercial republications and concert reviews
in their almost inevitable way spawn and multiply errors and ignorance.
I hope that this catalogue may establish a methodological precedent for
future undertakings of a similar nature.
The art and science of preparing thematic catalogues is no longer in

r
its infancy. Such compendia have been written and rewritten for the works
of major composers from all the periods of music history. In cases such as
the Mozart Kochel-Verzeichnis. 6th ed., refinements not dreamed of by the
original cataloguer have been made - and are now considered indispensable.
In selecting a format for the present catalogue, special consideration
has been given to the bibliographical precedents for the complete works of
composers contemporary with Giuliani. The Beethoven and Clementi cata
logues, dealing with works traditionally divided into those with opus
number and those without, have been most valuable.
The Kinsky-Halm Beethoven-Verzeichnis has provided a model for several
procedures in this catalogue.^- For example, the incipits are given with
Das Verk Beethovens, thematisch-bibliographisches Verzeichnis.♦.von

Georg Kinsky. ed. Hans Halm (Munich.1955).
Format vi
their full harmony. AUTHENTICATION in this catalogue is the equivalent of
the Kinsky "Verzeichnisse" entry. The latter's "Verzeichnis der Gesangs-
kompositionen Beethovens nach Titeln und Textanfangen" (Anhang VIII) has
been expanded here to a large "Song File” of titles and text incipits for
songs used in any way, shape, or form in the works of Giuliani, including
citations for purely instrumental arrangements of given songs (Appendix III).
Kinsky's Anhang VI, "Die WidmungsempfSnger Beethovenscher Werke," is enlarged
into a comprehensive list of persons associated in any way with Giuliani,
giving a few words on the nature of the relationship (Appendix IV). It
includes, of course, all dedicatees.
The Thematic Catalogue of the Works of Muzio Clementi (Tutzing,1967)»
by Alan Tyson, provides precedents for many of the headings I am using:
"First Edition," "Copy," "Date," and "Arrangement," as well as the procedure
for transcribing the title page of the first edition. Vith respect to the
location of works, Tyson omits librazy call numbers. They are included in
the present catalogue. Neither Tyson nor I have cited the length of pieces
in tactuB. as is habitually done in German catalogues (Kinsky and KUchel,
for ex.). Tyson enters "Collation" information, which I havechosen to ig
nore, on the theory that an edition has to be either oblong or upright,and
whichever it is has no real bearing on the music.
The Entries.
To begin with, all the works having opus number are given short titles,
usually reflecting the wording of the original editions. These titles are
followed by abbreviations of the performance medium: G = guitar, G&P *
Format vii
guitar & pianoforte, GAF(v) = guitar & flute (or violin), etc.
My system for labeling works without opus number is unique, and involves
grouping them according to performance medium. The rapid location of an
unidentified "WoO" work is thus achieved simply on the basis of its instru
mentation. An entry such as "WoO, 2G - 1" means we are dealing with the
first (suffix - l) work published without opus number for two guitars (2G).
The abbreviations for instruments and combinations thereof are the same as
used in the opus-number section.
Here are the rubrics used uniformly in the catalogue:
INCIPIT: For the works with opus number, an incipit is given for each
independent movement. Where the theme is preceded by a separate introduc
tion, the beginning bars of both will be cited. Where duets and ensembles
occur, often only the principal voice or part is presented, clearly labeled
and in its original clef.
The section without opus number (WoO) contains many works for voice
with guitar or pianoforte accompaniment. The titles and/or first lines
(text incipits) of these songs will be given, but without music. This is
because I conceive of the incipits as desirable above all else for the posi
tive identification of isolated copies and republications of solo guitar
pieces. If and when the need is felt to study Giuliani's vocal music, then
there will be that much room to expand this catalogue.
I have taken great pains to copy the incipits exactly as they appear
in the earliest available source. From these it will be noted that Giuliani
manuscripts and first editions contain very few fingerings or other technical
Format viii
symbols, and exhibit a very classic, pure and uncluttered appearance, in
marked distinction to the highly annotated republications on the market
today,
AUTOGRAPH: This entry will be used in those rare instances when one of
Giuliani's autograph manuscripts is known to have survived.
FIRST EDITION: The single greatest contribution of the present catalogue
is within this entry. The publications cited here are usually the closest
one can come to the composer's autograph. Citation of the title page of
first"editions will not usually include miscellaneous information in the
original language at the bottom of the page, such as price and/or Npropri6t£
de l'lditeur," etc., nor will the street address of the publisher be given
in most cases, because accurate dating is possible today through the plate
number alone. The city of publication and publisher are given in convention
al form, followed by the all-important plate number (pl.nr.).
AUTHENTICATION: In undertakings of this nature it is highly desirable to
mention the basis (or bases) on which a work is included in the catalogue,
and why it is assigned its particular opus number, or other classification.
During Giuliani's lifetime several of his Viennese publishers prepared lists
of his known works, sometimes including incipits. These were undoubtedly
drawn up to keep their own records straight, as well as to promote business,
and they constitute a valuable starting point for cataloguing. During
Giuliani's later years in Italy, Giovanni Ricordi became his principal pub
lisher, and one finds many of the composer's works in the Ricordi catalogue.
Format ix
Arguments for the authenticity of the entries not covered by these sources
are offered on an individual basis, and the critical consideration of these
arguments by the reader is invited and encouraged. The bibliographical
sources most frequently used for authentication are the following:
Arifs
"Catalogue des Oeuvres de Mauro Giuliani," a manuscript
list of the works, their publishers, and their prices, as com
piled presumably by the firm of Domenico Artaria of Vienna. It
was part of the Artaria NachlaB. and is now in the Handschriften-
sammlung of the Stadtbibliothek, Vienna, J. Nr.95455/N. The
publishing houses of Haslinger (founded in 1826) and Diabelli of
Diabelli & Co.(founded 1824) are mentioned in it, indicating
that the catalogue was drawn up no earlier than 7 years after
Giuliani left Vienna (l819)« Entries for Op. 147 and 148 show
that the catalogue was kept up to date through Sept. 1828, within
8 months of the composer's death. Yet, the absence of listings
for the many posthumous Ricordi publications of Giuliani’s works
brought out during the years 1830-40 shows that either ArMs was
permanently shelved after 1829, or that Ricordi*s publications
were irrelevant or unknown to the Viennese publishers, and were
largely ignored. ArMs is the most complete primary list of
Giuliani's works without opus number.
Format x
ArTh
CATALOGUE THEMATIQUE des Oeuvrea Composges par MAURO GIULIANI
qui ae trouvent & Vienne chez Artaria et Comp: Rue Kohlmarkt No.
1219. COPY: Behind the title page of an edition of Giuliani*s
Studio per la Chitarra.... Op.l, WStB, M 11446. This beautifully
engraved catalogue gives the incipits, titles, and original pub
lishers (with some plate numbers) of Giuliani's vork3 through Op.
102, Cappi & Diabelli pi.nr.232, datable by an advertisement in
the Wiener Zeitung No.157, 13 Jul 1819. It gives none of the
works without opus number, but may be considered a fairly defini
tive catalogue of Giuliani*s numbered works through his Vienna
years. ArTh is reproduced in facsimile in Appendix II, and in
view of its brevity may be consulted as a thematic index.
C&D
VERZEICHNISS samtlicher Original-Werke von MAURO GIULIANI.
welche bey Cappi und Diabelli in Wien am Kohlmarkt No.300 zu haben
sind. Vienna: Cappi & Diabelli, pi.nr. 219.232. COPY: Behind
the title page of Giuliani*s Introduction et Variations (walz fa-
vori). Op.103 (C.et D. No.233), OeNB, M.S. 41970. The scope of
this is exactly the same as the above catalogue (ArTh), one hundred
and two opus numbers, but the entries include only titles and
some keys (no publisher or incipit). This list also dates from
July, 1819.
RicordiCat.1857
Catalogo (in ordine numerico) delle opere pubblicate dall*
Format xi
I.R. stabilimento nazionale privilegiato di calcografia. conis-
teria e tipografia musicali di Tito di Gio. Ricordi. Milan: Ri
cordi, 1857. COPY: OeNB, M.S. 30.871-c. Sixty-nine works are
attributed to Mauro Giuliani in this catalogue, which contains
only plate numbers, authors, titles and prices. I have carried
out the research necessary to date a given Ricordi plate number
accurately to within about five months, for the period 1808 through
1850 (see abbreviation "HeckR" for citation), and on the basis of
this study have dated the works of Giuliani in question, and given
them (where necessary) identification numbers, in appendix I.
SteinTh
THBMATISCHES VERZEICHNIS der sSmtlichen Original-Verke von
MAURO GIULIANI welche in der Kunst- und Musikhandlung der k.k. nr.
chemischen Druckerey und des S: A: Steiner & Comp: zu Wien am Gra-
ben No. 612... zu haben sind. containing entries for 68 opus num
bers. It is followed by THBMATISCHES VERZBICHHIS der s&atlichen
arrangirten Verke...etc.. a catalogue of works without opus number,
containing twelve titles. Incipits for WoO, vocal-3, Le Troubadour
du Nord. through Cahier VII (Artaria pl.nr.2400) indicate that
SteinTh was up to date only through mid-1815 in this section.
The opus-number catalogue contains all numbered works advertised
prior to Oct. 1816 (0p»69), and probably composed ho later than
late 1815. COPY: GdM, 1253/D2.
COPY: At least one location is given for each work. Frequently the
customary library abbreviations are used.
Format xii
DATE: A typical entry here would be, "Adv. 17 Dec 1808 (WeinArt)." This
denotes that the first advertisement (Adv.) of the first edition in the
Viennese press was on such-and-such a date. The parenthesized abbreviation
stands for the plate-number chronology which provided this information.
Credit for the latter is due in large part to Dr. Alexander Weinmann of
Vienna. The frequently encountered "WeinPrep" stands for chronological
work not yet published, but generously contributed to me by Dr. Weinmann.
Here is a list of the earliest printers of Giuliani*s music. Opposite
each publishing firm is the abbreviation of the relevant plate-number
chronology, or other source of chronological information.
Viennese (or German) Publishers Chronologies
Artaria & Comp. WeinArt
Bermann WeinPrep
Bureau des Arts et d’Industrie, Vienna WeinBAI
Cappi WeinCap
Cappi A Diabelli WeinCap
Chemische Druckerey WeinPrep
Contojo delle arti e d'industria, Vienna WeinBAI
Diabelli & Co. WeinCap
Haslinger WeinPrep
Hoftheater Musikverlag BeitrHge, Hof
Hofmeister, Franz Anton WeinPrep
Hofmeister, Friedrich (Leipzig) DeutschMvN
Imprimerie Chimique WeinPrep
See the beginning of this volume, pp. iii-iv, for explanation of abbrevi
ations.
Format xiii
Kunst- und Industrie-Comptoir, Vienna WeinBAI
Mechetti WeinPrep
Mechetti quondam Carlo Beitrdge 11,10
Mollo BeitrSge 11,9
Riedl WeinBAI
Sprenger - Matthias Artaria WeinPrep
Stamperia Chimica WeinPrep
Steiner, S.A. & Comp. WeinPrep
Weinberger, Josef, of Leipzig & Vienna republished a large
number of Giuliani editions by Artaria & Comp. (Vienna),
using the original, unretouched plates, but new plate numbers.
Italian Publisher Chronology
Ricordi, Giovanni (Milan) HeckR
LATER EDITIONS: Most information on the later publications of Giuliani's
music has been gotten from the series' of early 19th-century catalogues (by
composer) of musical works in print, starting in 1817 with Anton Meysel's
Handbuch der musikalischen Litteratur oder allgemeines systematisch geord-
netes Verzeichnis der bis zum Ende des Jahres 1815 gedruckten Musikalien...
mlt Anzeige der Verleger und Preise. This indexed the output of the major
European publishers at the time, and received fairly regular supplements
(Nachtrdge or Ergdnzungsbande) at the hands of a variety of Leipzig
publishers. Here is a list of these publishers, their catalogues, and
my abbreviations of the same:
Format xiv
Abbreviation Publisher Short Title Datea covered
Hdbuch,1817 Meysel Handbuch der mus. Literatur c.l790(?)-1815
Hdbuch,1818 Meysel Idem, erster Nachtrag through 1817
Hdbuch,1819 Hofmeister Idem, zweiter Nachtrag through 1818
Hdbuch,1820 Hofmeister Idem, dritter Nachtrag through 1819
Hdbuch,1821 Hofmeister Idem, vierter Nachtrag through 1820
Hdbuch,1822 Hofmeister Idem. fUnfter Nachtrag through 1821
Hdbuch,1823 Hofmeister Idem, sechster Nachtrag through 1822
Hdbuch,1824 Hofmeister Idem, siebenter Nachtrag through 1823
Hdbuch,1825 Hofmeister Idem, achter Nachtrag through 1824
Hdbuch,1826 Whistling Idem, neunter Nachtrag through 1823
Hdbuch,1828 Whistling Handbuch der mus. Lit.(2nd completely

revised edition) c .1800(?)-1827
Hdbuch,1829 Whistling Erganzungsband zum Handbuche 1827 through 1828
Hdbuch,1834 Hofmeister Hdbuch. zweiter Erg-band Jan.'29- Dec.'33
Hdbuch,1839 Hofmeister Hdbuch. dritter Erg-band Jan.'34- Dec.'38

(
Giuliani's later editions limit themselves largely to the 1820's and
'30's, after which period the cultivation of the classic guitar declined
rather markedly all over Europe. Of course, all the post-1900 editions of
Giuliani known to this writer are included, as well.
COMMENTS: The "comments" entry is optional, and has no fixed format.
MAURO G I U L I A N I
THEMATIC CATALOGUE OP THE
WORKS WITH OPUS NUMBERS
by
Thomas F. Heck
• /-Vi PC -V-
O n c ra P rin ia
'.:^ '
3
Opus 1 - STUDIO. G.
INCIPITS: This work is in four parts.

Parte priaa - Esercizio particolare per la mano destra, contenente
cento e venti arpeggi in tutte le combinazioni.
Parte seconda - Vari esempi vici tuoni piu praticati per l'andamento
della mano sinistra.
Parte terza - Altri esempi, che contengono la maggior parte degli
abbellimenti, di cui l'istrumento e suscettibile.
Quarts parte - Dodici lezioni progressive.
The first three parts do not require incipits, since such exercises are
never published independently. The fourth part, often issued separately as
progressive solos for the guitar (see comments), consists of twelve pieces:
Maeetoso AHt? G-IT0L7.IOSO
cl*- ^
AhJixhîno Mosso A l l » proiztoso
~ -4 r k Wfarfrf-v-
^r Isas taaa t
m-f
Allegretto A l t * * com mno+o

/liiejreTio ' " pa
rm f
AH? M m s {oso All.°. Spi>i+oS©

■hr
i r i v * f z t & r s z
A H -° S p i r i t o j o Alb? Sptir'l-l-OSO
M ~ ■y*y~
U .-U.q ■7 I
^ r T
n 1 t i l 7 i
(Op. 1 eont'd.) 4
$os4e nv ’ho Av\ika.rt'i’iy\o G~ra.'Zloso
■A*'
51
FIRST EDITION: "STUDIO/ per la/ Chitarra/ di/ Mauro Giuliani/ Opera Prima/..."
Vienna: Artaria & Co., pi.zur. 2246.
AUTHENTICATION: ArMs, ArTh, C&D, SteinTh.
COPT: WStB, M 11446
DATE: Adv. 22 Apr 1812 (WeinArt).
LATER EDITIONS -
- Florence: Giuseppe Lorenzi, pi.zur.335 (COPY: Milan, Fondo Noseda).
- Milan: F. Lucca, pl.zzr. 10980 (COPY: OeNS).
G. Ricordi, pl.zir. 99466 (COPT: Modena, Liceo Musicale).
- Paris: Carli, Richault, A.Meissozmier, Pacizzi (Hdbuch, 1828).
- Bonn: N.Simrock, pi.nr.976 (COPY: N.Y.Public), datable between 1812 and
1814 (DeutschMvN), listed in Hdbuch,1828.
- Leipzig: Peters (Hdbuch,1828),
COMMENTS: See p.2 for a facsimile of the title page. One variously comes
across this opus with the designation "1" and "la." The latter is simply
an abbreviation of "prima," in Italian, and was not correctly understood
by Pazdirek and others. Notably the modem edition by Schott (Citarre-
Archiv #31) calls it Opus la. and divides it into two, instead of the
original four parts. It omits the moving testimonial of Giuliani which
forms the preface of the original edition. It gives the title as "Studies
for Guitar," in the plural, thus erasing any hint of the original Italian
singular, Studio. which was a generic title for all practical methods.
Further, it renames and omits sections of the third part dealizxg with orna
ments.
Artaria published also a "Seconds Edizione Originals" of this work,
but it was ozily a re-issuing of the origizial plates (i.e. a second printizig),
without changes except in the title page. (COPY: WStB) Both editions are
tri-lingual: Italian, German, and French.
It should be noted that the prices which the publisher, Domenico
Artaria, paid certain composers for their works are listed in square brack
ets in the WeiziArt catalogue. Giuliani received the incredible sum of 600
(Op.l cont'd.) 5
florins for this method, when Ignaz Moscheles was drawing as little as 10 fl.
for his Op. 14, Rondeau brillant. Pfte (pi.nr.2220), and the guitar method
of a lesser figure, Friedrich Spina, was bought by Artaria for only 80 fl.
(pi.nr.2239).
The fourth part of this method was issued separately, without opus
number:
XII/ LECONS/ progressives/ pour/ La Guitare/ tires de l'Etude/ par/

MAURO GIULIANI... Vienna: Artaria & Co. pi.nr. 2238.
COPY: WStB. DATE: Adv. 24 Oct 1812 (WeinArt).
LATER EDITIONS -
- Vienna & Leipzig: J.Weinberger, pi.nr. J.W.846, a re-issuing of the
original Artaria plates.
- Paris: Carli, N12 Lemons" pub'd. as Op.8 (Hdbuch,1817).
Pleyel, M12 Lemons progressives" (Hdbuch,1817).
Richault, "12 Lemons" pub'd as Op.8 (Hdbuch,1828).
Chanel, "12 Lemons tiroes de l'Op.l (Hdbuch,1828).
- Berlin: Lischke (Hdbuch, 1823).
Paez (Hdbuch,1844).
Erwin Schwarz-Reiflingen gave the following opinion about these charac

teristically Giulianian pieces, without the slightest effort at substanti
ation:
Mauro Giuliani, Wiens bedeutendster Gitarrekomponist in der Klassik
der Gitarre, hat uns eine Schule nicht hinterlassen, doch sind seine
didaktischen Absichten deutlich aus einer grbsseren Zahl von Studien-
werken erkennbar, unter ihnen die einzige gitarrxstische Technologic
der Altmeister Op.l "Studien fUr die Gitarre..." Die Hlteren Ausgaben
enthalten noch einen Anhang von 12 fortschreitenden StUcken, der jedoch
nicht von Giuliani, sondem Carulli stammt... Ein Verleger brachte sie
zur Abrundung ohne Kommentar, und so galten sie bald als echte Giuliani.
- from "Die gitarristische Etudenliteratur: Die italienische
Schule," Per Gitarrenlehrer. Beiheft of Die Gitarre. IV, nr.
7/8 (Berlin, Apr-May 1923), 59.
In fact, the very earliest Viennese publishers acknowledged the studies in

question as authentic Giuliani. They should remain attributed to h im until
evidence is presented to the contrary, in spite of the assertion by the late
Schwarz-Reiflingen.
6
Opus 2 - 6 VARIATIONS. G.
M<tes4oso
Thema
FIRST EDITION: "Six/ VARIATIONS/ pour la Guitarre/ Composees et D^diees/

A Mademoiselle Anne de Baraux/ par/ MAURO GIULIANI/ comme un hommage
rendu au merite et aux talens/ qui la/ distinguent/ Oeuvre 2..."
Vienna & Pesth: Bureau des arts et d'Industrie, pi.nr.587.
COPY: GdM, X 10098.
DATE: Adv. 9 Sep 1807 (WeinBAI).
ARRANGEMENT: "Sei Variazioni/ di/ MAURO GIULIANI/ ridotte per il Piano

Forte/ dall'/ ABBATE GELINEK/ No.26... Wurzburg: Christian Bauer..
COPY: Paris, B.N. [A 34.101. This is actually Gelinek's Op.11,
and was first published in Vienna, soon after Giuliani's original
appeared.
LATER EDITIONS of the guitar version:

- Vienna: Steiner & Co., a second printing of the original plates (Hdbuch,1823)>
Haslinger, a third printing of the original plates (Hdbuch, 1828).
- Paris: Chanel, Richault, A.Meissonnier (Hdbuch, 1828).
COMMENTS: A collective review of Op.2 (6 Variations). Op.5 (Nuovo Rondo).

Op.6 (8 Variazioni). WoO,vocal-1 (3 Cavatine). and WoO,vocal-2 (2 grand'
Arie & 1 Marcia) is found in AmZ. X (March, 1808), 427-30. The reviewer
speaks with very flattering generalities about Giuliani's guitar music,
without citing any particular piece other than the theme, and variation
2, of Op. 2.*
7
Opus 3 “ 3 RONDOS. G.
l/s SjoitriôSo
^ ? fV f
Q'ffi.zioso
Rondo Sulla. Co.cc.ia M= 3
Alfegrefto
oês:r
FIRST EDITION: "III/ RONDO/ ftir die Guitarre/ von/ MAURO GIULIANI/ 3tes
V e r k . V i e n n a : Chemische Druckerey, pi.jars. 736-39M0.
AUTHENTICATION: ArMs, ArTh, CAD, SteinTh.
COPY: WStB, Me 28110.
DATE: Adv. 3 Oct 1807 (WeinPrep).
LATER EDITIONS -
- Vienna: Steiner A Co., 2nd printing (Hdbuch, 1823).
Haslinger, third printing (Hdbuch, 1828).
- Bonn: Simrock, "Rondeau Op.3 No.3"(Hdbuch, 1817), reviewed in AmZ. XII (Dec.
1810), 1020. See comments below.
- Paris: Carli, Chanel, Richault, A.Meissonnier (Hdbuch, 1828).
COMMENTS: The review of the Simrock edition, publ. Bonn, states:

Das kleine StUck ist in des berUhmten Virtuosen eigener, voll-
stlmmiger und doch ziemlich fliessender Art geschrieben. Es macht
einen angenehimen Effect — wenn man es nhmlich gehbrig bezwingen
kama: doch ist es nicht so schwer, und auch das Ganze nicht so ttber-
kllnstlich flir die Ausfiihrung, wie verschiedene andere Compositionen
dieses Meisters.
-AmZ, XIl(Dec.l810), 1020.
8
Opus 4 - 6 VARIATIONS (Nel cor nih). G.
G-ro.z:i O S O
4 Pjj |j j J j
y t f ' i l s l
FIRST EDITION: "Six/ VARIATIONS/ aur l'Air de la Molinara/ pour une
Guitarre/ Oeuvre IVme/ de/ Mauro Giuliani/ ...w Vienna & Pesth:
Bureau d'Industrie, pi.zur. 638.
AUTHENTICATION: ArMs, ArTh, CAD, SteinTh.
COPY: Berlin. Stiftung PreuBischer Kulturbesita.
DATE: Works bracketing Bureau d'Industrie pi.nr.638 were adv. May 1810
(WeinBAI).
t
LATER EDITIONS -
- Vienna: Steiner & Co., second printing (Hdbuch,1823).
Haslinger, third printing (Hdbuch,1828).
- Paris: Chanel, Richault, A.Meissonnier (Hdbuch,1828).
COMMENTS: The following work is often mistaken for, and listed as, Mauro
Giuliani's Op. 4. It is actually by Mauro's son, Michel:
Rondoletto fUr die Guitare mit Begleitung zwever Violineri.
Viola und Violoncello. Comnonirt von Mich. Giuliani., 4tes Werk...
Vienna: A.Diabelli u. Comp., pi.nr. D.& C. No. 391. COPY: OeNB,
M.S. 23205.
It is falsely attributed to Mauro Giuliani in the Schlesinger edition of
"2 Stucke fUr konzertierende Gitarre" (Berlin, 1924), as well as in Vol.
5 of the series Spielmusik fUr Gitarre.
The aria "Nel cor piu non mi sento" is from Paisiello's opera La Molinara.
premiered in Naples in 1788. Variations on it were legion in the early 19th
century, and count among their composers Gelinek (for pfte, Ricordi pi.nr. .
484), Bortolazzi (mandolin or vl. & guitar), Matteo Bevilacqua, Op.l (pfte
A guitar), J. Wanhal (guitar[or pfte] & violin[or flute]), Barbieri ("Lyre
9
(Op. 4 coat'd.)
ou Guitare"), Cuvilier (guitar), Lemoine, Legnani Op.16, Rotondi d'Arailza,

and Vollbeding Op.3 (all for guitar). Beethoven's VoO 70 is a famous set
of piano variations on the same, published in 1796. La Molinara was given
regularly in Vienna from 1790 until 1833* and was thus no stranger to the
many composers in Vienna during those years.
The famous soprano, Madame Angelica Catalani, often sang "Nel Cor Piu"
with variations for voice, creating "furore" among the public of circa 1815-
20. Reviews of concerts which include it are in AmZ. XIX(1817), 43f and
399. The rising star of Catalani may have spurred Giuliani to write a
simpler set of variations on "Nel cor piu" in the collection, Scelta di
Quattro Pezzi favoriti esequiti da Mad. Catalani. abelliti e Variati per
Chitarra Sola da Mauro Giuliani... (Vienna: Cappi & Diabelli, 1819).
Consult WoO, G-4 for more Information. Mauro Giuliani's Op. 65 is also a
set of concert variations for guitar and string quartet on "Nel cor piu,"
although it is not labeled as such in the title page.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Opus 5 - NUOVO RONDO DI GUSTO ORIGINAL. G.
Allegro
Vivace
FIRST EDITION: "NUOVO RONDO/ di gusto originale/ composto ad imitazione

del suono delle/ Campane di Bologna/ da/ Mauro Giuliani./ Opera 5.•
Vienna: Contojo delle arti ed industria, pi.nr. 590.
COPY: GdM, X 10096.
DATE: Adv. 31 Oct 1807 (WeinBAI).
ARRANGEMENT for G and P: See WoO, G&P-2, Cahier I, No.4.
LATER EDITIONS -
- Vienna: Steiner & Co., 2nd printing of original plates (Hdbuch,1823)•
(Op. 5 cont'd.; Op. 6) 10
- Paris: Carli (Hdbuch,1817).

Meissonnier, VoO (Hdbuch,1817).
Chanel, Bichault (Hdbuch,1828).
Opus 6 - 8 VARIA7.I0NI. G.
Allegretto
Terna
ii
r
rf
r= r =
T
s t * r
FIRST EDITION: "Otto/ VARIAZIONl/ per/ la Chitarra sola/ OPERA Vi/
di/ Hauro Giuliani..." Vienna: Contojo delle arti e d'Industria,
pi.nr.591.
AUTHENTICATION: AiMs, ArTh, C&D, SteinTh.
COPY: GdM, X 10095; Vienna, Minoriten-Archiv, 751a*
DATE: Adv. 31 Oct 1807 (VeinBAl).
LATER EDITIONS.-
- Vienna: Steiner & Co., 2nd printing (Hdbuch,1823).■
Haslinger, 3d printing (Hdbuch.1828).
- Paris; Chanel, Richault, A.Meissonnier (Hdbuch,1828).
COMMENTS: Giuliani gives us several indications of how to interpret this

piece. For example, at Variation IV there is a specification that the
right hand must play above the 15th fret to obtain the gentle timbre of
the hem, and then return to its normal playing position (closer to the
bridge): MLa destra mano sul tasto 15mo ed insensibilmente rimettendola a
suo luogo."
Variation VII is preceded by this instruction in how to perform har
monics:
Per bene esprimere li armonici, b flaggioletti, bisogna appogiare
leggiermente le dite sulle cordi A misura de taste, i quali veranno
indicati con numeri al disopra delle note, si previene, che i numeri
che sono al disotto delle note, mostrano le corde della chitarra.
11
Opua 7 - 6 VARIATIONS (faindlichen Volksstame). G.
Maestoso
Theaa
FIRST EDITION: "Six/ VARIATIONS/ pour la/ GUITARRE/ Sur un theme tir6
du Ballet/ Die feindlichen Vollksstame/ par/ MAURO GIULIANI/ Op: 7..
Vienna: Artaria & Comp., pi.nr. 1952.
DATE: Adv. 14 Nov 1807 (WeinArt).
LATER EDITIONS -
- Leipzig & Vienna: J. Weinberger, reprinting of original plates. COPY: OeNB.
- Berlin: Kuhn (Hdbuch,1817).
Schlesinger (Hdbuch,1828).
- Paris: Carli, Chanel, Richault (Hdbuch,1828).
COMMENTS: The Abbe Gelinek also wrote a theme and variations on this
melody from Die feindliche Volkstamme. and called it his Op.37. It was
for piano, and in F major.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Opus 8 - 3 RONDEAUX. G.
Allegro vivace
Rondb
Rondo II
Allegretto
Crazioso
■Trf f rf t J J
Rondo III__
Allegretto
12
(Op. 8 cont'd.; Op. 9)
FIRST EDITION; "TROIS RONDEAUX/ pour/ la Guitarre seule/ composes/ par/

Mauro Giuliani/ Op.8/ No [ ]..." Vienna; Bureau dea arts et
d'Industrie, pi.nr. 595.
AUTHENTICATION; ArTh, ArMs, C&D, SteinTh.
COPY: GdM, X 10094.
DATE: Adv. 26 Mar 1808 (VeinBAl).
LATER EDITIONS -
- Paris: A. Meissonnier (H'buch,1829)•
- Vienna: Steiner & Co., pi.nr.4215. COPY: Munich, Bayerische Staatsbibl.
COMMENTS: Certain of Giuliani's biographers (notably P.J. Bone) claim

that Richault cf Paris published Mauro Giuliani's Op.8 originally, when
the composer was only 18. I have found no substantiation for this story,
and believe that Giuliani was not in Paris prior to his arrival in Vienna
in 1806-07. Furthermore, Richault*s so-called Op.8 was in fact derived
from Op.l: "12 Lemons progressives, soigneusement doightees (extraites de
la m^thode)," first listed in Whistlings Handbuch der mus. Lit, of 1828!
* * * # * * * * * * * * * * * * * * * - » * * * * * * * * * * * * * * * * »
Opus 9 ~ 6 VARIATIONEN HEBST POLONAISE P. FINALE. G.
Allegretto
THEMA
con
VARIAZIONI
FIRST EDITION: "VI/ VARIATIONEN/ nebst/ Polonaise und Finale/ fUr die
Guitarre/ von/ MAUR: GIULIANI./ 9tes Werk/...** Vienna: Steiner & Co.,
pi.nr. S.u.C?. 766.
COPY: In the personal collectior of Prof. Earl Scheit, Vienna
DATE: Adv. 13 Jan 1808 (WeinPrep).
LATER EDITIONS -
- Vienna: Haslinger, reprinting of original plates (Hdbuch,1828).
- Paris: Chanel, Richault (Hdbuch,1828).
13
Opus 10 - AMUSEMENS. G.
Andantino
Nro
Romanzo
yr r r r
Scherzoso
Allegro vivace
Maestoso
Nro II.
Capriccic
•w h 'j
t v r TLrfrT V m
All? con Brio
Rondo ■4K-
Polacca
rj ■■~‘n — — L~rrB:wr. EZ ET
c.*~eA2
FIRST EDITION: "AMUSEMENS/ pour la [crest] Guitarre/ Composes et
Dedi^s a Son Altesse Ser£nissime la Princesse/ CAROLINE DE KINSKY/
par son Maitre/ MAURO GIULIANI/ Oeuvre 10..." Vienna: J.Riedl,
pi.nr. 603.
COPY: VStB, Me 28111.
DATE: Adv. 14 May 1808 (VeinBAl).
LATER EDITIONS -
— Vienna: Steiner & Co. pi.nr. S.u.C. 4616, second printing of original
plates, datable 1824/25 (DeutschMvN). COPY: Krick.
COMMENTS: A review of this work appeared in the AmZ of December, 1808:

Ueber die ganz eigene Art, wie G. die Guitarre behandelt, ist
im vorignn Jahrgange dieser Zeit ausfUhrlich gesprochen worden. Auch
dies Werkchen ist in derselben Weise geschrieben. Die S'dtze, vier an
der Zahl, sind so unterhaltend, als man es von Guitarren-Solos kaum —
14
und so vollstimmig, als man es von ihnen gar nicht vermuthen kann,
venn nicht andere Kompositionen G.s kennt. Dass es ganz ausser—
ordentlichen Fleisses bedarf, um alles, was auch hier gegeben vorden,
vollkommen gut vorzugetragen, und dass dieser Fleiss mit dem Zuwachs
an F’
dhigkeit, etvas auf diesem Instruments zu spielen, das seiner
Natur ghnzlich zu widersprechen scheint und darum allerdings Verwunder-
ung erregen muss — schwerlich bezahlt werde, bedarf keiner weitem
Auseinandersetzung. Die Nachveisungen des Komponisten, vie diese und
jene gar zu schwierige Stelle zu nehmen sey, um ausfUhrbar Oder auch
erleichtert zu verden, sind wohlUberlegt, und meistens selbst fUr ge-
Ubte Spieler belehrend.
Der Stich ist schon, aber auch der Preis theuer.
- AmZ, X (Dec 1808), 191.
* * * * * * * * * * * * * * * * * * *
Opus 11 - CAPRICE. G
Vivace =
r
-ff-
rT+Hjtf-r-
r-fr-rti/f
FIRST EDITION: "CAPRICE/ pour la/ Guitarre/ compost et dedi4/ a/ Mdme
MARIANNE DE BISSING/ par/ Mauro Giuliani/ Oeuvre 11/... • Vienna:
Artaria & Comp., pi.nr. 2061.
COPT: WStB, Me 13939 i Krick,* London, Br.Mus.
DATE: Adv. 27 Jan 1810 (VeinArt).
LATER EDITIONS -
- Offenbach: Andr6 (Hdbuch,1818).
- Paris: Carli, Chanel, Richault, A.Meissonnier (Hdbuch,1828).
COMMENTS: The Siegfried Behrend edition of Mauro Giuliani's Op.11 is not

this work, but rather a rondo from Op.71.
15
Opus 12 - 12 MONFERRINE. G.
£ Z L > - j i J 3 J 4+~
r r f- Y' x If T' f-
ST
*V r' J W TJStO
+ ft r T l ! ^
r 7 —==
. f f r r * f ' *i&T?r
Y & ggi M 5 j S r
jKff= = j ^ p j
9.i
f • 5'
-44"
12.i a
T r
FIRST EDITION: "XII/ MONFERRINE/ per/ Chitarra/ composte e dedicate/ a/

Madamigella/ VICENZINA DE RAINER/ da/ Mauro Giuliani/ Opera 12/..."
COPY: WStB, Me 15938; GdM.
DATE: Early 1810 (VeinArt).
(Op. 12, cont'd.; Op. 13) 16
LATER EDITIONS -
- London: The Harmonicon. Pt.2(l822),"Six Monfrlnas for the Guitar, Op.12,”
according to ZuthN. COPY: London, Br.Mus.
- Paris: A.Meissonnier, Pacini, Richault (who lists it as Op.l), according
to Hdbuch,1828.
MODERN EDITION - "12 Monferine," Klaasicher der Gitarre. Heft 1, ed.

Josef Zuth.
****#*•»**•»***»** * * * * * * * * * * * * * * * * * * * * *
Opus 13 - 3 ROMANCES, voice & G.
Grazioso
Chant
Lento
Chant
p—
reux ce— lu i
Jti ______ ________ 1231

Chant
Be 5oirt dV tira-er esf pour nous &ur
FIRST EDITION: "Trois/ ROMANCES/ pour/ la Guitarre/ par/ Mauro Giuliani/

Op.13..." Vienna & Pesth: Bureau d’Industrie, pi.nr. 653*
AUTHENTICATION: ArMa, ArTh, C&D, SteinTh.
COPY: L. of C.j GdM, VI 12336, now Q 5834.
DATE: Adv. 19 May 1810 (WeinBAl).
COMMENTS: A reference is found in ZuthN to an autograph of No.3: "Romance

(Besoin d'aimer) fUr Gesang mit Guitarre oder Pfte fUr das Musikalbum der
Frau von Nass geschrieben. Mauro Giuliani, Baaden[bei Wien] le 15 Oct 1814."
(Op. 13 cont'd., Op. 14)
This would be one of the few autographs which Giuliani signed and dated,
and which might have come down to us. ZuthN reports its location (pre
sumably prior to WW II) as "KbIn, Heyer'sches Museum. Kinsky Katalog IV,
siehe Nass Frau von." I have not checked the reference.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
AUeqbe-H-o IlOSO
>*r*
m Z J Z J * ?
A lle g r o S p in io s o G -n z io s o
5 S = S ,
Allegro Spir!4-oSO AHe.e^reH-e

r\ ***•
- f e f c -
Z ± & - - 7 . ] 7 , E:
I =r
tr [j»-
r# r#
FIRST EDITION: "Six/ RONDEAUX/ progressives/ pour/ Guitarre./ Composees
et dediees/ h. M? Franc. Langer/ par/ Mauro Giuliani./ Oeuvre 14..•"

COPY: Munich, Bayerische Staatsbibliothek.
DATE: Adv. 2 March 1811 (WeinArt).
LATER EDITIONS -
- Paris: Meissonnier,"6 Rondeaux," WoO (Hdbuch,1817).
Chanel, A.& J.Meissonnier, Petibon, P.Petit, Richault (Hdbuch,1828),
- Vienna & Leipzig: J.Weinberger, republication of original Artaria plates.
18
(Op. 14 cont'd., Op. 15)
COMMENTS: According to Dr. Weinmann (WeinPrep), there exists a printed

catalogue of the Chemische Druckerey with an entry beside pi.nr.1184 for
"3 Maersche fttr Gitarre von Giuliani, Op.14." No copy has ever been found,
and the attribution does not occur in SteinTh. Likewise, Hdbuch,1817
lists 3 Maersche. pub'd. Steiner, as Op. 14. It is probable that this set
of marches was quickly suppressed after a limited publication, and was
soon incorporated into Op. 24b.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Opus 15 ~ SONATE. G.
Sonata
All0 .spirito
Con Grand
espressione & p L—
J I I
—■■■^
_ .| l.f T l j .
y - y - r - 'f- i f & z F T T
Finale
Allegro vivace
FIRST EDITION: "SONATE/ pour/ LA GUITARRE/ composes et dediee/ a Made

moiselle/ JOSEPHNOBLE de MAILLARD/ par/ MAURO GIULIANI/ Oeuv. 15..."
Vienna: Imprlmerie Chimique, pi.nr. 933*
DATE: Adv. 16 Jul 1808 (WeinPrep).
LATER EDITIONS -
- Vienna: Steiner took over the Imprimerie Chimique in 1812 and republished
19
(Op. 15 cont'd.)
the original plates with a corrected title page, emending the

dedicatee's name to read "Josephine Edlen von Maillard." COPY: in
the personal collection of Prof. Karl Scheit of Vienna.
— Paris: Meissonnier, "Sonate," WoO, acc. to Hdbuch,1817.
Carli, Richault, A.Meissonnier (Hdbuch,1828).
MODERN EDITION - Vienna: Universal Edition # 11520, ed. Karl Scheit.
ARRANGEMENT for Pfte:

"SONATE/ facile et agrâble/ PAR/ MAURO GIULIANI/ ARRANGEE/ pour le/
Piano-Forte/ PAR/ MAG: I. T. Lehmann..." Braunschweig: P. Spehr,
pi.nr. 1704* Listed in Hdbuch,1828. COPY: L. of C.
Although no opus number is assigned, this is Giuliani's Op. 15*
COMMENTS: The first movement is in monothematic sonata form, the second

and third are rondos* There are stylistic details in the second movement
which recall the beginning of the first movement (cf. 2nd movement, 8th
measure before end).
The modern edition publ. Universal Edition, subtitled "Einrichtung
von Karl Scheit," deletes many of the measures of the original edition,
and changes some of the notes, dynamics, and articulation.
Opus 16a - 16 OESTERR. NATIONAL LAENDLBR. 2G.
&U ITA RR E X .
jr
J711
m m
X X =.
V/ T
20
(Op. 16a cont'd.)
5, •HI
' ? -jr- <S ? ^ * f '-j^- $
s z
n M
10., i
t^ T * * 7 f + f r *
--------
** f 7 f
* * , &4»j
UtfagL
t * r f f **
j s f j d d l ^ d d
HM l6.i
f* p * # f ff f ff
FIRST EDITION: "16/ Oesterreichische Nazional LSndler/ FUr zwei/ GUITARREN/
Componirt und dem/ Herrn Heinrich GrUndler/ Zugeeignet/ von Seinem
Lehrer/ MAURO GIULIANI/ I6tes Verk.. Vienna: Artaria & Comp.,
pi.nr. 2218.
DATE: Adv. 18 Sep 1811 (VeinArt). .
(Op. 16a cont'd.) 21
LATER EDITIONS -
- Breslau: Fdrster (Hdbuch,1819).
Opus 16b - VARI PEZZI (BARBIERE PI SIVIGLIA). G.
II Quintetto
i
Grazioso m 3
1
M. T ' ■£ X
L'amore nascolo
m
Allegretto -A— X-
La Lettera
Grazioso M c - C l u E L B
r r *
FIRST EDITION: "VARJ/ Pezzi/ del/ Balletto: II Barbiere di Siviglia/

ridotti per/ CHITARRA/ da/ MAURO GIULIANI/ Op. 16..."
Vienna: Imprimerie Chimique, pi.nr. 956.
AUTHENTICATION: SteinTh, in the WoO "Arrangirten" section. See comments.
COPY: GdM, X 23043.
DATE: Adv. 16 Jul 1808 (WeinPrep).
LATER EDITIONS -
- Bonn: Simrock (Hdbuch,1817). See review AmZ. XII (Oct 1810), 886-87.
- Vienna: Haslinger republication of original plates (Hdbuch,1828).
- Paris: Carli & Richault published thi3 work with the inverted opus
number (0p.6l), acc. to Hdbuch,1828.
- Paris: Launer publ. it with title "Varii pezzi del Ballo Figaro, 0p.l6M
(Hdbuch,1829).
22
(Op. 16b cont'd., Op. 17)
COMMENTS: ArMa has two successive entries in the WoO section which seen
to refer to this composition: "Varij Pezzi dell Ballo figaro (Op.16),"
obviously a scribal error, and "Different morceaux tires du Barbier de
Seville Ballet (Op. 6l), Carli," apparently a reference to a Parisian
republication of the former, with either a new, or mistakenly reversed
opus number. 1 have never found a trace of the Carli publication.
Mistakenly inverted opus numbers are also found in Op. 18 and 81.
Here is a review of the Bonn edition, "Vari Pezzi del Balletto II

Barbiere di Siviglia, ridotti per Chitarra da M. Giuliani, Oeuvre 16":
Das Werkchen enthalt drey Satze: erstens ein angenehmes, sing-
bares StUck, nach Art eines Rondo, das, nach G.s Veise, vollstimmig
und gut ausgefUhrt ist; dann eine hochst einfache Romanze, fast
einzig uber das C-dur^-Accord, welche, ganz zart und pikant vorgetragen,
sich allerliebst ausnimmt; endlich eine Romanze von M£hul mit einigen
ver&nderten Figuren, welche etwas zusammengelesen und zerhackt kling-
en. Ueberhaupt passt das letzte StUck nicht gut zu diesem Gebrauch.
- AmZ. XII (Oct 1807), 886-87.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
-+ts-
Rondo I®o -
Grazioso
7ju. r r t f
Rondo
Allegretto
Allegro
Spiritoso rJ5K'
o U T a j t z r z z r z
23
(Op. 17 cont'd.)
FIRST EDITION: "TROIS/ RONDEAUX/ pour/ Guitarre/ par/ MAURO GIULIANI/

Oeuv. 17..." Vienna: Imprimerie chimique, pi.nr. 1040, 1041, & 1042.
DATE: Approx. 1809 (WeinPrep).
LATER EDITIONS -
- Bonn: Simrock (Hdbuch,1817)• COPY: London, B. Mus.
- Vienna: Steiner & Co., second printing of the original plates (Hdbuch,1825)
- Paris: Carli, Richault, Chanel, A.Meissonnier (Hdbuch,1828).
- Florence: Giuseppe Lorenzi, pi.nr. 680.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Opus 18 - ier POTPOURRI. G.
ANDANTE
Sostenuto
FIRST EDITION: Mler/ POT-POURRl/ pour la/ GUITARRE/ composees/ par/

Mauro Giuliani/ Oeuvre 18. Vienna: Artaria & Comp., pi.nr. 2026.
COPT: WStB, Me 13925.
DATE: Adv. 17 Dec 1808 (WeinArt).
LATER EDITIONS -
- Paris: Richault (Hdbuch,1828).
COMMENTS: The original Weigl edition of Op. 81 has the numerals reversed,
and reads "Op. 18." The aame was republished later (in 1832) by Artaria
as Op. 81.
24
Opua 19 - SERENADE. G, V, Vc.
Violoncello
[i]
Adagio
1 AS
! ,f ' Jtu
SERENATA n HPt&r M ^--- -v- 1 ■..■=r±z
*ol
Violino
[II]
Allegro assal
/V
Scher“ 1 tr e s
ff
Chitarra
[h i ]
rr -** r n I t R
t-jr C _ r C r T
FIRST EDITION: “Serenade/ pour la/ Guitarre/ Violon et Violoncello/ cob-
pos6e/ par/ MAURO GIULIANI/ Oeuvre 19..." Vienna: Artaria & Comp.,
pi.nr. 2031.
LATER EDITIONS -
- Florence: la Ditta Cipriani, "Serenata per Chitarra, Violino e Violon
cello composta da Mauro Giuliani, Opera 19.M COPY: Modena, Bibl.
Estense, Mus. D. 531.
- Paris: Richault, pl.nr. 713R, "Serenade Concertante enTrio..." (Hdbuch,
1828). COPY: L. of C., M 372/ .G5/ Op.19/ Case.
MODERN EDITION: Klassicher der Gitarre. Heft VIII (Leipzig, 1922). COPY:
OeNB, M. S. 7560.
COMMENTS: Flattering review in AraZ. XV (Jan 1813), 55-56.
25
Opua 2 0 - 6 VARIATIO NS (THEME O R IG IN A L ). G.
Andantino Grazioso
I-//: >1.:/
7 t j z i r m V 7
FIRST EDITION: "Six/ VARIATIONS/ sur un Theme original pour la/ Guitarre/
Composes et dediles/ A. Monsieur le Comte/ George de Waldstein/
Colonel au Service de sa Majeste l'Empreur et Roy/ par son Maitre/
MAURO GIULIANI/ Oeuvre 2Qeme.. Vienna: Artaria & Comp., pi.nr.2038.
COPY: WStB, Me 13927; GdM; Krick.
DATE: Adv. 8 Feb 1809 (WeinArt).
LATER EDITIONS -
Opus 21 - 12 WALTZES. G
(Op. 21 cont'd., Op. 22) 26
U d / t j j r
^ r ~ r
/ t _ C - r t r r - 7:
FIRST EDITION: "XIl/ Walzes/ pour/ La G U m R R E / par/ Mauro Giuliani/

Oeuvre 21..." Vienna: Artaria & Comp., pi.nr. 2045.
COPY: WStB, Me 13962; Krick.
LATER EDITIONS -
MODERN EDITIONS -
- Vienna: Klassicher der Gitarre. Heft I, No.875, "12 Walzer," ed. Zuth.
- Mainz: Schott, Gitarre-Archiv #330, "Six easy waltzes from Op. 21."
3 3
COMMENTS: The entire opus is written in g meter, despite the ^ time
signatureI One expects better editing in Artaria editions, as a rule.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Opus 22 - 3 ROMANCES, voice & G(p ).
Chant Hr-C B P i1
O c / i J e vovs f o i s p o orcourir <jL l a . g l o i —tre.
Grazioso
Chant
Qua.»<Jl Je. t e vis
(Op.22 cont'd., Op.23) 27
Maestoso
Chant
i
&\x prtvnfer y n o - m e » t J*. bo» heur
FIRST EDITION: "TR0IS ROMANCES/ pour le/ Forte-Piano, ou la Guitarre/

Paroles de Monr le Chevalier de Messence/ composes et Declines/
a/ Mademoiselle la Comtesse Josephine/ Morzkowska/ par/ MAURO
GIULIANI/ Oeuvre 22..." Vienna: Artaria & Comp., pi.nr. 2034.
a - * # * * * * * * * * * * * # * * * * * * * * * * * * * * * * * * * * * *
Op. 23 - 12 NEUE WALD LAENDLER. G.
1
f
s*V~
r r r ? s r
f. J . J7 -sr~
s.m 0|7
r r r
hM M
W E EF.
■m
f r 1r r f
28
(Op. 23 cont’d., Op. 24a)
M f r j p r f i
a .l F # J
- y * .
i— -- — — v
S 7
r f r r r r
| ii. £
7 1 T
FIRST EDITION: "ZWOLF/ Neue Wald Laendler/ fUr die/ GUITARRE/ Componirt/
von/ Mauro Giuliani/ 23tes Werk...n Vienna: Artaria & Comp., pi.nr.
2071.
DATE: Adv. 27 Jan 1810 (WeinArt).
LATER EDITIONS -
- Bonn: Simrock (Hdbuch,1817).
MODERN EDITIONS -
— Vienna: Klassicher der Gitarre. Heft I, No. 875, "12 L&ndler,M ed. Zuth.
- Mainz: B.Schott & Sons, Gitarre-Archiv # 325, "Sechs leichte LSndler
aus Op. 23.1'
* * * * * * * * *
Opus 24a - VARIATIONS. V&G.
VIOLON
Andantino Siciliano _
THEMA i
m
FIRST EDITION: ’’VARIATIONS/ pour/ Violon et Guitarre/ composees et
dediees/ A/ Mr FRANCOIS REVENAZ/ par/Mauro Giuliani/ Oeuvre 24..."
Vienna: Mechetti qm Carlo, pi.nr.88.
AUTHENTICATION: ArMs, ArTh(which gives wrong pi.nr.: 1166), C&D, SteinTh.
COPY: In the personal collection of Prof. Marga Bauml-Klasinc, Graz,
Austria.
29
(Op. 24a cont'd., Op.24b)
DATE: Mechetti pi.nr. 88 is bracketed by works adv. 25 Apr 1812 (VeinPrep).
LATER EDITIONS -
- Paris: Chanel, Richault (Hdbuch,1828), however the Richault ed. listed
here may be Op. 24b.
MODERN EDITION - Augsburg: Augsburger Gitarre-Vereinigung, Heft 175/76.

COPY: In the personal collection of Prof. Karl Scheit, Vienna.
COMMENTS: WeinArt lists Artaria pi.nr. 2201 as Giuliani's Op. 24:

"Romanze, Que le jour me dure," for voice & G(p ). It is not known to
have been advertised in the Viennese press, and a copy has not been located.
It is probably an erroneous listing, but if the work ever turns up, it
should be given the catalogue listing Op. 24c.
Opus 24b - 14 BALLI NAZIONALI e 5 MARCIA. G
Menuetto d'Amore Menuetto Corona, o alia Ghirlanda

IBin
t r*fT r r
Menuetto alia Savojarda Menuetto alia Rena
£y»2APjo I !“ 5J . . Sortemu fo
50X$*lttO mmm
_1— f-LJ-
rr r xf
... II Sorsin
Mne*ro
AMe*ro r Allt
6. x
fc
r
a r r (
Fandango alia spagnola la Tirolese
*!oSon A*~
Z 3l
g m
f- rr f.
30
(Op. 24b cont'd.)
La Miledi La Scoccio
All
7T
La Monferrina La Monaco
r xr x
ilegro , Allegro
.
11 r + m h 12
m
*■ f'
I'Escozzese
V 7 f 7- X 7
? r r r
La Tarantella
AH
A im m m 14
’ Qpg_~ f •-■ f i n r ^
r r r
r r f r
Marcia 1. Marcia 2.
Maestoso Allegro spirito^c
m
m
FP
r r
Marcia 3.
Allegro
“J*-* -^— -poca
FIRST EDITION would correspond to this entry in the WoO "Arrangirten"

section of SteinTh: "XIV Balli nazionali ridotti per chitarra,"
Vienna: Chemische Druckerey, pi.nr. 1185.
AUTHENTICATION: SteinTh (which gives no plate number). See comments.
COPY: Brno, Universitni Knihovna ST Mus 4-499552.
DATE: Approx. 1810 (WeinPrep).
LATER EDITIONS -
- Paris: Richault, pi.nr. 385R (from which incipits are taken): "Quatorze
Jolis Airs/ NATIONAUX/ et Trois Marches/ de differens ballets/ Ar
ranges/ Tour Guitare seule/ PAR/ MAURO GIULIANI/ Oeuv. 24..." COPY:
In the personal collection of Prof. R. Dussart, Qui£vrain, Belgium.
- Bonn: Simrock, no opus no.(Hdbuch,1817), Op.24 (Hdbuch,1828).
- London: ed. Schulz, Ciuliana H° 12: "14 Nat'l. Airs & 3 Operatic Marches."
31
(Op. 24b cont'd., Op. 25)
COMMENTS: Sr. Weinmann communicates that a printed catalogue of the

Chemische Druckerey has these entries for Mauro Giuliani':
- PI.nr. 1184 3 Mhrsche fur Gitarre [Op. 14].
- PI.nr. 1185 XIV Balli Nazionali. Op. 24.
Neither had been found in Austria, as of 1969. It may be that Richault
gathered these editions under one title page, called it all Op. 24, and
published it with his pi.nr. 385R.
Hdbuch,1817 lists 5 Maersche. Op. 14 by Steiner, which would probably
have had pi.nr. S.u.C. 1184, as above. It also confirms 14 Balli nazionali
as Op. 24, published by Steiner.
Opus 25 - DUO CONCERTANT. V.& G.
Violon
[I] Maestoso
DUETTO
[II] Andantino grazioso
[ill] Allegretto
- f — f - y ------------------------------------------------
* « 2 L - '
%
r f f
[IV] Allegretto
1
RONDEAU
FIRST EDITION: "DUO/ CONCERTANT/ pour/ Violon et Guitarre/ Dddie a [crest]

Madame la/ Duchesse de .Laviano[?]/ nee Lebrun/ par./ Mauro Giuliani/
32
(Op. 25 cont'd.., Op. 26)
Op. 25..." Vienna: Bureau des Arts et d'Induetrie, pi.nr. 655.

COPY: N. Y. Public, *MYO; GdM; WStB; Munich, Bayer. Staatsbibl.
DATE: Adv. 25 Mar 1812 (VeinBAl).
LATER EDITIONS -
- Vienna: Haslinger, pi.nr. S.u.C. 4217 H.(Hdbuch, 1828).
- Paris: Chanel & Richault (Hdbuch, 1828). Richault ed. pi.nr. 1043N,
COPY: L. of C., M 295/ .G.
MODERN EDITION - "Grand Sonata," publ. Zimmerman, pi.nr. Z 10746.
#*#*#*###**#*•*****#***#*•*****#****•*
t
Opus 26 - POT-POURRI. G.
Andantino
FIRST EDITION: "Pot-Pourri/ pour la/ GIUTARRE/ compos£e et dedi£e/

A MONSIEUR ANTOINE/SPINA/ par son Maitre/ MAURO GIULIANI/ Oeuv. 26..."
Vienna: Imprimerie Chimique, pi.nr. 1477.
COPY: WStB, Me 28118; Munich, Bayer. Staatsbibl.
DATE: c. 1810 (WeinPrep).
LATER EDITIONS -
- Vienna: Steiner & Comp., 2d printing of original plates (Hdbuch, 1825).
Haslinger, 3d printing (Hdbuch, 1828).
COMMENTS: The spelling and syntax of the first edition,title page ... ,
are faithfully reproduced above! By Artaria's reckoning, Op. 18 was the
first Potpourri. Op. 28 was the second, and Op. 31 the third. Artaria
did not include this Potpourri. by a competing publisher, in his own
enumeration. Nevertheless, he does list it in his catalogues, ArMs & ArTh.
33
Opus 27 - ROMANCE DE MARIE LOUISE, voice & G(P).
. Maes+oro
C h a n t | | e |§ |E
E h cktyi) preseyxi JLes Pie.uK
FIRST EDITION: "Marie Louise/ au Berceau de son Fils/ ROMANCE/ pour/

le Clavecin ou Guitarre/ par/ MAURO GIULIANI/ Op. 27..."
Vienna: Artaria & Comp., pi.nr. 2155*
DATE: Adv. 22 June 1811 (WeinArt).
COMMENTS: This is one of the works through which Giuliani gained the
patronage of the Empress Marie Louise, and rwith it the title, "Virtuoso
onorario di camera." See Op. 95, 100, 126, & WoO(posth.), G-14.
Opus 28 - 2de POTPOURRI. G.
ANDANTE
SQSTENUTO
vtf t -p r t r ? r
FIRST EDITION: "2de/ POT-POURRI/ pour la/ Guitarre/ Composes par/
MAURO GIULIANI/ Oeuvre 28..." Vienna: Artaria & Comp., pi.nr.2118.
COPY: WStB; GdM.
LATER EDITIONS -
- Paris: Richault, pi.nr. 1723R (Hdbuch,1828).
Chanel (Hdbuch,1828).
- Leipzig & Vienna: J. Weinberger, pi.nr. 858, a reissuing of orig. plates.
COMMENTS: By Artaria's reckoning, Giuliani's Potpourris were labeled the
(Op. 28 Cont'd., Op. 29) 34
first (Op. 18), second (Op. 28) and third (Op. 31 )• Artaria thus over
looked the Imprimerie Chimique edition, Potpourri. Op. 26.
Opus 29 - DIVERTISSEMENS. G.
Andantino tn — .fjr------
grazioso
^ +r l id M x ■
—
All° vivacei
^ rF '- .. ....
r
-Phri" - FfirlrJ- i-^r
espressivo
y 7 P ncQ£Tj3JLJL=
4 r t f f 4
Upi-JJi
■
)ff -■ h I ,-- J.---------
:.:-==-=
^ <Mce jjf
Allegro
Polonaise
H , J ■17i11
^ f p ..?"-f • " y ~ F ~
>
r ^ F F \ ;~~fj / < j" i - 0 A->-— -—
J ffrr£rrf*T f *
A i j z i : i __
Allegro ---- . ------- j--- — —
. r 7 = r*r ^—
31
(Op. 29 cont'd., Op. 50) 35
FIRST EDITION; "DIVERTISSEMENS/ pour la Guitarre/ Composes [crest] et

Dedi^s/ A Son Altesse Serenissime/ Madame la Princesse Regnante/ de
HOHENZOLLERN HECHINGSN n£e Princesse de COURLANDE/ par son maitre/
Mauro Giuliani/ Op. 29..." Vienna & Pesth: Bureau d'Industrie, pi.
nr. 689.
AUTHENTICATION; ArMs, ArTh, C&D, SteinTh.
DATE: Adv. 30 Oct 1811 (VeinBAl).
LATER EDITIONS -
- Vienna: Haslinger, a reprinting of original plates (Hdbuch,1828).
Opus 50 - Tier] GRAND CONCERTO. G. & orchestra.
[i] VIOLINO PRIMO

Allegro
negro naesioso
Maestoso ..
QUARTETTO:
Guitarre
[II] VIOLINO PRIMO

Con Sordini
ANDANTINO:
Siciliano:
Guitarre
dantino o
■±o~
SICILIAN!:
Tutti
7 7
(Op. 30 cont'd.) 36
[III] VIOLINO PRIMO

Alla Polacca
M i
Guitarre
Allegretto
Solo
POLONAISE
it Ip*'
FIRST EDITION: "GRAND CONCERTO/ pour la [crest] Guitarre/ avec accompagne-

ment de grand Orchestre/ CoapoaS et D£die/ A Son Altesse Imperials le
Prince/ Eugfene/ Vice Roi d'ltalie/ par/ son tres humble et trfes soumis
serviteur/ MAURO GIULIANI/ Op. 29[sic]/ L'accompagnement s'y trouve
arrange in Quartett..." Vienna & Pesth: Bureau d'Industrie, pi.nr.
622. The same plates were soon re-issued by T. Haslinger with the
pl.nrs. S.u.C. 4219 H, and with the opus number corrected from 29 to 30.
COPT: pi.nr. 622, VStB, Me 28121.
pi.nr. S.u.C. 4219 H. in possession of the author.
DATE: c. 1810 (WeinPrep).
LATER EDITIONS -
- Vienna: Steiner & Co., second printing; Haslinger, third printing.
- Paris: Carli, Richault (quartet version), acc. to Hdbuch,1828.
MODERN EDITION - Basel: Symphonia Verlag, Concerto for Guitar. Strings &
.Timpani.
COMMENTS: The complete orchestral parts are not known to have been published
originally with the quartet version, in 1810. Early 19th-century manuscript
copies of the brass and woodwind parts of the concerto are in the Bayer-
ische Staatsbibliothek, Munich, MSS. Music >028, and include:
Flauto I & II Fagotto I & II
Oboe I & II Como in A I & II
Clarinetto in A I & II
(Op. 30 cont'd.) 37
Some scholars believe that the original orchestral complement included

also timpani. I personally have never found evidence for or against per
cussion. Romolo Ferrari reconstructed the score to Op. 30 (from what
source?) to include timpani, and a timpani part has come down to us in
his hand. All of that material is now in the Liceo Musicale in Modena.
The modern edition by Symphonia Verlag also includes timpani.
N.B. Sometimes Op. 50, Panillons. G. is given the opus number 30
erroneously.
ARRANGEMENT, G & P: "Premier/ GRAND CONCERTO/ pour la/ Guitare/ avec

accomp. de/ Pianoforte/ compos^/ par/ Mauro Giuliani/ Oeuvre 30/ La
Partie du Piano eat arrangê par A. Diabelli..." Vienna: Ant. Dia-
belli et Comp., pi.nr. D. et C. N<> 1143- COPY: GdM, X 3885.
DATE: PI.nr. D. et C. No 1144 (see ARR., 2G.) was adv. 29 Nov 1822(VeinCap).
r
COMMENTS: Interestingly, the guitar part in this arrangement is not
tacet for 105 mm., as is the case when the orchestra exposes the material.
Rather, the exposition now becomes a duet for piano & guitar, in which the
guitar remains largely in the lower range, in a subordinate role. At m.
106 the guitar assumes its solo exposition as expected. However, the guitar
does not drop out at later Tutti sections, as with the full orchestral
version, but plays again a reduced role with chordal accompaniment. The
result is that the concerto is transformed in this arrangement into a
"Grand Duo Concertant," in effect, in which piano and guitar are more-or-
less equal partners. Giuliani may have been involved in composing the
guitar accompaniment to the above-mentioned Tutti sections, but then again,
Diabelli could just as easily have done so. The fact that it was published
in 1822, three years after Giuliani's departure from Vienna, might support
the position that Diabelli did the arrangement singlehanded. But we know
from Giuliani'3 letters to Artaria that the former was also in regular
correspondence with Diabelli. He may have sent Diabelli the revised guitar
part, to complement the latter1s piano reduction. For the time being, we
are not certain.
ARRANGEMENT, 2G: "RONDEAU alia POLLAGGA/ pour/ deux Guitarres/ tir<£ du

Premier Concert, Oeuv: 30/ compose/ par/ MAURO GIULIANI..."
38
(Op. 30 cont'd., Op. 31)
Vienna: A. Diabelli & Comp., pl.nr. 1144. COPY: Krick.

DATE: Adv. 29 Nov 1822 (WeinCap), listed in Hdbuch,1824«
LATER EDITION - Paris: Richault (Hdbuch,1828).
Opus 31 ~ 3eme GRAND POTPOURRI. G.
ANDANTE
'r T T T f T T T 7 * T T T T T T
FIRST EDITION: "3eme/ Grand/ POT-POURRl/ pour Guitarre/ Composes et
execute A son Concert/ par/ Mauro Giuliani/ Oeuvre 31*•• "
Vienna: Artaria & Comp., pl.nr, 2132.
COPY: WStB, Me 13923; OdM.
DATE: Adv. 22 June 1811 (WeinArt).
LATER EDITIONS -
- Leipzig: Hofmeister (Hdbuch,1817). Pl.nr. 214, acc. to ZuthN.
- Paris: Chanel, A.Meissonnier, Richault (Hdbuch,1828).
COMMENTS: By Artaria's reckoning, the first and second Potpourris were

Op. 18 and 28 respectively, this was the third, and there would be a fourth,
as well, Op. 42. Artaria overlooked the Imprimerie Chimique edition of
Potpourri. Op. 26.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Opus 32 - 6 VARIATIONS FACILES. G.
Andantino mosso
T E M A g | g
*
(Op. 32 cont'd.., Op. 33) 39
FIRST EDITION: "Vi/ VARIATIONS/ faciles/ pour la Guitarre/ par/ MAURO

GIULIANI/ Oeuvre 32..." Vienna:Imprimerie Chimique, pi.nr.1569.
COPY: Krick.
DATE: Late 1810 (WeinPrep).
LATER EDITIONS -
- Vienna: Steiner & Co., 2d printing of original plates (Hdbuch,1825).
Opus 33 - 12 ECOSSAISES. G.
'At?
1
rf 1 f r r
£
fr t
j
iSm <77r ' i T r r

-j#- £ -j»“
Q j l
(Op. 33 cont'd., Op. 34, Op. 35) 40
l&3p3Et=3^£3E. ?SZ=S£
1 f 1f r T s ff s r r r ~x
FIRST EDITION: "XII/ Ecossoises/ pour/ La Guitarre/ composes par/
MAURO GIULIANI/ Oeuvre 33/..." Vienna: Artaria & Comp., pl.nr. 2122.
LATER EDITIONS—
- Brealau: Fdrster, republication WoO(Hdbuch ,1823/.
Opus 34 ~ 6 VARIATIONS. G.
Grazioso
pMffirfj?--JzrJ—thsJr i
H i
f.
«J jp, I f r * —
FIRST EDITION: "VI/ VARIATIONS/ pour la/ Guitarre/ Composes et Dediees/

A MONSIEUR CHARLES DELLAVOS/ par son Maitre/ MAURO GIULIANI/ Oeuvre
34/..." Vienna: Artaria & Comp., pl.nr. 2249*
COPY: WStB. Me 13928.
DATE: Adv. 24 Oct 1812 (WeinArt).
LATER EDITIONS -
- Leipzig & Berlin: Bureau d'Industrie, pi.nr.471 (COPY: OeNB).
- Berlin: Kuhn (Hdbuch,1817); Schlesinger (Hdbuch,1828).
- Florence: Giuseppe Lorenzi, pl.nr. 673*
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Opus 35 - ORANDES VARIATIONS CONCERTAMTES. 2G.
(Op. 35 cont'd., Op. 36) 41
Chitarra I
Introduzione
Andante
Sostenuto
Thema
Andantino
grazioso-
FIRST EDITION: "Grandes/ Variations/ Concertantes/ pour/ Deux Guitares/

Composees/ par/ MAURO GIULIANI/ Oeuvre 35. .•** Vienna: Artaria &
Comp., pl.nr. 2233. AUTHENTICATION: ArMs, ArTh, C&D, SteinTh.
LATER EDITIONS -
- Paris: Carli, Chanel, Richault, Meissonnier (Hdbuch,1828).
- Milan: G. Ricordi, pl.nr. 4951 (COPI: GdM), published c. July 1830
(HeckR), without opus number.
COMMENTS: Ricordi's posthumous publication of Op. 130, Variazioni con-

certanti per due chitarre (pl.nr. 11623) has a beginning similar to Op. 35»
also published by Ricordi (cited above). ‘
A manuscript copy of Op. 35» OeNB, S.m.
14975» has the following introduction for
the "Guitar I" part (cf. Op. 130):
Opus 36 — f2d.~l GRAND CONCERTO. G. & string quartet.
[I] Violino I
Maestoso
(Op. 36 cont'd.) 42
Chitarra Principals
Tutti
Maestoso
[ii] Violino 1
Andantino
Chitarra
Tutti Solo
Andantino
* u ru
[ill] Violino I
Rondo
Allegretto
.Rondo
jrn
Allegretto
' ”fr f r r
FIRST EDITION: "GRAND/ CONCERTO/ pour la/ GUITARRE/ avec accompagnement
de/ 2 Violons, Alto et Violoncello/ compost et dedie k/ Mr de MONTE/
par/ Mauro Giuliani/ Oeuvre 36..." Vienna: Artaria et Comp., pi.
nr. 2231.
COPY: WStB, Me 13958; GdM; Munich, Bayer. Staatsbibl.
(Op. 36 cont'd.) 43
LATER EDITIONS -
- Paris: Carli (Hdbuch,1828).
Richault, pl.nr. 2148R (Hdbuch,1828). COPY: L. of C.
COMMENTS: So far as is known, this concerto never existed in a version

for full orchestra. The late Romolo Ferrari reconstructed its score in
the only surviving version, for guitar and strings.
According to T. Rischel, "Bibliographische Notizen zu den Gitarrenwerken
von Napoleon Coste," Die Gitarre.VIII (Berlin, 1927), 50, Napoleon Coste
arranged the "Allegro"(presumably the first movement) of this concerto
for two guitars.
Giuliani states in his letter to Domenico Artaria, dated Naples,
16 Jan 1824, that he revised this work: "tutta nuova rimodemata da me."
But this new version is not known to have been published, and the manu
script, if it still exists, has not been located. The fact that Giuliani
directly mentions reworking it himself tends to dispel the notion that
some "ghost writer" might have conspired with him to arrange his concertos
for orchestra in the first place.
ARRANGEMENT, G & P: "Second Grand Concerto pour la Guitarre avec ac-

compagnement de Pianoforte..." Vienna: Diabelli & Co., pl.nr. D. et
C. No 1190. COPY: Krick. (The piano part is reported missing.)
OTHER ARRANGEMENTS by Diabelli & Co. may also have been published. This
cannot be known until VeinCap is brought to completion.
Opus 37 - 12 DIVERTIMENTI. Nos. 1 & 2. G.
NO l, pl.nr. 1977
AnJahHi
44
(Op. 37, cont'd.)
NO 2, pi. nr. 1978
A*id a .n H rto —, A i !f9 * ° p s s
N = i -fj -TJ /-i 7 ) 2 - .J r ~ r ' \

A* n j q a
*
G-h*.xioso All&gre'H'o
if a 1 b n i f - * - i f c t T * - t r - ¥
^ r T ^ A r t =■ J ^ W - r T ~nrf —
rt«aanT/K>a
Atoda.toHv%o A lle g y*€Ho
n r
rr r nr
PIBST EDITION! "DIVERTIMENTl/ per/ CHITARRA/ contenenti, in dodici
piccioli pezzi, d'una mediocre facilitA/ di/ MAURO GIULIANI/ N°[l or 2]/
...Op. 37, no.1977.1978, Op.40, no.2002.2003..." Vienna,
Stamperia Chimica, pl.nrs. 1977 & 1978.
AUTHENTICATION: Arifs, ArTh, C&D, SteinTh.
COPY: (part 2 only) OeNB, M.S. 29324.
DATE: Adv. 23 Sep 1812 (WeinPrep).
LATER EDITIONS -
- Vienna: Haslinger, pl.nr. S. et C. N© 1977/78: "36/ DIVERTIMENTl/ PER/
Chitarra/ Di/ HAURO GIULIANI/ Parte [l or 2]/...Opera [37]/ N°[l977
or 1978]..” Datable approx.1816 (WeinPrep). Listed Hdbuch,1828.
(Op. 37 cont'd., Op. 38) n
- Paris: Carli, Richault, as M12 Divertissemens faciles, Oe 37, 40"

(Hdbuch,1828).
COMMENTS: The Divertimenti by Giuliani were issued in three opus numbers

(37 , 40, and 56), each opus being in two parts, thereby making six parts
in toto. Each part consisted of six little pieces, so that there is a
grand sum of 36.
The first incipit of Part I (pl.nr. 1977) is taken from ArTh, since
I have not been able to find a copy of Part I.
Opus 38 - 6 VARIATIONS (a Schisserl). G.
Moderato
l\ tu4lr
FIRST EDITION: "Six/ VARIATIONS/ pour la/ GUITARRE/ Sur l'air: a Schisserl
und a Reindl/ par/ MAURO GIULIANI/ oeuvre/ 38..." Vienna: Artaria
et Comp., pl.nr. 2264.
COPY: WStB, Me 13930; London, B. Mus.; Vienna, Minoriten Archiv.
LATER EDITIONS -
- Leipzig & Berlin: Bureau d'Industrie, pl.nr. 470. (COPY: GdM),
- Berlin: Kuhn (Hdbuch,1817); Schlesinger (Hdbuch,1828).
- Breslau: Fijrster (Hdbuch,1819), pub'd. WoO.
COMMENTS: The folk melody "A Schiisserl und a Reindl" appears in a contempo
rary source - the ms. song book of the Viennese actor Karl Ludwig Costenoble.
Alfred Orel mentions this in his article, "Das 'air Autrichien' in Beethovens
Op..105," ZfMw II (1919/20), 638-41, and transcribes the song on p. 639.
The Giuliani variations are straightforward and regular in form. Var. V is
a tour de force in staggered, or broken octaves
46
Opus 39 - 6 CAVATINE. voice & G(p ).
A
1*
"rrtrrt. P 0 * J v4L^ - r r Y -A ^ ■/>“ S
I p pit iLy
yt ■
■JjLK* eke, M aiubilo... Com■fvso s r^ y y i-iv ...
M o d e -rtJ v A He$re,++o
■ w - — -— m — ir
-5BT*
jggsatg
A l-lt. iwift â-h— lo-yri»«...- >4k <pliV cAe. how tbrf&ro...
A H 0 Vivo.ce. Alle^ye4-io
X f f e - K - f - r " ? V/SS/i'* ’ c IP'

C^VoS&it'omot- f & r f e .m i* e — C io. firtsso a! -h e rtn in e ---
FIRST EDITION: MSEl/ CAVATINE/ con/ 1'accompagnamento di/ Piano-Forte o
Chitarra/ composte [crest] e dedicate/ al SigT Conte/ FRANCESCO DE
PALFFY/ dal suo Maestro/ Mauro Giuliani/ Op. 39.•*M Vienna: Artaria
& Comp., pl.nr. 2266.
COPY: WStB, Me 13953i GdM; OeNB.
DATE: Adv. 6 Mar 1813 (WeinArt).
LATER EDITIONS -
- Leipzig & Berlin: Uff. delle belle Arte e dell'Industria, pl.nr.492
(COPY: WStB).
- Berlin: Schlesinger (Hdbuch,1828).
- Bonn: Simrock, pl.nr. 1080.
Opus 40 - 12 DIVERTIMENTI. Nos. 3 & 4. G.
„ - - - - NO 3, pi. nr. 2002
Andantivio jmz/oso
?~
7 n ■ H j J>l=
£,
*! -J
/' —
■^*3=EF= ----- ----- -
IrgJ \
(Op. 40 cont'd.)
/iAts+oso /4//e^rs.-Wo
4 f e & i - £ p | i
J V W z ■l 7
-in^dE/crer * »f r f i^r
N° 4, pi. nr. 2003
Ar*da*fe esf>rtssivo ^
1 j b j :-
V t r ^ F
^Kiilatn+a. Alic^ho
r r xlf mF T 7 y 7 T 7
AmdAh-f-iHo A ll 0viVAce.
- l - a z J i J J .pj-rjpTTj
P? y 7 r * "r r r
£ E f -Lr-y { J j
FIRST EDITION: "DIVERTIMENTl/ per/ CHITARRA/ contenenti, in dodici

piccioli pezzi, d'una mediocre facility/ di/ MAURO GIULIANI/ N°
[3 or 4]/... Op. 40, no. 2002.2003•••" Vienna: Stamperia Chimica,
pi.nr3. 2002 & 2003.
COPY: Not located.
DATE: Adv. 24 Nov. 1812 (WeinPrep).
LATER EDITIONS -
- Vienna: Tob. Haslinger, pl.nr. S.u.C. N° 2002/2003. "36/ DIVERTIMENTl/
PER/ Chitarra/ Di/ MAURO GIULIANI/ Parte [3 or 4]/.../ Opera [40]...
(Op. 40 cont'd., Op. 4l) 43
N° [2002/2003]..." Datable c. 1816 (WeinPrep).

- Paris: Richault, pl.nr. 899R (title page) & 1314R (music), from which
incipits are taken. "DOUZE/ DIVERTISSEMENS/ Facile3 et Agreables/
pour Guitare/ Composes par/ MAURO GIULIANI/ OEuv [40]..."
COMMENTS: The Divertimenti by Giuliani were issued in three opus numbers

(37, 40, & 56), each opus being in two parts, thereby making six parts
in toto. Each part consisted of six little pieces, making a grand sum of
thirty-six.
The grammatical sense of the title page of the first edition would
be enhanced by omitting "in" from the fourth line.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Opus 41 - NIAISERIE D'ENFANT VARIE. G.
Tema
Andantino
oso ^ -—
Grazioso -1■■■— f—
—1 ■■ ■ I -h E
1 5^7 Tr T f '
FIRST EDITION: "Niaiserie d'Enfant/ Varli pour la/ GUITARRE/ par/ Mauro
Giuliani/ Oeuvre 41..." Vienna: Artaria et Comp., pl.nr. 2253*
AUTHENTICATION: ArMs, Arf)h, C&D, SteinTh.
LATER EDITIONS -
- Leipzig & Berlin: Bureau des Arts, no. 467 (COPY: OeNB, M.S. 23208).
- Berlin: Kuhn (Hdbuch,1817), Schlesinger (Hdbuch,1828).
- Braunschweig: Spehr (Hdbuch,1828).
- Paris: Carli, Chanel, A.Meissonnier, Richault (Hdbuch,1828).
MODERN EDITION - Vienna: Klassicher der Gitarre. Heft 4, ed. J. Zuth [l922?].
Opus 42 — 4eme POTPOURRI. G. 49
Andante
aEteJa
_ _ § 1
** r rr r rf -r
t rr r mr - t --r r r f f f r
FIRST EDITION: "4®e/ POT POURRl/ pour la/ GUITARRE/ Compose et Dedi6/
A. M? Antoine Boccasini/ par/ MAURO GIULIANI/ Oeuvre 42/..."
Vienna: Artaria & Comp., pl.nr. 2275*
COPY: WStB, Me 13921; Krick.
LATER EDITIONS -
COMMENTS: The three preceding Potpourris were, by Artaria's reckoning,

Op. 18, 28 and 31. He did not count the publication by the Imprimerie
Chimique of Op. 26 (pl.nr. 1477).
Opus 43 - LES VARIETES AMUSANTES. G.
AUe.ê.Ho A lle$ro
it
T'
Crtrm.'zieSO A\\e$rtWo
■z £
to/
I
w y m irt i K z r* 7
t t
_ J L £
t f i - r
r .5, j~7 / 7 T f 7 _ j
^-Â-ZIOSO Aliejho
^ J W i n
7 1
1 tr
(Op. 43 cont'd., Op. 44) 50
Allegro Viva.c
a f e M .M -r r j - f n i l
rtf, i & 1**

CSV
FIRST EDITION: "LES VARIETES AMUSANTES/ ou/ Ddp8t de pieces faciles/
pour la/ GUITARRE/ Oeuvre Pdriodique/ Composdes It 1'usage des
Conmen$ans/ par/ HAURO GIULIANI/ Oeuv: 43•••M Vienna: Artaria &
Comp., pl.nr. 2283.
COPY: In possession of the author; Vienna, Minoriten Archiv; WStB;
Brno, ST Mus 4-499556.
LATER EDITIONS -
- Paris: A.Meissonnier, Richault (Hdbuch, 1828).
MODERN EDITION - Vienna: V.Hladky, pl.nr. V.H. 1501. "Zehn Unterhaltungs-

stucke," ed. Otto Schindler.
Opus 44 - 1? LABITOEER. G.
*1 / -- <— (-
i-g ---- +-
■f 1
r
= ~ r r
r
.x t r X S I X p X
x -
r f 1 r r 5 r
r : r
r * r r r ^ r r c
(Op. 44 cont'd.., Op. 45) 51
8
1 ^r r r ri
r1 *T
£ ?* £ 3.
izp £ r / t
m
f r ’ ’
FIRST EDITION: "12/ LAENDLER/ fur die/ Guitarre/ von/ Mauro Giuliani/
Op. 44/..." Vienna: Artaria & Comp., pl.nr. 2290.
COPY: WStB, Me 20408; L. of C., M 127/ .G.
LATER EDITIONS -
A.Meissonnier (Hdbuch,1829)•
• a * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Opus 45 - 6 VARIATIONS (Folies d'Esnagne). G.
Andantino
FIRST EDITION: ”6/ VARIATIONS/ pour la/ Guitarre/ sur les folies d'Espagne/
par/ Mauro Giuliani/ Oeuvre 45/...” Vienna: Artaria & Comp., pl.nr.
2278.
(Op. 45 cont'd., Op. 46) 52
LATER EDITIONS —
— Paris: Chanel, Richault, A.Heissonnier (Hdbuch,1828).
MODERN EDITION - Berlin: Bote & Bock, GB 56. Variationen uber "La
Follia." ed. Siegfried Behrend (copyright 1965).
COMMENTS: The modern edition, publ. Bote & Bock, omits many of the dynamic
markings found in the first edition.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Opus 46 - CHOIX DE MES FLEURS CHERIES. G.

A le Myrtre j.a Penser
la renser
t x t ? , 7 'J
ii ; £l/: llf
w/ f X ^ S -p-
le Lis le Jasmin
G-r»zi'oso ___ ____ ____
III -~4r-----------*---h* IV p ~?-4-Z Y * ?

/V' r r f
le Romarin l'Oeillet
con espresslone AH-°- Vtva.ce.
r r r tll- ■££2?- e z £ r
le Narcisse la Violette
tSYortniVO Gre.zioso
VII GF
m/ r 7f77jJ-7 - p
w ' r f' m
la Rose le Laurier
G->nDL*i’o5o , A U ° M a .e s lo s a
rt r r = sf ' ¥ r !
(Op. 46 cont'd., Op. 47) 53
FIRST EDITION: "CHOIX/ de mes Fleurs cherles/ ou/ Le Bouquet Embl&aatique/

pour la/ Guitarre/ Compose et Dedi.4/ a:/ Mr Jules Giraud/ par/
MAURO GIULIANI/ Oeuvre 46/...” Vienna: Artaria & Comp., pi.nr.2287.
COPY: WStB; GdN.
LATER EDITIONS -
MODERN EDITIONS -
- Frankfurt a/Main: Zimmerman, # 305, copyright I960. COPY: L. of C.
- Buenos Aires: Ricordi Americana, pl.nr. ,B& 12407. "Ramillete de mis
flores preferidas," in Mauro Giuliani Compo3icidnes Para Guitarra I.
ed. I.Savio (copyright 1965), includes "L'oeillet," ”Le Jasmin,”
"Le Laurier," "Le Lis," and "Le Myrtre."
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Opus 47 - 12 VARIATIONS (air autrichien). G,
Allegretto
FIRST EDITION would correspond to this entry in ArMs for Op. 47:
"12 Variations faciles (air autrich.).. WeinPrep supplies the
original publisher and plate number: Imprimerie Chimique, #2111.
AUTHENTICATION: ArTh (which in 1819 notes Steiner as the publisher),
C&D, SteinTh.
COPY: Not located.
DATE: Adv. 10 June 1813 (WeinPrep).
LATER EDITIONS -
- Vienna: Steiner & Co., second printing of original plates (Hdbuch,1825)•
(Op. 47 cont'd., Op. 48) 54

- Paris: Chanel, A.Meissonnier (Hdbuch,1828),
Hichault, pl.nr. 1503 H, from which incipit is taken. "VARIATIONS/
Paciles/ Pour la Guitarre/ Sur un air National Autrichien/ Com
poses/ PAR/ MAURO GIULIANI/ OEuvre 47..." COPY: In the personal
collection of Prof. R.Dussart, Quievrain (Ht), Belgium.
- London: ed. L.Schulz. "Variations on a national Austrian Air in A,"
Giuliana Nr. 4, sec. to ZuthN.
Opus 48 - ESERCIZIO [24 studies], G.
Vivace^ -J - _J_ ^ _J_ MoJehx.+o
z m = m .
"VTTT 3ZEJ5C ZZ ■/* I D E
Pbfsiiss'imo
I VmX I 1— 1
/ 4/ V » 6° , - n ,. _ /\H e y te H o
T # z^ l L - J ===J— & * s/T 1 sfi
M at-sfoso A/I*,ro
Ay
Plresto Vivnce co n fa r to ^ A.
i o | | § p | f g | p i i I
(Op. 48 cont'd.) 55
A H 0maestoso Allegretto 6
nr
Mouestoso AHe^refto
T t J J Z
Andantino
> ~nr
bt
"•/=£ Ur z z r J / f1 * f *
TIT
AnAa.*tHy*o Con brio
X.
jt±= h K -p -
J8gll
iB ¥
Z S S M F g S i
/Aiicjko &re*-ioso
±
1 V Tlzf~dS * I r
Tempo d i Polonese te a s Allegro maestoso _
r r 1 x^/f r
y^/(sco« mofo
2 3 ^ «■ 24
yp- f
FIRST EDITION: "ESERCIZIO/ per la/ Chitarra/ contenente 24 Pezzi della

maggiorre difficolta/ diversi Preludi, Pasaaggi, ed Asaolo/ Composti
da/ MAURO GIULIANI/ Opera 48..." Vienna: Stamperia Chimica, pi.nr.2113.
(Op. 48 cont'd., Op. 49) 56

COPY: GdM, SB X 38203.
DATE: Mid-1813 (WeinPrep).
LATER EDITIONS -
- Vienna: Steiner & Co., a second printing of original plates (Hdbuch,1825)<
- London: R.Locke & Co. (according to ZuthN).
MODERN EDITIONS -
- Mainz: Schott, Gitarre-Archiv No. 32 (copyright 1926).
* *
Opus 49 - 6 VARIATIONS (Kohlbauem Bub). G.
Allegretto
Theme
T 7T 7 f J r 7T 7T 7
FIRST EDITION: "Six Variations/ pour la/ GUITARRE/ sur la chanson nationale/
:I bin a Kohlbauem Bub:/ composes et dediês/ a/ Mme M. A. DE
RITTERSPURG/ par/ MAURO GIULIANI/ Oeuv. 49..." Vienna: ThadS Weigl,
pl.nr. 1401.
COPT} OeNB, M.S. 23213} Krick.
DATE: 1814 (WeinPrep).
LATER EDITIONS -
- Vienna: Diabelli & Co., reprinting of Weigl plates with pl.nr. D.et C.
No. 4141, listed in Hdbuch,1834. COPT: GdM.
COMMENTS: One finds the folk-melody theme in this unusual collection of

Diabelli1s: 24 Original-L&ndler fUr den Csakan. mit unwillkUhrlicher Be-
gleitung der Terz-Gitarre. nach den beliebtesten Oesterreichiachen Volks~
(Op. 49 cont'd., Op. 50) 57
lieder." Pl.nr. D.et C. N<> 608 (COPY: WStB, Me 12715). No. 4 in this
collection has the title, "Bin jader Kohlnbaua Bua"(Viennese dialect),
with the melody:
h « r ' T t i f a t ) f , f ' r, I f r f i , i
m jjis v - - --= *g = ’
~t>—
* B/h ja. d e r KbWhbaua. Baa. {-he. /
1 4-£f- M
3 + sf V sf
The dedicatee of Op. 49, Mme. de Ritterspurg, is mentioned as hostess

of a series of Liebhaberkonzerte. in at least one of which Giuliani per-
t
formed at the end of February, 1809. J.F. Reichardt describes the setting,
and mentions the dedicatee (in his letter of 1 March 1809)as a talented
singer: "Die Frau von Rittersburg selbst singt sehr angenehm, und das
Fraulein von Zois und die junge Frau von Frank, alle auch sehr hUbsche,
reizende Geschbpfe." (Vertraute Briefe.... ed. Gugitz [Munich,1915], 11,37.)
Opus 50 - PAPILLONS [3£ easy pieces], G.

. ha.zioso&
&-t*a.ziosa
Allege#* i , G-roLzioso
nr
m p
!4
rr r rr r
AHeyrtW o
(Op. 50 cont'd.) 58
/{v\<f-wh’no AH&gre.-hh
* 7
Allegro
uiegro _
piz=^:fj=^4 a gjj
loggg;
^ 7 r ^ 7 7£/ n r ^
• P a r t 2 s
AHegre^bo
k J J i
p ----------4—
u-
p9= f ET
Allegro ^ ^ Anelaa.yrl'tno
Ana
AU&gre+bi Vivace
m _
T s Sty-SH f
LcLvgêHio Alle«jre-Ho
>tr
r 16<
se
t r T ^ r c - T
Tewijao 4i ftlacea «..egrc.ro

^llcgrei+o
adfeffy;/fl?S-
d e£if 1 'EyW' T ■Cw t t w r
21
(Op. 50 cont'd.) 59
(yfwtioso. /4//e$
/ f r / V -6
7
F a r t 3 ---------------------------------- ----------- --------------------
'*/ a / a t t n m J s ’ u x t U r
r-r /AwAiMfrno rjrn . ,
Ij^ - * - &iW"r
Alley
t 5r 1r AndA*»+mo
1
&
A lle y s r-N JL
izM i - P
* r iF y-s: 7 + * =F 7- 7- -7- ^-~
r yf 7 r s^rr r r ssr
FIRST EDITION: "Le/ Papillon pour la Guitarre/ ou/ CHOIX/ des plus beaux
morceaux faciles et agrâbles/ k 1'usage des commencants/ par/ MAURO
GIULIANI/ Oeuvre 50 [later corrected to Op. 50]..." Vienna:
T. Mollo, pl.nrs. 1578-79-80.
COPY: OeNB, MS 23206 (Haslinger reprint).
DATE: Appeared 1815 (WeinPrep).
LATER EDITIONS -
- Vienna: C.Haslinger, pl.nrs. T.H. 6374-75-76 M. Reprint of Mollo plates,
- Paris: Carli, Chanel, Dufaut et Bubois, A.& J.Meissonnier, P.Petit,
Richault (Hdbuch,1828).
MODERN EDITIONS -
- Mainz: Schott, Gitarre-Archiv #48. "Der Schmetterling..., Op. 30." (!)
- New York: Ainsco, [1963]. Everybody's Favorite Series #119» "Thirty-two
Pieces," ed. Bolotine, publ. without opus number.
Opus 51 - 18 LECONS PROGRESSIVES. G. 60
Maes+oso Grazioso
ifer 2
A*~
r i i r 'r y W r
sf vnf f r r
AyitaA'o M<».es+oso
P i 6 1 J*l J*> f K R Fl . 'I'd j S ’,

t?fr r r f ^ ^W W W % /**-*
A/vku^’Kho (rrazioso
■UZIOSO _ _ 1^.
)&
6i*
I ■Wr r f r
Aruia.vi'f-i»<to i ____ Allegro
■ftfc
313 5 ^
^g p p p g ^ 7
**/ Gr *7"
lleiK-hb
*TJ Pi P J
10/ h
»/
AUe^reH-o Y/vace.
■Ay
■**
12
m/ * 7 T — f
P n -
Gmzioso
i
8t£ ® E
- / r ■pr
/T 9~ «s fl3L> *»«»«■«• p,-,
3 T
*^1
G-KQ-z-ioso
~VTT
I S ,
' £ Z f £ £ f i Z f t £ . '
2* — — -
(Op. 51 cont'd., Op. 52) 61
FIRST EDITION would correspond to this entry for Op. 51 in ArMs:

"18 Lemons progressifs, Weigl, -I." Vienna: T. Weigl, pi.nr 1402.
AUTHENTICATION: ArTh (XVIII ldcons pour la Guitarre), C&D (18 fort-
schreitende Lectionen fUr die Guitarre), SteinTh (XVIII L^cons...).
COPY: Not located.
LATER EDITIONS -
- Vienna: Artaria & Co., pi.nr. 3050, from which incipits are taken. This
is a reprint of the original Weigl plates (v. Op. 75» 80 - 83, & 94)»
and is as reliable as the first edition. COPY: WStB, Me 13913*
DATE: 1832 (WeinArt).
- Paris: A.Meissonnier (Hdbuch,1828).
MODERN EDITION -
- London: Schott, G.A. no.63. 18 Progressive Pieces, ed. Vicente Avila.
COMMENTS: The Avila edition (publ. Schott) is faithful to the Artaria

reprint in every respect, but adds fingerings. Particularly praiseworthy is
Avila's care in rendering the original cfynamics, and sforzandi.
* * * * * * * * * * *
Opus 52 - GRAN DUETTO CONCKRTANTE. G & F(V).
[I] Chitarra
Andante
sostenuto
[II] Flauto o Violino
Menuetto
All0 vivace - f
m .■[" q '|1T" ~|—
62
(Op. 52 cont'd.)
[ill] Flauto o Violino

>A/le<are+fo
Rondd
Militare
FIRST EDITION: "Gran/ DUETTO CONCERTANTE/per/ Flauto, o Violino, e

Chitarra/ Composto da/ MAURO GIULIANI/ Op. 52..." Vienna:
Artaria & Co., pi.nr. 2517.
AUTHENTICATION: ArHs, ArTh, C&D, SteinTh.
COPY: VStB, Me 15916; GdM, SB X 49850; N.Y.Public; B. Mus.
DATE: Adv. 8 Dec 1814 (VeinArt).
LATER EDITIONS - r
COMMENTS: This piece may have been conceived as entertainment for the
delegates to the Congress of Vienna (Sept. 1814 - June 1815). It caters
to the military esprit of the times with the third movement, a large and
vigorous Rondd Militare.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Opus 53 - GRAND POTPOURRI. G & F(v).
Andante
Grave
:
I
Andante
Grave
FIRST EDITION: "Grand Potpourri/ pour la/ FLUTE ou VIOLON/ et la/ GUITARRE/
compose par/ MAURO GIULIANI/ Oeuvre 5 5 - • Vienna: Weigl, pi.nr. 1405.
COPY: GdM, SB X 49830, and XI 6310.
(Op. 53 cont’d., Op. 54) 63
LATER EDITIONS -
- Vienna: Diabelli & Co. (Hdbuch,1834).
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Opus 54 - LES VARIETES AMUSANTES. G.
O't^zioso
Grt+zioso . . p -T a
Allejre.'hfa _____ |
3£i
* p u t f u r
A l l - * 9 ( r r a z . i o s o .........
Vivace
- r ^
f f t A 1B I 5 P 1 T
*■ r r r r
AhdLan-fiHO
feowj espressiot ift (rrazioso
a gi g*r
w i
Alle$rcWo Alle*1’0
■£.•tty’
~ r ? f t -f
yu
FIRST EDITION: "Les/ VARIETES AMUSANTES/ ou/ Recueil de pieces faciles/

pour le/ Guitarre/ Composdse It l1usage des Commencans/ par/ MAURO
GIULIANI/ Oeuvre 54...H Vienna: Steiner & Co., pi.nr. S.u.C. 2161.
COPY: Krick.
(Op. 54 cont'd., Op. 55) 64
LATER EDITIONS -
- Florence: Giuseppe Lorenzi, pi.nr. 672, "Les/ Vari£t£s Amusantes..."
COPY: Modena, Liceo Musicale, No. 678.
- Vienna: Haslinger, a reprint of the original plates (Hdbuch.,1828).
- Paris: Carli, A.Meissonnier, Richault, J.Meissonnier, Petibon, P.Petit
(Hdbuch,1828).
Opus 55 - 12 LAENDLER. 2G.
G u ita r I
A
1 # -Qr— #-ffl- A iol h.—
w -r
r T T T j f
--- ----
f f r f r f 7 } - p 'f f f
At*
7 f e
f f f ? r-ff
Cett'L
101
f r ? ft* 4-. Co*J.cu.
(Op* 55 cont'd., Op. 56) 65
i i j ij .^ , u i 4 - ZZZtr”
f Tr?T *V fT *
M f
* T -r
4.u<&ta*.
j*r-Ltr-T
PIHST EDITION would correspond to this entry in ArTh: "XII Landler fUr
zwey Guitarren." Vienna: Steiner & Co., pi.nr. S. u. C. 2256*
AUTHENTICATION: ArMs(Douze Walses), C&D (XII Landler), SteinTh (idem).
COPY: Not located. See, however, Haslinger reprint below.
LATER EDITIONS -
- Vienna: Steiner & Co., presumably a second printing (Hdbuch,1823)
Haslinger, third printing (Hdbuch, 1844). COPY: VIStB, Me 20931.
- London: Chappell's, pi.nr. 5537, from which incipits are taken. "TWELVE
WALTZES/ FOR/ Two Guitars/ BY/ MAURO GIULIANI/ Op. 55...H
COPY: L. of C.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Opus 56 - 12 DIVERTIMENTI. Nos. 5 & 6 . G.
- - - - - - - N° 5, Pl.nr. 2474 - - - - - - -
Tempo di Allegro
-'tekr
i u
•ft t x r rr r
A h d x h h ’H o
Alle-jre-Ho
’ 7 r- :T-
A*d-a.ntSn° AUtg meffo
zaetzr
i ° f
(Op. 56 cont'd.) 66
N° 6, pi.nr. 2475
At*
? eft Z I f ' T 7 r
Andatihno
t,ao
V/Vace,
-7*r *±tl
1 0 i
X f Z ? 7
7 r r
(r^z/oso AHeyrtW*
& b g = E = m 5 & = r
rfrJrrS BF r
pS Q 3M
3
FIRST EDITION: "DIVERTIMENTl/ per/ Chitarra/ contenenti,/ in dodici

piccoli pezzi, d’una/ mediocre facility/ di/ MAURO GIULIANI/ Opera
56/ NO [5 or 6]..." Vienna: Steiner et Comp., pl.nrs. S.et C. N°
2474 & 2475. AUTHENTICATION: ArMs, ArTh, C&D, SteinTh.
COPT: OeNB, MS 29325 (Part 5 only. See comments.).
DATE: Appeared c.1814 (WeinPrep).
LATER EDITIONS -
- Vienna: Tob. Haslinger, reprint of original plates, but with new title
page. "36/ DIVERTIMENTl/ PER/ Chitarra/ Di/ MAURO GIULIANI/ Parte
[5 or 6]/.../ Opera [56] N°[2474 or 2475]." COPT(of Part 6): W.
Berlin, Stiftung PreuBischer Kulturbesitz. WeinPrep estimates the
date of the revised title page at c.1816.
- London: Clementi & Co., pi.nr. 58(?), according to ZuthN.
COMMENTS: There are initial similarities between Studio. Op.l (Part 4), no.
5 and Op. 56 (Part 5), no. 3.
The grammatical sense of the title page of the first edition would
be enhanced by omitting "in" from the fifth line.
The Dive-rtiiiienti by Giuliani were issued in three opus numbers (57,
(Op. 56 cont'd., Op. 57) 67
40, and 56), each opus being in two parts, thereby making six parts in toto.
Each part consists of six little pieces, making a grand sum of 36.
The incipits of Part 5 were taken from the first edition (COPY: OeNB),
while those of Part 6 were available only from the Haslinger reprint
(COPY: Berlin).
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Opus 57 - 12 WALZER. G.
AT
' * r r r r Z £
/ ’J-pJ J - 0
& 4 m
« Mf -
z l z f " ? f
6 ,
—# >
&5 r - 3E
x £ I* ^ L:-
-T f
rfrlif t
<*• -Ay'
J j j Ij i i 8
V?f Tf r ?frTT*frf
l o h r ~ . t i L i g M
* f r r f 1 "*
44 Zp ^ f ’ -'rrd r*uuL . J , " 9*9 7

?>+^-rff F#=
-4—
%
Mf f=•rf r
(Op. 57 cont'd., Op. 58)
FIRST EDITION: "12/ WALZER,/ fur die/ Guitarre/ von/ Mauro Giuliani/
57tes Werk..." Vienna: S.A. Steiner & Comp., pi.nr. S.u.C. 3027.
COPY: Dubrovnik, Franciscan Cloister, 4285/154.
DATE: Appeared c.1819 (WeinPrep).
LATER EDITIONS -
- Vienna: Haslinger, a reprint of the original plate3 (Hdbuch,1828).
MODERN EDITION: Zwolf Valzer filr die Gitarre von M. Giuliani. Op. 57.
ed. Schwarz-Reiflingen. Leipzig/Berlin: Zimmerman,[1919]. COPY: N.Y.Public.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Opus 58 - 6 LAENDLER. 6 WALZER. & 6 ECOSSOISES. G.
Landler
f r ?r r * ....to.
FIRST EDITION would correspond to this entry in AzMs for Op. 58: "6 Lhndler,
6 Valzer, 6 Ecossoises." Vienna: Steiner & Co., pi.nr. S.u.C. 3028.
COPY: Not located.
DATE: c.1819 (WeinPrep).
LATER EDITIONS -
- Vienna: Haslinger, a reprint of the original plates (Hdbuch,1828).
COMMENTS: The first incipit (reproduced above) is given in both ArTh and
SteinTh. My efforts on a worldwide scale still have not turned up a copy
of this work. Because of the predictably simple nature of the pieces, if
it is never found it will hardly be missed.
O pus 59 - LES VARIETES AMUSANTES. G. 69
/WtrT i r-. r-r

2 f a j:2± a - Q .i i r -
AmcU>!+/ho Alle^t*0
7 A i r ? r r r - T f ^tr *cr
Q-y^zJoso
Q-y&zJoso fAod&roJ'o
r\oaervfo
5 & r';r ^ r 1 ^ ; 6 j S j f ? ^ 1 f i f e
V C U ? u t u f ’ J w f f - r f-T-r ( 7
AHt<jrcib> L - G-nzioso
G-\r*.z.ioio
£ 2 # t & T - ' V r £ £ ^
_ Vivt*.C4.
vr r f y f= r T V *'
& ZjT
A*ds.*4-i*o . Allfyreih*
Alle^gtiv
j L_
zf!::':::„...
Hi ~ : t . e f . r 1 ; * * x g f c £ z = > ~ b i - = = £ = =
LW S&t » % w w
A*A«.nfmo __ N/lVfl-CC- .
-ry ffia-&p£2-..£J- | 3 ^ ^ g - 4 /7*ty| 'J^zpyjE.
>
■/*• r
r 5r
r r
Q-yo.zioso ^ y A lfy r *
AUe^reHo
' ± ---- "Jirri:
7 i f f r * “
FIRST EDITION-would correspond to this entry in ArTh for Op. 59: "Les
Vairietes Amusantes pour la Guitarre, Riedl." Vienna: Riedl, pi.nr.
745. AUTHENTICATION: ArTh, SteinTh. COPY: Not located.
(Op. 59 cont'd.., Op. 60) 70
DATE: Adv. AmZ. Intelligenz-Blatt 5 (August 1815).
SECOND EDITION, and republication of the Riedl music plates: "BECTJEIL/ de/
PIECES/ faciles & agrâbles/ pour la Guitarre/ a 1'usage des com-
menâns par/ Mauro Giuliani/ Oeuvre 5 9 . • Vienna: Steiner & Co.,
pi.nr. S.u.C. 4223 (or Haslinger ed., S.u.C.. 4223 H). The incipits
are taken from the latter reprint.
AUTHENTICATION: ArMs ("Pieces faciles et agreables"), C&D.
COPY: Krick.
DATE: Appeared 1824 (DeutschMvN).
LATER EDITIONS -
— Paris: Richault (Hdbuch,1828).
COMMENTS: Steiner also republished Op. 89 (Riedl 782) at about the same
time he did the present opus, that is, in 1824.
• f t * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Opus 60 - 6 VARIAZIONI (tema russo). G.
Allegretto affettuoso
J- J J-J J- + 1 J. f J
TEMA
* f T * T s r * r - T
FIRST EDITION: "Vi/ VARIAZIONI/ per/ Chitarra/ sul Tema originale Russo/
composte e dedicate/[coat of anns]/ A1 Sig.e Barone Giuseppe de
Brentano/ dal suo Maestro/ MAURO GIULIANI/ Op. 60..." Vienna:
Chemische Druckerei, pi.nr. C.D. 2252.
COPY: GdM X 49076.
DATE: Adv. 10 Aug 1814 (VeinPrep).
LATER EDITIONS -
— Vienna: Haslinger, republication of original plates (Hdbuch,1828).
— Paris: A.Meissonnier, Richault (Hdbuch,1828).
K
(Op. 60 cont'd., Op. 6l) 71
COMMENTS: The ArMs entry for Op. 60 ia, "Variations (SchiJne Mink*a),
Haslinger." This may indicate the exact name of the "Russian theme."
A German version of the text is printed in the WMZ No.148 (ll Dec 1819)»
1220-21, and some stanzas from the same are reproduced below:
2 e ; t ju t SRtfobie be$ ruffif$en 37atienal» C itb fj}

*<5c$cne UJiinfa, i<& mufl Melben.” •)
$o(bt< 2Jl4b*en in ber 3erne,

Core b o * mein £ieb*en gente#
€ u fi« * 2Jiab*en in N r S ein e,
6 p t i * , o (U til bu m i* ? —
SDcnn i * b i* »erb* miebcr finben,

55Jenn m i* ( t in t 3auber binbeit,
$ P c l*e l © liitf nrrb* i * erppfinbeu p • .’•
W * i * liftc b i * i ... ,
■goibe* 2Jlab*en In ber Seine ic. tc. :■

fDenn f i * brine 3ua’ mir maplen,
?E>enf i * beinee Wugcnftrabien, • •
Jiubl’ i * ffifie eiebetquaicnp '
W * i * Hebe 61*1 ;J
ColbeS 9J166*en in ber 8erne )c. u ,

Unb von beinen (uficn Slppen
SBerb’ i * Conigfeim bann nlppen,
SBieberbatl’n von aaeu Alippen: . .
U * i * tiete 6 1 * ! —
' ) £Oir gtouStn, ten Srcurtbeti iciteS beticbtenSoirpNebtg bur*bie3Rittbci(Uif

biefer, bcrfcibcn SJleiobie angeeigneten, ©tropbeq gefatlig pu (epn.
Jt>l« K i t l X l l i k
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Opus 61 - GRANDE OUVERTURE. G.
Andante
Sostenuto 44^
7 F - L - P r * r f w
FIRST EDITION: "Grande/ Ouverture/ pour la/ GUITARRE/ Composee/ par/

MAURO GIULIANI/ Dedi£e par l'Editeur/ A/ Mr LOUIS AGLIATl/ Oeuvre
61..." Milan: Ricordi, pi.nr. 185.
AUTHENTICATION: ArMs, ArTh, C&D, SteinTh, RicordiCat,1857.
DATE: Published in Milan in latter 1814 (HeckR). It was knovm in Leipzig
(Op. 61 cont'd., Op. 62) 72
by the end of the year 1815, for it is listed in Hdbuch, 1817.
LATER EDITIONS -
- Paris: Richault (Hdbuch,1828). This listing may in fact stand for Op. 16b.
(See comments.)
- Braunschweig: P. Spehr, pi.nr. S. 427. COPY: In the private collection of
Hr. Max Eitele, Munich, Germany.
MODERN EDITIONS -
- Berlin: Spielmusik ftir Gitarre. V.
- Buenos Aires: Ricordi Americana, pi.nr. BA 12407. Mauro Giuliani Composi-
ciones para Guitarra. I, ed. I. Savio (copyright 1965).
COMMENTS: Several Viennese publishers had trouble with inverted numerals,

and published Varii Pezzi del Balletto II Barbiere di Siviglia (alternately
Figaro). Op. 16, as Op. 61. That work should henceforth be catalogued as
Op. 16 b.
The style of Op. 61, Grande Ouverture. shows Giuliani at his most brilliant.
Julian Bream ha3 recorded the work splendidly, on the RCA label, LSC-3070.
The dedicatee of the original edition was probably the guitarist
Agliati, who published with Ricordi his Tema con Variazioni per Chitarra
(pl .nr. 76), Sonata per Chitarra (pi.nr. 128), and Tema con Sei Variaz.
per Chitarra (pi.nr. 1174). Ricordi had a way of dedicating Giuliani's
works to other guitarists, viz. Luigi Moretti (Op. 112), and Filippo
Isnardi (Op. 149 & 150).
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Opus 62 - 6 VARIAZIONI (Tema originale). G.
TEMA
Moderato
FIRST EDITION: "SEl/ VARIAZIONI/ per/ Chitarra/ Composte sopra un Tema

originale/ Da/ MAURO GIULIANI/ Dedicate dall'Editore/ al Sig;re/
(Op. 62 cont’d., Op. 65) 73
MATTEO GASPARO LEONESl/ Opera 62...” Milan: Ricordi, pi.nr. 186.

AUTHENTICATION: ArMs, ArTh, C&D, SteinTh, RicordiCat,1857.
COPY: Modena, Liceo Musicale, No. 675*
DATE: Published in Milan in latter 1814 (HeckR).
LATER EDITIONS -
- Paris: A.Meissonnier, Richault (Hdbuch,1828).
COMMENTS: A Ms. copy is in the Ferrari NachlaB. Modena, Liceo Musicale.

The dedicatee may be identical with the famed extemporaneous poet, Matteo
Leonesi, who appeared with Giuliani in soirees for the Neapolitan nobility.
One of them is reviewed in the Giornale delle Due Sicilie of 10 May 1823*
A fully orchestrated version of this opus exists in manuscript,
presumably in Giuseppe Ricca's hand, in Codogno, Biblioteca Civica L. Ricca,
mus 71, no. 13142. It is for VI I, VI II, VI II di rinforzo, Via. obbli
gato, Vc., Basso, FI., Fg., Cl. in A, Corno I & II, Trombone, Trombe I in
A, and Trombe II in A, in addition to the solo guitar part.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Opus 63 - 6 VARIAZIONI. V & G.

Violino
All0 vivace
r4------ ._____
— -- f— f— -
--- :
f ---!-- f—
•
FIRST EDITION: "VI/ VARIAZIONI/ per/ Violino, e Chitarra/ Composts, e
dedicate/ A1 Sig:re/ Giuseppe Mayseder/ da/ Mauro Giuliani/ Opera
63...” Vienna: Pietro Mechetti qm Carlo, pi.nr. 402.
COPY: New Ydrk Public, Mus. res. *MY0.
LATER EDITIONS -
Opus 64 - 6 VARIAZIONI (Poschaluite Sudarina). G.
Allto Poschaluite sudarina sette samnay re - dom
, 1 S < H n I {T3 ~ T ]~
4 r r r r ^ ^ r r
FIRST EDITION: "6/ VARIAZIONI/ per la/ Chitarra/ sul Aria Russa:
Poschaluite Sudarina/ Composte da/ MAURO GIULIANI/ Op. 64..."
Vienna: Artaria & Co., pi.nr. 2324*
AUTHENTICATION: ArMs (which says "8 Variations, thSme russe"), ArTh,
C&D (which says, "l'aria Russa: Pascia luite"), SteinTh.
LATER EDITIONS -
COMMENTS: This is a brilliant set of variations. The last one (Var. 6)

is a polonaise. The same theme, which might be translated, "Have pity,
Madam," was "varied" by that master of the theme and variation form (who
never wrote anything else),,and music tutor to the empress, Abbe Gelinek,
as his Op. 83*
Opus 65 ~ VARIAZIONI. e POLOUESE. G & stg. quartet.
Chitarra
Andantino
Solo
TEMA £
J■J■-J—J-
FIRST EDITION: "GRAN/ QUINTETTO/ Variazioni, e Polonese/ Per/ Chitarra,
due Violini, Viola, e Violoncello/ Composto/ Da Mauro Giuliani/ dall*
Editore Dedicato/ All'111.m0 Signor Conte/ Giuseppe Sangiuliani/ Opera
65/... N.B. Questo medesimo pezzo si trova anche ridotto in Duetto per
Chitarra e Cembalo." Milan: G. Ricordi, pl.nrs. 187.188. COPY: GdM.
(Op. 65 cont'd.) 75
ARRANGEMENT: "Grandi Variazioni/ e/ Polonese/ per/ Chitarra e Cembalo/

composte/ DA/ MAURO GIULIANI...(No opus number)" Milan: G. Ricordi,
pl.nrs. 187.1697. COPY: Munich, Bayerische Staatsbibl.
DATE: HeckR situates pl.nrs. 187.188 at c. 1814-15, and pi.nr. 1697 at
circa April, 1823.
LATER EDITIONS -
The Viennese firm of Tranquillo Mollo advertised the quintet version
in the Wiener Zeitung. No. 95* of 13 July 1816. If this were one of Mollo's
own publications, its plate number would appear to come after #1650, ac
cording to Beitr'dge II, 9. Such an edition has not been found.
Giovanni Cappi advertised the quintet version in the Wiener Zeitung.
No. 108, 14 May 1818, without pi.nr. Likewise, no Cappi edition is known
to exist.
- Leipzig: Pr. Hofmeister, pi.nr. 1201. "Variations/ et/ P0L0N0ISE/ pour/

Guitarre et Pianoforte/ composes/ par/ MAURO GIULIANI/ Oeuvre 113..."
This work, with false opus number, is in fact Op. 65* Pazdirek's list
to the contrary notwithstanding. The Hofmeister ed. is entered in
Hdbuch,1828, as Op. 113. COPY: L. of C.
- Paris: Richault (Hdbuch,1828), both quintet and G&P versions.
MODERN EDITIONS -
- Bonn: Simrock, Elite ed. No. 3218. Quintet.
* * * * * * * * * * # * * - * * * * * * * * * * * * * * * * * * * * * * *
Opus 6 6 - 3 RONDEAUX, 2G.*
Guitar II (Prime)
Allegretto ,
— . _______
Rondb 1
*The asterisk indicates that the work calls for one Terz-guitar, in this
case Guitar I.
(Opus 66 cont'd.) 76
Guitar I (Terz)
Grazioso . k
■/HT
Rondb 2
3 - ^ r r r r r r
Guitar I (Terz)
Allegretto
Rondb 3 £
i H
-/t r r
FIRST EDITION: "III/ RONDO/ per due/ Chitarre/ composti e dedicati/ AL
SIG.®/ Barone di Mesnil/ da/ MAURO GIULIANI/ Opera 66/..." Vienna:
Steiner & Comp., pi.nr. S.& C. 2478.
COPT: GdM.
DATE: Appeared. 1816 (WeinPrep). See Intelligenz-Blatt #3, AmZ (1816).
LATER EDITIONS -
- Vienna: Haslinger, republication of original plates (Hdbuch,1828).
- Paris: Richault, pi.nr. 1336 R. "Trois/ RONDEAUX/ Concertans/ Pour deux
Guitares/ dediSs/ a Madame la Baronne/ de Mesnil/ et Composes/ PAR/
M. GIULIANI/ oeuv. 66..." COPY: L. of C., M 293/ .<?/ case.
- London: Paine & Hopkins, no pi.nr. "GIULIANI'S/ Three Admired Rondos,/ for/
TWO GUITARS,/ Revised & Fingered, by/ G. H. Derwort/..." (No opus number.)
COPY: L. of C., M 292/ .D9/ Case.
* *
Opus 67 - GRAND POTPOURRI. 2G.*
CHITARRA PRIMA
Col capotasto alia terza posizione o pure Terz Chitarra
Andante
sostenuto
CHITARRA SECONDA
Andante
sostenuto
■ ^ T T - f T - T T ! :
(Op. 67 cont'd., Op. 68) 77
FIRST EDITION: "Gran/ POT-POURRI/ per due/ Chitarre/ composto, e dedicato/

AL SIG©/ CARLO DE HASLINGER/ da/ Mauro Giuliani/ Op. 67..." Vienna:
Pietro Mechetti qm Carlo, pi.nr. 410.
COPY: GdM, X 49065, only Chitarra Prima part. See comments.
DATE: Adv. 20 Jan 1816 (Beitrhge II, 10).
ARRANGEMENT, G & P: "Grand Potpourri arr. pour Pianof. et Guitarre par

Leidesdorf tirl de l1oeuvre 67.. .Mechetti" (ArMs entry), listed in
Hdbuch,1819.
LATER EDITIONS -
- Paris: Carli, Chanel, A.Meissonnier, Richault (Hdbuch,1828), for 2G.
Richault (Hdbuch,1828), Leidesdorfrarr. for GAP.
COMMENTS: The incipit for Chitarra Seconds given here is taken from the
early thematic catalogues, ArTh and SteinTh. The apparent conflicting key
signatures in the incipit result from Guitar I being a terz-guitar (tuned
G c f a*> d 1 g'), while Guitar II is a prime-guitar (tuned E A d g b e').
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Opus 68 - 2 RONDOS. G & P.

Chitarra
RONDO I
1 i = V SF ' tF
RONDO II
krL-.~ -ir- -------" '
■f
FIRST EDITION: "2/ RONDO/ filr/ Piano-Forte und Guitarre/ von/ MAURO
GIULIANI/ 68tes V e r k . V i e n n a : S.A.Steiner & Comp., pi.nr.
S.u.C. 5029. AUTHENTICATION: ArMs, ArTh, C&D, SteinTh.
(Op. 68 cont'd., Op. 69) 78
COPY: L. of C., M 277/ .G Case.

DATE: Pub'd. no later than Dec 1818. Listed, in Hdbuch,1819.
LATER EDITIONS -
- Vienna: Haslinger, republication of original plates (Hdbuch,1828).
ARRANGEMENT, 3G - Schott, Gitarre-Archiv. no. 252 (the second rondo, arr.

for "Terz-, Prim-, und Quint-Bass-Gitarre ").
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Opus 69 - LA LIRA NOTTURNA. 2G,*
Maestoso
H | ( | ' T = y --g
N4
FIRST EDITION would correspond to this entiy in ZuthN: "La Lira not-
turaa. Contenente 20 prescelti pezzi i piu favoriti e aggradevoli,
parte tradotti e parte originalmente composti, per due chitarre, e
dedicati Alla Signora de Jager nata Baronessa de Riefel da Mauro
Giuliani, Op. 69." Vienna: Mechetti qm Carlo, pi.nr. 442.
AUTHENTICATION: ArMs, ArTh (from which incipit is taken), C&D.
COPY: Not located. It was once in the antiquariat V.A. Heck, Vienna,
but they have been so far unable to trace its buyer.
DATE: Adv. 5 Oct 1816 (Beitrage II, 10).
LATER EDITIONS -
- Paris: Chanel, Richault, & A.Meissonnier (Hdbuch,1828).
- Vienna: Mechetti, probably a republication (Hdbuch,1834).
Opus 70 - êce GRAM) CONCERTO. G* 4 orchestra. 79
[I] Violino Primo
a.rto
Allegro
Moderato XV
i m v « • «
■M* f/zi.
Terz- Chitarra
3S2-
^ rxi^ r*ff rr|

irir>rf ^
di] Terz—Chi tarre
Variazioni
Soto
Andantino X V
alia 3*3-1 / " ■
Siciliana
J f TTT rr r
Cm] Terz-Chitarra
Polonaise
Allegretto
Basso e Violoncello
Allegretto
Polonaise
FIRST EDITION: According to ArTh, the first edition of this work was
entitled III Gran Concerto, and was published by wM/iw (Mechetti or
Mechetti qm Carlo). It has never been located, but should date from
mid-1816. WeinPrep has no additional information.
SECOND EDITION (from which incipits are taken): "TROISIEME/ GRAND CONCERTO/
(Op. 70 cont'd.) 80
pour la/ Guitarre/ avec accompagnement de/ GRAND ORCHESTRE/ Compost

et dedi<5/ A MONSIEUR LE BARON/ Alexandre de GhillAny & c./ par/
MAURO GIULIANI./ Oeuvre 70..." Vienna: Cappi et Diabelli, pi.nr.
C. et D. NO 1119-20.
AUTHENTICATION: ArMs, ArTh (which states Mechetti as the original
publisher), C&D.
COPY: Paris, B.N., Fonds Anciens du conservatoire, A 33449.
DATE: Adv. 3 Sep 1822 (WeinCap), along with certain arrangements. See
comments.
LATER EDITIONS—
- Paris: Richault (Hdbuch,1828), both orchestral and quartet versions.
COMMENTS: The orchestral parts preserved by the Paris B.N. include:

Flauto Tromba I & II in F
Oboe I & II Timpani in F-alto et C
Clarinet to I& II in B VI. I & II
Fagotto I & II Alto
Corno I & II inF Violoncello et Basso
The terz-guitar is called for, making the actualkey of the concerto F maj.
WeinCap provides the following advertisement from the Wiener Zeitung
No. 202, of 3 Sept 1822:
(Catalogue Troisieme grand Concerto pour la Guitarre avec

citations) Orchestre, compose par Mauro Giuliani. Op. 70.
- Op. 7 0 ------ Pr. 12 fl. W.W.
- ARR., G & quar- Giuliani, M. Detto pour detto, avec accomp. de deux
tet Violons, Alto et Violonc. Pr. 8 fl.
- ARR., G & P - - ~ " " Detto pour detto, avec accomp. de
Pianof. Pr. 6 fl.
- ARR., 2 G - " " Polonaise pour deux Guitarre3, aus
detto. Pr. 2 fl. [3d mvmt. only].
- ARR., G " " Variat. pour la Guitarre seule, aus
detto. Pr. 1 fl.
+ ++ + + + + + +
- ARRANGEMENT, G &Quartet,presumably would have the pi.nr. 1120, but has

not yet been located.
(Op. 70 cont'd.) 81
- ARRANGEMENT, G & P: "Troisifeme Grand Concerto pour la Guitarre avec

accompagnement de Pianoforte..." Vienna: Ant. Diabelli & Co., pi.nr.
D. et C. N° 1121. COPY: Krick (the piano part is reported missing).
LATER EDITIONS -
- London: Johanning & Co. "Third/ GRAND CONCERTO/ for the/ GUITAR/
with a separate Accompaniment for the/ Piano-Forte,/ Composed by/
Mauro Giuliani/ Op. 70..." COPT: L. of C. DATE: Adv. in Giulianiad.
Vol. I (London,1853), P* 60, as being ready for sale Nov. 1st [l833j.
- ARRANGEMENT, 2G: A manuscript copy (not autograph) of this version is

in the OeNB, S.m. 14.970. It is for Terz- and Prime-guitar. -
FIRST EDITION is presumably: "POLONAISE/ pour/ deux Guitarres/ tir£e
du 3®e Concert oeuv: 70/ composes/ par/ Mauro Giuliani/..."
Vienna: A. Diabelli et Comp., pi.nr. C. et D. N° 1123* COPT: Krick.
LATER EDITIONS -
- ARRANGEMENT, G, would supposedly have pi.nr. C. & D. (or D. & C.) N°

1122 or 1124. COPT: Not located.
LATER EDITIONS -
- Paris: Richault, "Variations tiroes du 3kme Concerto," listed in
Hdbuch,1828.
- London: an excerpt of the first movement for solo guitar is re
printed in the Giulianiad I, No. 1 (London, 1833)* music fascicle,
p. 5*
Opus 71 - 3 SONATINE. G. M«.esfos©

J.
SONATINE I [i m
* r T T y r (*
Meho«ifo Alleyn-Hv K ondo Alle^re-H-o
. n
V 't y
(Op. 71 cont'd.) 82
[i] Andantino espressivo [ii] Andantino Grazioso
SONATINE 20^
[iii] Allegretto con brio
f a J T l f T f y i z s ^
K m w f f
[i] Andantino Sostenuto (m.1-26) - Tempo di Marcia (m.27f)
SONATINE III i
7 r xW
[ii] Scherzo con mcto [iii] Finale Allegro
rrr
FIRST EDITION: "Tre/ SONATINE/ per/ Chitarra/ d»una facilitd progressiva
ad uso de' principianti/ composte da/ Mauro Giuliani/ Op. 71..."
Vienna: Pietro Mechetti qm Carlo, pi.nr. 625*
AUTHENTICATION: ArMs, ArTh, C&D.
COPI: In the personal collection of Prof. A. Company, Florence, Italy.
DATE: Adv. Dec 1816 ("Intelligenz-Blatt 11," Am£, Vol. 18).
LATER EDITIONS -
- Paris: Carli, Richault (Hdbuch,1828).
MODERN EDITIONS -
- Frankfurt a/Main: Zimmerman, pi.nr. Z. 10715. Drei Sonatinen. ed.
Heinrich Albert.
- Buenos Aires: Ricordi Americana, pi.nr. BA 12407. Op. 71, Nos. 1 & 2,
in Mauro Giuliani Comnosiciones Para Guitarra. ed. I. Savios,
copyright 1965.
Opus 72 - 8 VARIATIONS (Jeannot & Colin). G. 83
Allegretto
THE t o
M A is f i p p
f T s 5T s X
FIRST EDITION would correspond to this entzy in ZuthN: "VIII Variations
pour la Guitarre sur un Duo de 1'opera Jeannot et Colin.1* Vienna:
Mechetti qm Carlo, pi.nr. 626.
AUTHENTICATION: ArMs, ArTh (from which incipit is taken), C&D,
COPY: Not located.
DATE: Appeared circa 1819 (WeinPrep). No known advertisement.
LATER EDITIONS -
- Paris: Carli, A.Meissonnier, Richault (Hdbuch,1828).
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Opus 73 - m ar at b li b s . G.
6’mzi‘oSe
1 z i i = l l | a | l l i § § i
L j - r
A h A a.«+»Vi*
a
f f t
4 7 7 (J 7 7 1 T 7 7 7 * / 7
AU&}retho |L A lle $ ro ^
/*-
ft
• .7 1 1 "r ’ "/
Allegro Vjfvo.ce.
Mi'nufit+o
3*^
1 ft f f T
(Op. 73 cont'd., Op. 74) 84
FIRST EDITION: "Bagatelle/ per la/ Chitarra/ Composte da/ MAURO GIULIANI/
Op. 73.=»w Vienna: Pietro Mechetti qm Carlo, pi.nr. 627.
DATE: Vorks printed by Mechetti qm Carlo surrounding pi.nr.627 were ad
vertised 11 Feb 1819.
LATER EDITIONS -
- Paris: Carli, Richault, A.Meissonnier, J.Meissonnier, P.Petit (Hdbuch,1828).
Opus 74 ~ PIECES FACILES ET AGREABLES. G & F(V).

f
— Flflte. ou Violon
S o s ic n o i’o Menueth Allegro

7*4*
Gra.zioso
±jC.-£ „ _
3 §
9B O •Sos+a.wu+o
Mocs+oso
H B K O I M e n u e iio Allegro
AWegrtUo Sptî-hso A ftd e u rh 'iio Gr+zioso
Tempo A'i MerutL Allegrt-H-o Soke.rzoso
(Op. 74 cont'd., Op. 75) 85
Mafish>*o Ca.wf*ki7e , Grxziioso
"T J
M e w e H x A lle v v - ApeL*yib’*o B o le ro
J 4
AnAon-tiMO &ir*-zioso Vivo-ce.
FIRST EDITION: "PIECES/ Faciles et Agreables/ pour la/ FlClte, ou Violon

et Guitarre/ Composes par/ MAURO GIULIANI/ Oeuvre 74.•
Vienna: Pietro Mechetti qm Carlo* pi.nr. 628.
COPT: GdM, SB X 49830.
DATE: c. Feb 1819 (Beitrhge II, 10).
LATER EDITIONS -
- Paris: Chanel, Richault(Hdbuch,1828).
Opus 75 - 12 LAENDLER CON FINALE. Raccolta Prlma. l*or 2 G.
INCIPITS: For simplicity's sake, the incipits given here are taken from
the arrangement for G & F(v) of Op. 75, issued simultaneously by Veigl with
the "first edition," for terz-(hence the asterisk) and prime-guitar. The
melodies are all from the F( v ) part (pi.nr. 1608.1609), with the exception
of No. 10, where the guitar acc't.(pl.nr. 1718) takes the lead.
Rovftf in 6va
l f e
I*' 1 *'
(Op. 75, cont'd.) 86
Flauto, o Violino [except #10]
e h t i l t r r r l U l
1**
[g -ui+toh-J
.
2ter 23—
FIRST EDITION: "XII/ Liindler/ con finale/ PER UNA, 0 DDE GUITARRE/ Com-
poste da/ MAURO GIULIANI/ RACCOLTA PRIMA/ Op: 75..." Vienna:
T. Weigl, pi.nr. 1580.
AUTHENTICATION: ArMs (FI & G version), ArTh (l or 2 G version),
C&D (l or 2 G).
ARRANGEMENT, G & F(v), from which incipits are taken: "Zwolf handler/
samt coda/ flir/ FLOTE oder VIOLINE/ mit Begleitung der/ Guitarre/ von/
MAURO GIULIANI/ ERSTE SAMMLUNG..." Vienna: T.Weigl, pl.nre. 1608.1609
(F[V] part) and 1718 (g). COPY: WStB, Me 28836.
(Op. 75 cont'd., Op. 76) 87
ARRANGEMENT, Pfte. publ. by Weigl, pi.nr. 1610. COPY: GdM, XV 24829.
LATER EDITIONS -
- Vienna: Artaria, pi.nr. 5051* a reprint of the original Weigl plates
(pl .nr. 1580) posthumously, in 1832.
MODERN EDITION - Vienna: Klassicher der Gitarre. no. 887. "12 L&ndler fttr
Terz- und Prim-Gitarre, Op. 75."
COMMENTS: Several arrangements for various instruments (more than are

listed here) appeared simultaneously with the first edition, which was for
terz- and prime-guitar. The version for G & P(v) was used for the present
incipits.
Opus 75 is the first in a series of three sets of 12 Laendler for a
variety of instruments, all published first by Weigl: Op. 75* 80, & 94*
All three were reprinted by Artaria, with the latter's plate numbers
(3051, 3052, & 3056 respectively) engraved over the effaced Weigl pl.nrs.
Opus 76 - POTPOURRI (Tancred). G & F(V).
Flauto o Violino
ANDANTE
Marcato
FIRST EDITION: "POT-POURRI/ pour la/ FlOte, ou Violon et Guitarre/ tir<5

de 1'opera/ Tancred/ compost et dedi£/ A S.A.. Monseigneur le Prince
Frederic/ .ubomirski/ par/ MAURO GIULIANI/ Op. 76..." Vienna: T.
Kollo, pl.nr. 1677.
DATE: Adv. 31 March 1817 (Beitrage 11,9).
(Op. 76 cont'd.. Op. 77) 88
LATER EDITIONS -
- Paris: Chanel, Richault (Hdbuch, 1828).
- Vienna: Haslinger (Hdbuch, 1834).
COMMENTS: Hdbuch,1818, lists Giuliani's "Potpourri tir£ de l'op^ra

Tancredi pour FI. ou V. et Gu." as published WoO by Mechetti. This is
almost certainly a typographical error, for Mollo was the original publisher.
Opus 77 - DUETTINO FACILE. G & F(V).
Violino o Flauto
Andantino
maestoso
4 vnf
Con brio
Minuetto
Scherzoso
Allegretto
Rondo
--- --
FIRST EDITION: "DUETTINO/ facile per/ Flauto, o Violino, e Guitarra/

Composto da/ Mauro Giuliani/ Op. 77..." Vienna: Artaria & Comp.,
pi.nr. 2499.
COPY: GdM, SB X 49830; N.Y. Public; B.Mus.
DATE: Adv. 23 July 1817 (WsinArt).
LATER EDITIONS - Bonn: Simrock (Hdbuch,1828).

- Paris: Chanel, A.& J.Meissonnier, Richault, H.Lemoine, P.Petit (Hdbuch,
1828).
Opus 78 - DIVERTISSEMENS, G. 89
NO .R n i
&
so
GRAZIOSO Ipl yvr “
NO 2
ANDANTINO 2 Vv:v: " _
r ...
*■«— &J- ----
r
Alla Sicilians£
• .
” f ? " r r '
r r=
■gir
s*z.
N° 4
ANDANTINOii s
FIRST EDITION: "Divertissemens/ pour la/ Guitarre/ par/ Mauro Giuliani/

Oeuv: 78..." Vienna: Pietro Mechetti qm Carlo, pi.nr. 495*
COPY: OeNB, MS 23209.
DATE: Adv. 13 Sep 1817 (BeitrMge II, 10).
LATER EDITIONS - London: Clement! & Co., pi.nr. 60.

COMMENTS: Some of the music in this opus is not particularly original.

There is a striking similarity between Op. 78, No.2, and Op. 50, No.23*
The harmonies of Op. 78, No.l, and Op. 50, No.19, are similar.
Opus 79 - CAVATINE (Pi tanti palpiti) VARIE POUR LE CHANT, voice & G(p).
-fi— M ..... _ 0 . ..._....
CANTO
Di •fa.vi-fi p* l- pi-- H y
R % = = — 1------ ---1— j .. J .. = |
Chi tarra. -el----- -J— J — -ol------- H-------
_P _» » *
z U J zLZI
(Op. 79 cont'd., Op. 80) 90
FIRST EDITION: "CAVATINE/ Di tanti palpiti :: de 1'Opera Tancred/ Variê

pour le Chant, avec accompagnement de/ Guitare ou Piano-Forte/ et
Dediee a Son Ami/ Joseph Antoine de Bridi/ par/ MAURO GIULIANI/ Op: 79..
DATE: Adv. 1 May 1817 (WeinArt).
COMMENTS: Richault published Giuliani's Op. 93 incorrectly as Op. 79 (COPY:

L. of C.). Interestingly, one of the variations in this Cavatine varies is
composed in the bolero style, so popular at that time. The vocal colorature
and ornamentation written into this-piece show what could be done to "dress
up" the standard Rossini aria for purposes of vocal display.
Opus 80 - 12 LAENDLER. Raccolta 2da. 2G*.
Chitarra I - Terz chitarra
18
T j f ' i ' r 7 7 •T x f - x - r
An asterisk after instrumentation means that a terz~guitar is involved.

*An
(Op. 80 cont'd.) 91
r r
**•
J X f
x f r
FIRST EDITION: "12/ Laendler/ per/ DUE CHITARRE/ composte da/ MAURO GIULIANI/
RACCOLTA SECONDA/ Opera 80..." Vienna: T.Veigl, pi.nr. 1652.
AUTHENTICATION: ArMs (see comments), ArTh, C&D.
COPY: WStB, Me 15961 (Veigl plates re-issued by Artaria).
ARRANGEMENTS of Op. 80 for other instruments, or combinations of instru
ments, were published simultaneous with the first edition by T.
Veigl, with plate numbers 1679 through 1682.
DATE: The arrangements were advertised 8 Apr 1818 (WeinPrep).
LATER EDITION -
- Vienna: Artaria, pi.nr. 3052, a re-issuing of Weigl plates #1652,
posthumously, in 1832.
COMMENTS: Pietro Mechetti qm Carlo erroneously issued ”12/ Valzer/ per la/
MftagggasaaassL:
CHITARRA..."(pi.nr. 494) as Giuliani's Op. 80, and advertised the same on

13 Sep 1817 (BeitrSge II, 10). COPY: WStB, Me 34582. ArMs picked up the
error by listing Mechetti as the publisher of Op. 80, but ArTh correctly lists
the publisher of Op. 80 as Veigl. The Mechetti qm Carlo work was then
emended to read Op. 90, which number it retains (COPY: GdM, SB X 38203).
Opus 80 is the second in a series of three sets of Laendler for a
variety of instruments, all published by Weigl: Op. 75, 80, & 94.
Richault erroneously published "2 favorite themes of Mme. Catalani"
as Op. 80.
Opus 81 - 6 VARIATIONS. G & F(v). 92
Grazloso
VfitttlUOV ^ t
T E M A
r tr-pTr-w-fi&f 1
Grazioso
T E M A i TC~7~ W iJ3^
^ x mf f - ? T * ^ *
FIRST EDITION: MVl/ VARIATIONS/ pour/ Fltlte et Guitarre/ Composees/ par/
MAURO GIULIANI/ Oeuv: 18 [sic! The inverted numerals were corrected
by Artaria to read "Oeuv: 81" in a republication.]..•" Vienna:
T. Veigl, pl.nrs. 1623 (guitar) and 1629 (flute).
COPY: GdM, SB X 49830, Vol.II; Brno, Universitnf Knihovna, ST Mus
4 - 423985.
SECOND EDITION, and reprint of the original plates: "Six/ VARIATIONS/ pour/
Violon et Guitarre/ Composees par/ MAURO GIULIANI/ Oeuv: 81..."
Vienna: Artaria & Comp., pi.nr. 3053* COPY: WStB, Me 13933*
DATES: First edition adv. 14 June 1817 (WeinPrep).

Second edition appeared posthumously, in 1832 (WeinArt).
LATER EDITIONS -
- Paris: Chanel, A.Meissonnier, Richault (Hdbuch, 1828).
COMMENTS: Artaria brought out an arrangement of Op. 81 for 2G, listed in

Hdbuch,1844*
* * * * * * # * * • • * * * * * * * * * * * * * * * * * * * * * ; * * * * * * * *
i
Opus 82 - GRANDE SERENADE. G & F(v).
Flauto, o Violino
Grazioso
_ddd.
T E M
(Op. 82 cont'd., Op. 83) 93
Flauto, o Violino
Menuetto \ :T -$-?* p - I ^ E
Allegretto
Flauto, o Violino
Allegro
brillanteI 1^ s —
*F sf
Chitarra
Marcia z M ;
Maestoso <
f t x ? t r X r
FIRST EDITION: "GRANDE SERENADE/ pour FlOte ou Violon et/ Guitarre/

Composee et dediee/ h. Monsieur le Baron/ [crest]/ CHARLES D'AICHEL-
BOURG/ par/ Mauro Giuliani/ Oeuv: 82..." Vienna: T. Weigl, pi.nr.
1630. AUTHENTICATION: ArMs, ArTh, C&D.
COPY: GdM, SBX 49830.
LATER EDITIONS -
- Vienna: Artaria & Comp., pi.nr. 3054. This was a re-issuing of the
original Weigl plates (Cf. Op. 51,75» BO, 81, 83, & 94).
COPY: WStB, Me 13944. DATE: Appeared in 1832 (VeinArt).
COMMENTS: This is a carefully composed piece, in which the flute alternates

with the guitar in taking the lead, according to this schema: Theme (Fl),
Var.l (G), Var.2 (Fl), Var.3 (g ); Minuet (Fl), Trio (G); Allegro (Fl)j
Marcia (G), Trio (Fl).
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Opus 83 - SIX PR&LUDSS. G.
A llg jr o con b fi'o V iV A .e e Sr
W 7 'f~r
FIRST EDITION: "Six Preludes/ pour la/ GUITARRE/ composes et dedils/ A/
Kr JOSEPH STIELER/ par/ Mauro Giuliani/ Oeuv: 83..." Vienna:
Thad£ Veigl, pi.nr. 1640.
DATE: Appeared 1817 (VeinPrep).
LATER EDITIONS -
- Vienna: Artaria, pi.nr. 3055* This was a reprint of the original
Veigl plates. COPY: GdM.
- Paris: Richault, pi.nr. 890 R, COPY: L. of C.
- London: Clementi & Co., pi.nr. 61. COPY: WStB.
MODERN EDITIONS -
- Vienna: Klassicher der Gitarre. Heft III, No.876, ed. Zuth (1922[?]).
- Mainz: Schott, Gitarre-Archiv # 64, ed. GStze.
Opus 84 - VARIATIONS. G & F(v).

Flauto o Violino
Andantino Sostenuto
"P T """ 'PUWMA d

l ■ rp
—
2— C --I------- ^
^ / ■p. °
FIRST EDITION: "VARIATIONS/ pour/ FlUte ou Violon/ avec accompagnement/
(Op. 84 cont'd., Op. 85) 95
de la/ Guitarre ou Piano-Forte,/ composes/ par/ MAURO GIULIANI/

Oeuvre 84..." Vienna: Artaria & Co., pl-.nr. 2502.
LATER EDITIONS -
COMMENTS: An early review of this work gives a very accurate assessment

of the equality of parts which it exhibits, despite the wording of the title:
Bey [Op. 84] konnte man bemerken, daB der Titel nicht ganz richtig
ist, indem die Guitarrestimme nicht begleitend, sondem durchaus kon—
zertirend (die zweyte und die vierte Variation sind ganz flir die Gui
tarre) von bedeutender Schwierigkeit ist. In der sechsten Variation
sollten in der Guitarrestimme l6tel und nicht 32stel Triolen stehen.
FUr die Guitarre sind diese Sachen sehr effektvoll [Op. 85, 98,
& 84]; wo Schwierigkeiten vorkommen, sind sie immer belohnend, und
so warden alien Liebhabem der Guitarre diese Neuigkeiten gewiB hochst
willkommen seyn. Stich und Papier sind sehr schUn. p * *
- WMZ Nr. 28 (5 March 1818), 226.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Opus 85 - GRAND DUO CONCERTANT. G & F(v).
Flauto o Violino
Chitarra
J 4-
Andante
molto Sostenuto
/*~
/r t f Tuf-
Flauto o Violino
Vivace
^ - 1
Scherzo 2 3=
(with Trio)
(Op. 85 cont'd.) 96
Flauto o Violino
Allegretto
espreasivo
N -fZs
FIRST EDITION: "GRAND DUO CONCERTANT/ pour/ Flflte ou Violon/ et/ Guitarre/
Compose et dedie/ A Madme la Baronne Anne Marie de Schloissnigg/
[crest]/ par/ Mauro Giuliani/ Oeuvre 85..." Vienna: Artaria et
Comp., pi.nr. 2501.
COPY: WStB, Me 13915; N.Y. Public; London, B.Mus.; GdM; OeNB
DATE: Adv. 27 Sept 1817 (WeinArt).
LATER EDITIONS -
- Paris: Chanel, Richault, A.Meissonnier (Hdbuch, 1828).
MODERN EDITION -
- Frankfurt a/Main: Zimmerman, pi.nr. Z 11041, copyright 1956.
COMMENTS: The overall equality of the instruments in this duet is reflected

in the way they alternate beginning new movements, or sections of movements:
1st mvmt.(Fl); 2nd (g ); 3rd - scherzo (Fl), trio (G); 4th (Fl). A highly
creditable performance by Jean-Pierre Rampal and Rene Bartoli was recorded,
as of 1969, on the Odyssey label, No. 32 16 0218.
An early review of the first edition is found in the WMZ. No.28
(5 March 1818), 226. The reviewer states that the version with violin
pleases him more than that with flute:
... [Op. 85] ist fllr beyde Theile gleich brillant. Doch
gefSllt es uns besser rnit Violin als mit Fl'dte.
See the comments to Op. 84 for further information on this review.
Opus 86 - 18 DIVERTIMENTI NOTTURNI. G & P(v). 97
Andantino (G) Allegro (Fl)
1.
J - ■■ L |.tl.
* ZULL1T "C 4*
Andantino (Fl) _ Allegretto (Fl)
Andantino grazioso (Fl) Allegretto (Fl)
5.
V
Andante (Fl) Allegretto (Fl)
&
^ r r a -h $ t l f i f m
'f ■P*
Grazioso (Fl) Allegretto (Fl)
9.<
i **/ 1 fcs3 T
Larghetto (Fl) Allegro (g )

■ C L C n .
11 2**-
r r -
Maestoso (Fl) Allegro (G)
2tr 14.
13-
S
Andante.(G) .
is. 16.
■t ? * r p r p ^ r
Grazioso (g ) Allegretto (Fl)
^ lF ^ r f ^
(Op. 86 cont'd., Op. 87) 98
FIRST EDITION: "XVIIl/ DIVERTIMENTI NOTTURNl/ d'una facility progressiva/

per/ Flauto, o Violino, e Chitarra/ Composti/ da/ MAURO GIULIANI/ Op.
86..." Vienna: Mechetti qm Carlo, pi.nr. 533.
COPY: GdM, SB X 49830; N.Y. Public.
DATE: According to Beitrdge 11,10, pi.nr. 499 was adv. 13 Sep 1817, and
pi.nr. 538 was adv. 18 Apr 1818. These establish chronological limits
enclosing pi.nr. 533.
LATER EDITIONS -
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Opus 87 - 6 VARIATIONS (Pi tanti palpiti). G.
Andantino
grazioso
FIRST EDITION: "6/ Variazioni/ brillanti, e della piu grande facilitk/

per/ Chitarra/ su la Cavatina favorita "Di tanti palpiti"/ dell'
opera:/ TANCREDl/ composte da/ Mauro Giuliani/ Op. 87..."
Vienna: Mechetti qm Carlo, pi.nr. 493«
COPY: An electrostatic reproduction of the first edition was sent to
the author by Emil Hladky, from Prague, &.S.S.R.
DATE: Adv. 13 Sep 1817 (Beitrdge 11,10).
LATER EDITIONS - '

- Paris: Carli, Chanel, A.Meissonnier (Hdbuch,1828).
Richault, pi.nr. 611 R. COPY: L. of C. M 127/ .G/ Case.
COMMENTS: A ms. copy, presumably by Ferrari, is now in the possession of

Sigr. Eber Romani, Reggio Emilia (Modena), Italy. Another ms. copy is in
the Biblioteca Popolare "L. Ricca" of Codogno, Italy.
Opus 88 - GRANDK3 VARIATIONS (Romance de Fanchon). G. 99
Maestoso Allegretto
INTRODUZIONE
r f f
FIRST EDITION: "Grands/ Variations/ pour/ Guitarre/ sur la Romance

favorite de 1'Opera/ Fanchon/ composee3 par/ Mauro Giuliani/ Oeuvre
88..." Vienna: Mechetti qm Carlo, pi.nr. 629 (engraved over an
earlier plate number which might have read, "P : C :..40").
DATE: Appeared c. early 1819 (Beitrage II, 10).
LATER EDITIONS -
COMMENTS: Himmel wrote the music to the opera Fanchon. das Leiermhdchen.
which was premiered in Berlin, 15 May 1804• Its Vienna premiere was 13
July 1808, but it was revived there in 1817. Giuliani's variations
must have been inspired by the revival.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Opus 89 - 6 LIEDER von G'dthe. Schiller, etc.. voice & G(p).
No. 1 ABSCHIED von G'dthe

Sostenuto
Z . u. lie ii- J t c li is t* ; Wort z o brecheto
No. 2 LIED AUS DER FERNE von Matthiason

Andantinc
We«n m des Abe->tds Sc.be.ine.
No. 3 ABSCHIED
Maestoso
Lebe v/ohl o ruvtterHche. Efrde, J
(Op. 89 cont'd., Op. 90) 100
No. 4 LIED Von Steigentesch

Maestoso uiOZL.
Wi'*" bei Ae. ffaw<L m H-avieL^ ...
No. 5 STAENDCHEN Von Tiedge

Allegretto
,A*Z.
/AHes wiaab-ê—sehiedeHj ...

No. 6 AN DAS SCHICKSAL Von Reissig
Andantino Cantabile
^ - n -r r
Hore. Scioitksal j WA5 icb heisclne.^
FIRST EDITION: "SECHS LIEDER/ von/ G'dthe, Schiller, Mathison, Tiedge u.a./
in Musik gesetzt/ mit Klavier- oder Guitarre Begleitung/ von/ MAURO
GIULIANI/ Verk 8 9 . Vienna: Riedl, pi.nr. 782.
COPY: OeNB, MS 42.881.
DATE: Appeared in 1817 (WeinPrep).
LATER EDITIONS -
- Vienna: Steiner & Co., reprint of original plates, with new pi.nr.
(S. u. C. 4227). COPY: WStB, M 10871.
Opus 90 - 12 WALZER. G.
(Op. 90 cont'd.) 101
r * * I r l r * L
p f e - s £ ^ j
r * rf s f
5l
* f * *r
11i
f r yr r
FIRST EDITION: "12/ Valzer/ per la/ CHITARRA/ Comp.6 da/ Mauro Giuliani/
Op. 80 [See comments].,." Vienna: Pietro Mechetti qm Carlo, pi.nr.494.
COPY: WStB, Me 34582 (as Op. 80).
GdM, SB X 38203 (correctly, as Op. 90).
DATE: Adv. 13 Sept 1817 (Beitrhge II,10).
LATER EDITIONS -
COMMENTS: Some copies of this work erroneously bear the opu3 number 80.
The scribe of ArMs must have found this confusing, for he put Mechetti as
the publisher of Op. 80. However, ArTh gives both the correct publisher
and plate number for this incipit.
Apparently the plate-number confusion did not end there. Artaria
published some copies of Stud.i dilettevoli. pi.nr. 2510 (Op. 98) incorrectly
as Op. 90 (COPI: In the personal collection of Prof. Karl Scheit of Vienna).
A correct ed. of that title page is in the WStB, Me 13949.
O puc 31 - GRANDES VARIATIO NS (L a S e n t ln e lle ) . G. 102
Introduzione
Maestoso
Theme 5-
AUTOGRAPH (from which incipits are taken): "Grand/ Variations/ pour la

Guitarre/ sur la Romance la Sentinelle/ par/ Mauro Giuliani/ Oeuv. ."
LOCATION: Berlin, Deutsche Staatsbibliothek.
FIRST EDITION would correspond to this entry in ArMs: "Grandes Variations

(Sentinelle) Mollo..." Vienna: T.Mollo, pi.nr. 1737.
AUTHENTICATION: ArTh, C&D, in addition to ArMs.
COPY: Not located.
DATE: Adv. 20 Oct 1818 (BeitrSge 11,9).
LATER EDITIONS -
- London: Clementi & Co., pi.nr. 63 (COPY: V.Berlin, Stiftung PreuB. Kul-
~ London: Giuliana No..1, ed. L. Schulz. turbesitz).
Giulianiad. Vol.II, No.7, 78f.(COPY; London, B.Mus.).
- Yienna: Haslinger (Hdbuch,1834).
COMMENTS: Richault brought out "Douze/ LAENDLERS/ ou Vaises Autrichiennes/

pour deux Guitares..." as Giuliani's Op. 91 (pi.nr. 2179:R). This is a false
opus numbering on the part of Richault. "La Sentinelle" was a very popular
melody with composers in Vienna c.1810-20. There is some question as to
its original author. See the comments to VoO, vocal - 16.
Opus 92 - 12 NEUE LAENDLER. 2 G .* 103
Chitarra I
(Terz-guitar)
d- J a
l i s i
f r ' F F r
^ f T T f T - T f i x = x
>•
Hr rr 5
I } l h ft-4- j
r r ir
MS
7 1 i
&
8
m
^ X X T XX r
^ - O tf 7 | f| _ p
21v
ii
•J T **r
AUTOGRAPH (from which incipits are taken): ”12/ Neue LSndler/ fUr zwei/
Guitarre/ von/ Mauro Giuliani/ Op: 92.”
LOCATION: OeNB, Musiksammlung, #18978.
FIRST EDITION would correspond to this entry in ArMs for Op. 92: ”12 neue
Laendler fUr-2 Guit. Mollo..." Vienna: T.Mollo, pi.nr. 1696.
AUTHENTICATION: ArTh, C&D, in addition to ArMs.
COPY: Not located.
DATE: Adv. 2 May 1818 (WeinPrep). Somehow this plate number was not in
cluded in Beitr'dge 11,9.
(Op. 92 cont'd., Op. 93) 104
ARRANGEMENT, G & F(v), pub'd. Weigl, WoO, according to ArMs. COPY:

Not located. The same is listed in Hdbuch,1828 as Op. 92.
ARRANGEMENT, Pfte, pub'd. Mollo, pi.nr. 1763, WoO: "Zw'dlf/ Neue Original
Walzer/ von/ Mauro Giuliani/ fUr das/ Piano-Forte/ eingerichtet..."
COPY: GdM, XV 49115.
LATER EDITIONS -
- Vienna: Weigl, arr. 2G (Hdbuch,1828).
- Vienna: Haslinger, arr. 2G (Hdbuch,1834).
COMMENTS: The autograph is in score format, and seems at first glance to

have conflicting key signatures. This is merely because Guitar I is a
terz-guitar, while II is a normal (prime) instrument. Thus the actual key
of the work is C major. Further comments on the autograph are given in
Koczirz, "Wiener Gitarre-Hss. von Mauro Giuliani," Musik im Hau3 VI (15 Jan
1927), 5f.
Opus 93 “ GRAND POT-FOURRI NATIONAL. G*& P.
idante sostenuto
Guitar
Andante sostenuto
m tvm i
..VWIVI
Pianoforte
FIRST EDITION: "GRAND/ POT-POURRI NATIONAL/ pour/ Guitarre et Piano-Forte/

compost et dedie/ [crest]/ k/ Mad.me Helene de Malicheff/ n6e Kaverinn/
par/ MAURO GIULIANI/ Oeuv. 92[sic]/ La Partie du Clavecin est arrang£e
par N. Hummel/ ..." Vienna: T. Mollo, pi.nr. 1688.
(Op. 93 cont'd., Op. 94) 105

COPY: GdM, XI 4714.
DATE: Surrounding Mollo pl.nrs. 1685 and 1689 were adv. 17 Jan 1818
(BeitrSge 11,9).
ALTERNATE TITLE PAGE of FIRST EDITION: "Grand/ POT-POURRI NATIONAL/ pour/

Guitarre et PIANO-FORTE/ par M. Giuliani et N. Hummel/..." Vienna:
T. Mollo, pi.nr. 1688.
LATER EDITIONS -
- Paris: Richault (Hdbuch,1828). Richault assigns a false opus number
(Op. 79). COPY: L. of C.
- Vienna: Haslinger (Hdbuch,1854).
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Opus 94 - 12 LAENDLER. Raccolta Terza. 2G*.

Chifat'tA. ftefrx)
A T m
r f- x x j rr xr
f T * * f
(Op. 94 cont'd., Op. 95) 106
ZAV
9 t m
10
f r * * rr X r f f f f
j.
x r X X f
FIRST EDITION:
sr ** r
"XII/ LAENDLER/ per/ DUE CHITARRE/ composte da/ MAURO
GIULIANI/ RAGCOLTA TERZA/ Opera 94..." Vienna: T.Weigl, pi.nr. 1709.
COPY: Not located; but see Artaria 3056, a re-issuing of Weigl plates.
ARRANGEMENTS of Op. 94 for other instruments or combinations of instruments

were published simultaneously by Weigl, and include pl.nrs. 1710-1718.
The last (1718) is for pianoforte. COPIES: Not located.
LATER EDITIONS -
- Vienna: Artaria, pi.nr. 3056, a re-issuing of the original Weigl plates
(no. 1709), substituting the new plate number, posthumously in 1832.
COMMENTS: Richault of Paris published "Quatre/ RONDEAUX/ Pour/ GUITARE ET

PIANO/ Composes/ PAR/ MAURO GIULIANI/ Oeuv. 94 (3&ne livre)..." Pl.nrs.
1734-1735 R and 2542 R. COPY: L. of C. This is a false opus number. The
work should be classified under WoO, G&P - 2, on the assumption that Lehmann,
who first arranged selected rondos of Giuliani for G & P, to be published by
Hofmeister, later did some arrangements for Richault. No authentication is
available for the Richault edition.
Giuliani's original Op. 94, 12 Laendler. is the third in a series of
three sets of Laendler for a variety of instruments, all published by Weigl:
Op. 75, 80 & 94.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Opus 95 - SIX ARIETTES (Poeaia di Metastasio). voice & G(P).

Andantino espressivo
Nr0 1.
7 L j-
¥
(Op. 95 cont'd., Op. 96) 107
Allegretto agitato
j ..
Nro 2. ■yb |.n— ------------
— ^ .----- ^—
--:
* :r..... X --- -iiL-i----------------- -
= 4 =
Fra. -K»+4e- le. pane- —
Allegretto
— =-----------------
N«> 3. —#*---- 4 “-4-4— ^— f-?-21---^----------------
•< Sa-tS> ---
Maestoso
------------
-. L - A - X - J U — Z -------- -— -
^ Le, wore. 0-mpr non --
r
Allegretto
, -------- -------- -i-------- a ............ .
Nro 5. V-^— ---•---- P--- -----------
A.-W -JL— j.— p— *— *■-----------*-----------------------
^ M A.I-bro 1 Lt-t-io />i JwttMO - —
Allegretto
Nro 6. ... J Jv-Jl ----- , f V j

tn 4 * /: ■} , 'y r :
J>i aue. b^.li, — *■'— ck<AY*o*-]aitL.— C)6 —
FIRST EDITION; "SEI ARIETTE/ POESIA DI METASTASIO/ coll'accompagnamento

di/ Piano-Forte o Chitarra/ composte ed umilissimamente dedicate/ A
SUA HAJESTA LA PRINCIPESSA IMPERIALS/ MARIA LUIGIA/ ARCHIDUCHESSA D'
AUSTRIA/ Duchessa di Parma, Piacenza e Guastalla/ da/ Mauro Giuliani/
Suo Divoti3simo Servidore, e Virtuoso Onorario di Camera/ Op. 95...”
Vienna; Artaria & Comp., pi.nr. 2568.
AUTHENTICATION: ArMs, ArTh, C&D. COPY: WStB, Me 9124.
Opus 96 - 3 SONATES. G.
T / f r r T ^ r r f T .
(Op. 96 cont'd., Op. 97) 108
N°Z.„
Grro-Z-iOSO £ j::„|^— £|. A,ft f f i'J p jO
/•rr^ f^pr f
tf3.. A -f Mr
=A U tS
Andante
r r
r- U W T
FIRST EDITION would correspond to thi3 entry in ArTh for Op. 96: "Trois
Sonates, pour Guitarre seule, Sp-renger,"pl.nr. 568.
AUTHENTICATION: ArMs (which cites M.Artaria as publisher), C&D.
COPY: Not located. According to ZuthN, the Sprenger ed. is in
London, B.Mus.
LATER EDITIONS -
- Vienna: M.Artaria (Hdbuch,1828).
- Paris: A.Meissonnier ed., from which incipits are taken, "TROIS SONATINES/
Brillantes, Faciles & Agreables/ pour Guitare seule/ composês et
dediês/ a Monsieur Francois de Malichef/ par/ MAURO GIULIANI/ Op. 96..."
PI.nr. 352. COPY: In the personal collection of Prof. Karl Scheit of
Vienna.
- Paris: Richault, pi.nr. 1384 R.
MODERN EDITIONS -
- Munich: Ed. Der Gitarrefreund, pl.nrs XXVI, 9/10, ll/l2, & 13/14.
COMMENTS: None of the movements in this opus exhibits sonata-allegro form.

These are "sonatas" in a more Scarlattian sense of the term, as far as form
is concerned.
H I - * * * * * * # * * * * * * * * * * * * # * * * # * * * * * * * * * * * *
Opus 97 - VARIATIONEN (ich bin liederlich). G.
4-
Allegretto . U -I ^ | |j , S
(Op. 97 cont'd., Op. 98) 109
FIRST EDITION: "VARIATIONEN/ fUr die/ Guitarre/ UEBER DAS BELIEBTE DUETT/
: Ich bin liederlich - Du bist liederlich - :/ aus dem Zauberspiel/
Der Schatten von Faust'a Weib/ von/ Mauro Giuliani/ 97tes Werk..."
Vienna: J.Bermann, pi.nr. 628.
COPY: GdM, X 1828.
DATE: Adv. 7 Nov 1818 (WeinPrep).
COMMENTS: The tremolo device in a primitive (accompaniment, rather than

melodic) form is found in Var. 5. This opus features seven variations,
2 6
instead of the usual six. The seventh changes meter from ^ to g, and is
followed by a vigorous Finale.
* * * * * * * * # * * * * * * * * * * * * * !* * * * * * * * * * * * * * *
Opus 98 - STUDII DILETTEVOLI. G

AhtUuitfno _ _
, D V r t — t— J J B i J J ^ i S T r m J
Laryhef+o
— ----“ -— *
r r r j
Alleg
tCflr
AnA<urHft°
LgL—
FIRST EDITION: "STUDJ DILETTEVOLI/ ossia/ Raccolta di varij Pezzi Originali/
(Op. 98 cont'd., Op. 99) 110
per la/ CHITARRA/ Composti/ da/ Mauro Giuliani/ Op: 98..."

DATE: Adv. 29 Oct 1817 (VeinArt).
LATER EDITIONS -
- Paris: H.Lemoine, Richault (Hdbuch,1828).
COMMENTS: This work was first published with opus number 90 by Artaria
(COPY: In the personal collection of Prof. Karl Scheit, Vienna). Later it
was corrected to read Op. 98, as seen in the copy in the.WStB. While still
bearing the opus number 90, it was reviewed in the WMZ. No. 28 (5 March
1818), 226. In this collective review of Op. 84, 85 and [98], the present
wcrk draws the following comment:
[Op. 93] enthalt acht UebungsstUcke,
die, ohne auBerordentliche Schwierigkeiten
darzubiethen, doch auch noch fUr Gelibtere
ein angenehmes Studium seyn werden.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Opus 99 - INTRODUCTION & VARIATIONS (Das ist alles eins). G.
Introduzione
Andante
Sostenuto
' *r irj r
Tema
Moderato
FIRST EDITION would correspond to this entry in ArTh for Op. 99: "Intro
duction et Variations pour la Guitarre sur le Th&me: Das ist alles
eins (c /d )." Vienna: Cappi & Diabelli, pi.nr. not known.
AUTHENTICATION: ArMs, C&D, in addition to ArTh.
COPY: Not located.
DATE: Adv. 29 April 1819 (WeinCap).
(Op. 99 cont'd., Op. 100) 111
MANUSCRIPT COPY, from which incipits are taken: "Introduction et Variations/

pour La Guittarre seule/ sur le theme favori/ Das i3t alles eins, ob
wir Geld haben Oder keins/ Composees et Dediees/ A Monsieur Constant
Moretus/ Gentilhomme Belgae/ par/ Mauro Giuliani." Dubrovnik, Fran
ciscan Cloister, ms. 1124/40.
LATER EDITIONS -
COMMENTS: Vilhelm Klingenbrunner wrote "Variationen (Das ist alles eins),

Op. 49" for the Csakan, and published it with Steiner & Co. of Vienna no
later than 1818 (listed in Hdbuch,1819)• It provides a logical precedent
for these variations by Giuliani on the same theme.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Opus 100 - ETUDES INSTRUCTIVES. G.

Cftdtnrt
AOaest-o** £
Maestoso .^ G r * t.io s o
Pr V r r 4r
Altey
r- f
7 f r f"
/{nJLahh'no
T
All€9»*erfo G-r&zi'oso Tfl"
7 r f
C a .jtrit.ij e Rondo
All? JSC gg?9 ^ ^ ViVM I
V • t- - T - ’-f j y. j>
_______________________
,(0p. 100 coat'd.) 112
AH^r* (yWtXIOJO
JET
A ? US’
11 ^ U M M j M e
T r
A^fcfooso
If ur f r- r * r
I
Rofiio
A li& reH v
n *v h >
Alkt**
r
Vivatt «.f>ia.ce-rc.
20
V iVa.cC.
All*
32K .(.zw i&p J B J yJ'^3
/'*’
«v«/:
»f
Alley ro viya.ee
<Q
2 ± § $ C 7 f i f p ' ‘%
V f p T p IT
r
FIRST EDITION: "ETUDES/ Instructives, facileB et agreables/ pour la/
Guitarre/ coxltenant un Recuell de/ Cadences, Caprices, Rondeaux, et
Preludes, dediees/ A SON ALTESSE MADAME LA PRINCESSE/ CATHERINE DE
MENSCHKOFP/ NEE PRINCESSE DE GALITZIN/ par 1'Auteur/ Mauro Giuliani/
Maitre de Musique de la Chambre de S.M. L'ARCHIDUCHESSE MARIE LOUISE,/
Duchesse de Parme, Plaisance, et Guastalle, etc./ Oeuvre 100..."
Vienna: D.Sprenger, pi.nr. D. S. 575.
(Op. 100 cont'd.) 113
AUTHENTICATION: ArMs (states M.Artaria as publisher), ArTh (Sprenger),

C&D.
COPY: GdM, SB X 38202; WStB.
DATE: Adv. 8 Jan 1819 (VeinPrep).
LATER EDITIONS -
- Vienna: M.Artaria republished the Sprenger plates, same pi.nr.
Diabelli & Co., pi.nr, D. et C. N° 4650, adv. 26 June 1833.
(WeinCap), but listed already in Hdbuch,1820 as being by Cappi
& Diabelli.
COMMENTS: According to the title page, there are four compositional genres
represented in this opus: Cadences, Caprices, Rondeaux and Preludes. They
divide themselves into three groups of eight each:
- A. Cadences. that is, brief modulatory passages not meant to stand alone,
which go from a major key to its relative minor in these instances: Nos. 1
(C to a), 2 (G to e), 3 0> to b), 4 (A to f#), 6 (P to d), 7 (Bb to g),
8 (Eb to c), and 9 (£b to f).
- B. Caprices and Rondeaux, that is, short compositions which may stand
alone: Nos. 5, 10, 11, 12, 13, 14, 15, & 16.
- C. Preludes, works which, according to the original edition, serveas

cadenzas before beginning a piece of music ("PreludJ ad uso cadenza ser-
vendosene avanti di cominciare un pezzo di Musics," written Just prior to
No. 17). The asterisked ones have no bar lines, and are to be played en
tirely a piacere: Nos. 17*, 18*, 19, 20*, 21*, 22, 23 & 24.
Apparently the publisher destroyed what must have been Giuliani's

original grouping by interchanging No. 5 with No. 9 in the first edition.
That gesture has been carried through in the later and modem editions.
* * * * * * » * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Opus 101 - VARIAZIONI (Otello). G.

Andantino sostenuto
m=F\ -
-Z-J-l
w
— j
t'1 •?
(Op. 101 cont'd., Op. 102) 114
FIRST EDITION: "VARIAZIONI/ PER/ CHITARRA/ sulla Chvatina favorita:/

"Del calma oh ciel :: 0 Gott hab'Mitleid"/ dell'Opera/ OTELLO/ Com
poste, e dedicate a Madamigella/ Hadalena Bruschka/ da/ MAURO GIULIANI/
Op. 101..." Vienna: Capni & Diabelli, pi.nr. C.et D. NO 219.
COPY: GdM, X 49078.
DATE: Adv. 21 June 1819 (WeinCap), and listed in Hdbuch,1820.
ARRANGEMENT, G* & Quartet: "VARTAZIONl/ sulla Cavatina favorita/ (Dehl

ralma 0h ciel) dell'Opera Otello/ per/ Chitarra/ con accompagnamento
de/ due Violini, Viola e Violoncello,/ composte/ da/ MAURO GIULIANI/
Op: 101..." Vienna: A.Diabelli e Comp., pi.nr. D.et C. NO 589.
AUTHENTICATION: AiMs only, due to its late appearance.
COPY: GdM, XI 3883.
DATE: The work is listed in Hdbuch,1821. But it is only advertised as of
15 March 1826 (WeinCap).
COMMENTS: The arrangement for quartet accompaniment calls for the use
of the terz-guitar (hence the asterisk after G. supra).
Opus 102 - INTRO, e VARIAZIONI (Baccanali di Roma). G.
INTRODUZIONE
Andante
Sostenuto
THEMA
FIRST EDITION: "Introduzione e Variazioni/ per chitarra sola,/ sopra la

cavatina favorita/ :Nume perdonami, se in tale istante:/ NEI BACCANALI
DI ROMA/ del SigV Generali,/ composte e dedicate/ A Madamigella Anna
Wranitzky/ Imp: e Reale Cantante, e Attrice di Corte/ da/ MAURO
GIULIANI/ Op: 102..." Vienna: Diabelli & Co., pi.nr. C. et D. N° 232.
(Op. 102 cont'd.) 115

COPT: L. of C., M 127/ .G/ Case.
DATE: Adv. 13 July 1819 (WeinCap).
ARRANGEMENT, G*& Quartet: "INTRODUZIONE/ e/ VARIAZIONI/ sopra la Cavatina

favorita/ (Nume perdonami, se in tale istante)/ nei Baccanali di Roma,
del Sig? Generali,/ per/ Chitarra/ con accompagnamento de/ due Violini,
Viola, e Violoncello/ Composte da/ Mauro Giuliani./ Op.: 102..."
Vienna: A.Diabelli & Comp., pi.nr. D.et C. No 590.
AUTHENTICATION: ArMs (quartet version).
COPY: GdM, XI 3882.
DATE: Appeared c. 1819 (DeutschMvN). Listed in Hdbuch,1821.
r
LATER EDITIONS -
.- Paris: Richault (Hdbuch,1828), version for solo guitar.
COMMENTS: The terz-guitar (G*) is required in the quartet arrangements of

Op. 101, 102 & 103* See the comments to Op. 120, with respect to the
theme of Op. 102.
Opus 103 - INTRODUCTION & VARIATIONS (Valse favori). G.
Andante sostenuto
INTRODUZIONE
m/ £ I*- ^ f~ -jr X X y ^
FIRST EDITION: "Introduction et Variations/ pour la Guitarre seule/ sur un
VALZ favori/ composees et declines/ k Mademoiselle Cressence/ Comtesse
de Tannenberg/ par/ MAURO GIULIANI/ Oeuvre 103..." Vienna: Cappi &
Diabelli, pi.nr. C. et D. N° 233.
(Op. 105 cont'd., Op. 104) 116
AUTHENTICATION: ArMs.
DATE: Adv. 15 Sept 1819 (WeinCap), listed in Hdbuch,1820.
ARRANGEMENT, G* & Quartet: "Introduction/ et/ VARIATIONS/ sur un Valse

favori/ pour la/ Guitare/ avec accompagnement de/ deux Violons, Alto
et Violoncello/ composdes/ par/ MAURO GIULIANI/ Oeuvre 105/•••"
Vienna: A.Diabelli et Comp., pi.nr. D.et C. No 2153*
AUTHENTICATION: ArMs. COPY: GdM, XI 5884.
DATE: Adv. 15 March 1826 (WeinCap).
LATER EDITIONS - Paris: Richault (Hdbuch,1828), version for solo guitar.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Opus 104 - GRANDES VARIATIONS (Partant pour la Svrie). G.
Allegro
maestoso/; 1
rftt
FIRST EDITION: "Grandes Variations/ pour LA GUITARRE seule/ sur la Romance
favorite/ Partant pour la Syria/ COMPOSEES et DEDUCES/ A/ Mademoiselle
Anne Emmerich/ par/ Mauro Giuliani/ Op. 104..." Munich: Falter & Fils,
No plate number.
AUTHENTICATION: ArMs, which lists Bermann as publisher. See comments.
DATE: Appeared in 1819 (listed in Hdbuch,1820). See comments.
LATER EDITIONS -
- Vienna: Cappi (see comments), not located.
I. Bermann, pi.nr. 629. "Grandes Variations/ pour la Guittarre/
sur la Romance favorite/ Partant pour la Syrie/ Composes/ par/
MAURO GIULIANI/ Oeuvre 104/ Dediês/ A Mademoiselle Anna Barton/
par 1'Editeur..." Listed in Hdbuch,1824.
- London: Leonhard Schulz ed. Giuliana No. 10 (ZuthN).
(Op. 104 cont'd., Op. 104 arr. G&P) 117
MODERN EDITION in V.O. Bickford, Master Album for Guitar (Los Angeles, 1951).
COPT: N.Y. Public, +MY0.
COMMENTS: According to WeinPrep, the following notice appeared in the

Wiener Zeitung. 5 Feb 1821, inserted by Johann Cappi:
Unterhaltungen fUr die Guitarre, eine Sammlung von Original-

stUcken von fortschreitender Schwierigkeit.
1. Heft: Giuliani, Op. 106, Divertissemens.
2. Heft: " , Op. 105, Variationen aus "Ruhm und Liebe."
5. Heft: " , Op. 104, Variationen,"Partant pour la Syrie."
None of these has yet been located, and the plate numbers remain un
known. They may have been merely other publishers' editions for sale at
the Cappi music store.
ArMs (which itself dates from c.1826-29), lists the Viennese publisher
Bermann for this opus. WeinPrep states that the Bermann edition was adv.
28 July 1819. Yet the Munich edition by Falter & Son, which I believe to
be prior to the Bermann, was entered in Hdbuch,1820. This means that it,
too, was published in 1819, and possibly well before 28 July 1819. The
Bermann edition seems to confuse the dotted-rhythm introduction for the
theme, as does the Ricordi arrangement (which follows). The Bermann publi-
cation also has the editor's dedicatee, Anna Barton, on the title page, and
not Anna Emmerich, who would have been Giuliani's choice. The Bermann edition
does not appear in the HandbUcher der mus. Literatur before 1824, further
more, suggesting that it was published only in 1825, regardless of the
Wiener Zeitung advertisement of July 1819.
ARRANGEMENT, G*& P (posth.): "TEMA/ CON VARIAZIONI/ Sull'Aria favorita/

"Partant pour la Syrie"/ PER/ Piano-Forte e Chitarra/ COMPOSTE DA/
MAURO GIULIANI/ Op. 104...” Milan: G.Ricordi, pi.nr. 11620.
AUTHENTICATION: RicordiCat,1857. COPY: GdM, XI 19537.
DATE: Appeared c. May 1840 (HeckR).
COMMENTS TO OP, 104 ARR.: The Chitarra terza is specified for the guitar
part (written in A maj.), which is tacet for fourteen measures, while the
piano (in C) gives a solo introduction. The word "Tema" above the entrance
of the guitar is, according to the first edition, some 5 measures too early.
Opus 105 ~ VARIATIONS (Liebe mad Ruhm), G. 118
INCIPIT: Not available.
FIRST EDITION would correspond to this entry in ArMs for Op. 105: "Variations
(Ruhm und Liebe). Cappi..."
COPY: Not located.
DATE: Adv. 5 Feb 1821 (WeinCap), but it must have appeared already in
1820. It is listed in Hdbuch,1821.
COMMENTS: There are no known later editions of Op. 105* and the first
edition has proven impossible to locate so far, despite prolonged searching.
See the comments to Op. 104 (version for solo guitar) with regard to
the dating of this work. The correct title of the opera is Liebe und Ruhm,
and it was premiered 12 Feb 1818 at the Hoftheater, Vienna* according to
a report in the AmZ. XX (1818), 225. It received this review in the
Viennese press:
Die neue Oper: Liebe und Ruhm, mit Musik von Boieldieu und Herold,
wurde mit ziemlich Beyfall belohnt. Die Ouverture von Herold, dann
ein Duett und Quartett im ersten, so wie die liebliche Romanze im
zweiten Aufzuge von Boieldieu, sind die vorztiglichsten MusikstUcke.
Dlle. Wranitzky und Hr. Forti haben sich unter den Darstellung ehren-
voll ausgezeichnet.
- "Intelligenzblatt der Oesterr. Literatur."Vaterlhndische Blatter,
Nr. 25 (28 March 1818), 100.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Opus 106 - DIVERTISSEMENT. G.
FIRST EDITION would correspond to this entry in ArMs for Op. 106:
"Divertissement. Cappi..."
COPY: Not located.
DATE: Adv. 3 Feb 1821 (WeinCap), but it must have appeared already in 1820.
It is listed in Hdbuch,1821.
COMMENTS: See comments to Op. 104 (version for solo guitar) with respect to
dating. There are no known later editions of Op. 106, and the first edition
has so far proven impossible to find, despite prolonged searching.
Opus 107 - TEMA DI HAKNDEL VARIATQ. G. 119
Metronome di Maelzels 88-J
TEMA
ANDANTINO
M ■ ; |
r tfr1 rf
"*-Tr r T rr
FIRST EDITION: "TEMA DI HANDEL/ Variato per/ Lira, o Chitarra sola/ DA/
MAURO GIULIANI..." Milan: G.Ricordi, pi.nr. 2991.
AUTHENTICATION: AiMs (which lists Hofmeister as publisher), RicordiCat,15'57.
COPY: GdM, X 3878.
DATE: Appeared c. Feb 1827 (HeckR).
LATER.EDITIONS -
- Leipzig: F. Hofmeister (Hdbuch,1828).
MODERN EDITION -
- Hamburg-London: Simrock Elite Ed., N° 1201, copyright 1961.
COMMENTS: Giuliani probably did not discover this theme from studying or
hearing the works of Handel. It is much more likely that he borrowed it
from Ignaz Moscheles* Op. 29, Variations sur un thSme de Haendel (for Pfte.),
Mechetti qm Carlo, pi.nr. 383, advertised 27 Feb 1813* Moscheles and
Giuliani were, of course, on vezy friendly terms.
Opus 108 - POTPOURRI NAZIONALE ROMANO. G.
MAESTOSO
FIRST EDITION: "Pot-Pourri/ Nazionale Romano/ PER/ Lira o Chitarra sola/

Composto e dedicato/ Alla Sigra/ ANNA MARIA CRUCIANl/ DA/ Mauro
Giuliani/ Op. 108..." Milan: G.Ricordi, pi.nr. 1705.
AUTHENTICATION: 'ArMs, RicordiCat,1857.
DATE: Appeared c. April 1823 (HeckR), listed in Hdbuch,1823>
(Op. 108 coat'd, Op. 109) 120
LATER EDITIONS -
- Leipzig: F.Hofmeister, pi.nr. 1199* datable 1826 (DeutschMvN). COPT:
GdM.
COMMENTS: The various sections of this lengthy piece (12 pages) have
rather colorful headings, which seem to refer to Roman folk-melodies on
which they are based:
meter heading
C MAESTOSO (introduction).
.^ ALL® - La Gnora Luna qual'e figliola di Sior Calb. - VARIAZIONE.
g A mai na Donna bella e cu cu.
8 AND.110 - Gioventu garbata e bella cio na nova tarantella.

VARIAZIONE.
I Piu mosso - Portaci una bottiglia con due bicchieri in mano.

(with 2 variations)
4 AND.11® - Partirb partiro partir bisogna (The folk-tune is

divided into an antecedent phrase of 6 measures, and a con
sequent phrase of 7 mml).
C ALL0 Maestoso - Sor Capitano mio sentite la ragione.

FINALE.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Opus 109 - LA CACCIA. GRAN RONDO. G.
& — -
ALLEGRETTO
v r f pr f f f r-p-
FIRST EDITION: HLA CACCIA/ Gran Rondo/ Per Lira o Chitarra sola/ Composto
da/ MAURO GIULIANI/ Op: 109/ Dedicato dall’Editore/ All'Egregia
Sonatrice/ l'lll.roa Sig.*“a/ Giuditta Grossi..." Milan: G.Ricordi,
pi.nr. 1712.
(Op. 109 cont'd., Op. 110) 121
AUTHENTICATION: ArMs, RicordiCat,1857.

COPY: GdM, X 6719.
DATE: Appeared c. Apr 1823 (HeckR), listed in Hdbuch,1825«
LATER EDITIONS -
- Leipzig: P. Hofmeister, pi.nr. 1212, datable 1826 (DeutschMvN).
COPY: L. of C., M 127/ .G.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Opus 110 - MARCIA (Due Giomate). G.
Allegro non tanto
FIRST EDITION would correspond to this entry for Ricordi pi.nr. 1713s
"Marcia nelle Due Giomate di Cherubini, var. per chitarra. Op. 110."
AUTHENTICATION: AiMs, RicordiCat,1857.
COPY: Not located.
DATE: Appeared c. April 1823 (HeckR).
LATER EDITIONS -
- Leipzig: F.‘Hofmeister, pi.nr. 1211. "MARCHE/ de l'Opera: les deux
Journ£es de Cherubini/ VARIE/ pour la/ Guitarre/ compos^/ PAR/ MAURO
GIULIANI./ Oeuvre 110..."
COPY: OeNB, MS 23212, from which incipit is taken.
DATE: Appeared c. 1826 (DeutschMvN).
COMMENTS: This "tour-de-force" set of variations was for Giuliani's

Roman audiences, no doubt. It starts out sounding so very simple...
Opus 111 - LE ORE D1APOLLO. Pt. I & II, G. 122
Part I
AiJ&yire-hb*
■* f
Gnra.iioSo A llejtrefh
±h & IJ . J1 pr
4T
I E K S T J *Aoi
‘ 7' Z & t S ' f t
G-raziosoi
A h âht /m ©
"h
rr
t z z t u j
/A/le^reffo
f r
- Part II -
Al*CS+WO AvtAaif+mo
r\A a.H + i*o f~ £ l I
-- Jjft flLrigj
T r-
“ / f r * f -f
-a±r
io(.
r r
FIRST EDITION would correspond to this entry in RicordiCat,1857: wLe
»/r r
Ore d^nollo. Raccolta di Pezzi fav. per Chitarra d'una facilita
progressiva... Op. 111. H Milan: G.Ricordi, pi.nr. 1706 (Part i),
and 2555 (Part II).
COPY: GdMa X 10097 (Part I only).
DATE: PI,nr. 1706 appeared c. April 1825, and pi.nr. 2555 appeared c.
Nov 1825 (HeckR).
LATER EDITIONS -
- Leipzig: F.Hofmeister, pi.nr. 1258/59, from which incipits are taken:
(Op. Ill cont'd., Op. 112) 123
"RACCQLTA/ di Pezzi Musicali/ per/ Chitarra/ di una facilita pro

gressiva e studiosa,/ ad uso ed esercizio degli Amatori./ Composta
da/ MAURO GIULIANI/ Oeuvre 111 - - Parte I [or II]..."
COPY: GdM, X 49079. DATE: Appeared c. 1826 (DeutschMvN).
- Paris: A.Meissonnier, Richault (Hdbuch,1828). .
MODERN EDITION -
- Buenos Aires: Ricordi Americana, Op. Ill,No. 2, "Allegretto," in
Mauro Giuliani Composiciones para Guitarra. ed. I.Savio.
COMMENTS: The Hofmeister ed., Part I, has one more piece than the original
Ricordi ed.: Hofmeister No. 6, "Grazioso" in D, g. The authenticity of
that small study has not been confirmed. Otherwise Hofmeister No. 7 equals
Ricordi No. 6.
There is a modem edition (publ. Schott, Gitarre-Archiv #58, ed.
Josef Zuth) which is based on the Hofmeister edition.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Opus 112 - 6 GRANDI VARIAZIONI. G.
2yirx r& 1{J .T Vl y g M|. ...y J 5 . T _i-------------

TEMA
Maestoso
$\ X :f l-j.■r - »--y-—
1
FIRST EDITION: "Sei Grand! Variazioni/ PER/ Lira o Chitarra sola/
Compete da/ MAURO GIULIANI/ Op. 112/ Dedicate dall'Editore/ ALL'
Ilimo Sigr Conte Commendatore/ Luigi Moretti..." Milan: G. Ricordi,
pi.nr. 1714. AUTHENTICATION; ArMs, RicordiCat,1857.
DATE: Appeared c. April 1823 (HeckR), listed in Hdbuch,1825.
LATER EDITIONS -
- Leipzig: F.Hofmeister (lldbuch,1828). COPY: GdM.
124
Opus 113 - FUGHETTA. G.
Fughetta ± = a
f t a ri i& £ s m f a r t r'
f ff ? W zt7&
FIRST EDITION: "FUGHETTA/ per/ Chitarra/ composta da/ MAURO GIULIANI/
op: 113...M Vienna: A.Diabelli & Comp., pi.nr. D.et C. No. 1646.
COPY: L. of C., M 127/ ,G.
DATE: Adv. 19 June 1824 (WeinCap), listed in Hdbuch,1825.
LATER EDITIONS -
COMMENTS: This is neither strict counterpoint, nor a fugue. It is a

study in equality of parts (not "voices"), based on motifs which are
treated alternately in top, bottom, and middle ranges. It sounds vexy
contrapuntal to the ear, although it is not strictly notated as such.
Hofmeister republished Giuliani's Variations et Polonaise, arr. G & P
(Op. 65) with the opus number 113* It was undoubtedly a reissuing of the
VoO Ricordi arrangement for G & P of Op. 65, pi.nr. 187.1697. Hofmeister
took the liberty of assigning the opus number 113 to Ricordi‘rs otherwise
unnumbered work. COPY (Hofmeister ed.): L. of C.
Schulz edited the Fughetta in G for the series Giuliana. No. 21,
according to ZuthN.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Opus 114 - GRAN VARIAZIONI (Oh! Cara memoria). G.
Mhlzels Metronome 54 -J
INTRODUZIONE
ANDANTE
Sostenuto ¥
r * T -— - -r
O - Metronome
THEMA
Maestoso!
TfTf TfT
(Op. 114 cont'd., Op. 116) 125
AUTOGRAPH: "Gran Variazioni. per Chitarra sopra l'Aria favorita: Ohl

Cara memoria del Sig. Caraffa Composte da Mauro Giuliani, Op. 114 -
mano propria Roma l.Otfcobre 1823." COPY: GdM.
FIRST EDITION: "Gran/ VARIAZIONI/ per/ Chitarra/ sopra l'aria favorita:

(Oh! cara memoria)/ del Sig: Carafa,/ composte da/ MAURO GIULIANI./
Op. 114..." Vienna: A-Diabelli & Co., pi.nr. 1647.
AUTHENTICATION: Autograph, and ArMs.
COPY: L. of C., M 127/ .G; GdM, X 6721.
DATE: Adv. 19 June 1824 (WeinCap), listed in Hdbuch,1825>
LATER EDITIONS -
COMMENTS: The autograph in the GdM, dated "Roma l.Ottobre 1823»” was not
available to me during ay year of research in Vienna, 1968-69. It was
apparently misshelved, and temporarily irretrievable. However, it is
amply described in Koczirz, "Wiener Gitarrenhandschriften von Mauro
Giuliani," Musik im Haus VI (15 Jan 1927), 5.
a * * * * # * * * * * * * * * * * * * * * * * # * * * * * * * * * * - * *
Opus 115 is not known to have been published.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Opus 116 - LE AWENTURE D'AMORE [lO Waltzes], 2G.
- Chitarra I - - -
1*Invito al ballo l'Affetto
(Op. 116 cont'd.) 126
II Dispiacere^ La Disperazione
5. | - 6.
^ 7
7 ' sfj- 7f
La Partenz II Pentimento
M z
V- I " 8- J~?3j
* " r»rf
r r
' ,7 f
n%§ *ffcftuoso r T
II Ritomo La Pace
9. 10.
v T r
FIRST EDITION: "I£/ Awenture di Amore/ espresse in Dieci/ Valzer
Caratteristici/ Per due/ CHITARRE/ Composte e Dedicate/ A1 Cavaliere/
FRANCESCO IACCOHE/ DA/ Mauro Giuliani/ Op* 116..." Milan: G. Ricordi,
pi.nr. 3783.
AUTHENTICATION: RicordiCat,1857.
COPY: Modena, Liceo Musicale 0. Vecchi; GdM.
DATE: Appeared c. May 1828 (HeckR). Listed in Hdbuch,1829.
LATER EDITIONS -
— Leipzig: Hofmeister, pi.nr. 1466 (Hdbuch,1834)•
- Paris: Richault, pi.nr. 2245 R. COPY: L. of C.
* * * *
Opus 118 - 6 VARIAZIONI. G
Andantino
[mtroduction] & 4 4 Ea
* 7 *' r
(Op. 118 cont'd., Op. 119) 127
Maestoso
J
T H E M A
PIRST EDITION: "Sei/ VARIAZIONI/ per/ Chitarra/ composte da/ Mauro

Giuliani/ Op: 118..." Vienna: A. Diabelli & Co., pi.nr. D. et C. 1648.
COPT: L. of C., M 127/.G; GdM, X 6722.
DATE: Adv. 19 June 1824 (WeinCap), listed in Hdbuch,1825.
LATER EDITIONS -
COMMENTS: A five-position stretch in the left hand is required already

at measure 2 of the theme.
*****
Opus 119 - ROSSINIANA No. 1. G.
Andantino
INTRODUZIONE
i1 1f t * - f V f
TT T * T
Andante grazioso| -j* Jj = $

lW J'/
7
FIRST EDITION: "Le/ ROSSINIANE/ per la chitarra/ composte e Dedicate/ a

Sua Eccellenza/ [crest]/ II Signor Don Enrico Caetani/ Duca di Sermo-
netta/ da/ MAURO GIULIANI/ [i] parte/ Op. [ll9]/..." Vienna:
Artaria & Comp., .pl.nr. 2262.
AUTHENTICATION: ArMs. COPY: L. of C., M 127/.G; WStB.
DATE: Adv. 15 Mar 1822 (WeinArt). It must have appeared already in
1821, however, for it is listed in Hdbuch,1822.
128
(Op. 119 cont'd., Op. 120}
LATER EDITIONS -
- Paris; A.Meissonnier, P.Petit, Richault (Hdbuch,1828).
- Leipzig: Weinberger, pi.nr. 813* This was a reprint of the original
Artaria plates.
- London: ed. L.Schulz. Oiuliana No. 8 (ZuthN).-
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Opus 120 - ROSSINIAKA No. 2. G.
Sostenuto
INTRODUZIONE
Andantino — Uffi,
sostenuto i& ffl--!
AUTOGHAPH: "NO Sei/ Rossiniane/ per Chitarra/ Composte/ Da/ Mauro

Giuliani/ Opera 120 2da." LOCATION: Milan, Conservatory Library,
Fondo Noseda, M 15 - 7 - 2.
FIRST EDITION: "IB/ ROSSINIANE/ per la Chitarra/ Composte e Dedicate/ A

Sua Eccellenza/ [crest]/ II Signor Don Enrico Caetani/ Duca di Sermo-
netta/ da/ MAURO GIULIANI/ N° 2/ Op. 120..." Vienna: Artaria
& Comp., pi.nr. 2718.
COPY: Not located. However, see the Weinberger reprint of the original
plates, mentioned below.
DATE: Adv. 5 Nov 1822 (WeinArt), listed in Hdbuch,1823
LATER EDITIONS
- Leipzig: J.Weinberger, pi.nr. 814. This was a reprint of the original
Artaria plates. COPY: OeNB, MS 39074* This edition provides the
above incipits and title page*
(Op. 120 cont'd., Op. 121) 129
COMMENTS: The manuscript in Milan is in Giuliani's own hand, and very

neatly done. It must have been a copy for an engraver, perhaps destined
for a publisher (Ricordi?) in Milan.
If the theme of Op. 102 is actually Generali's "Nume perdonami,"
from the opera Baccanali di Roma, then one wondeys what it is doing in
this set of Rossiniane (p.5)! Obviously the potpourri was a very un
structured, unrestricted genre.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Opus 121 - RQSSINIANA No. 3. G.
INTRODUZIONE
Maestoso -
sostenuto g
AUTOGRAPH: "Le/ Rossiniane/ per/ Chitarra/ Composte e Dedicate/ A Sua

Eccellenza/ II Signor Don Enrico Caetani/ Duca di Sermonetta/ da/
Mauro Giuliani/ Parte Terza/ Opera 121..." LOCATION: Berlin, Stiftung
PreuBischer Kulturbesitz.
FIRST EDITION: "LE/ ROSSINIANE/ per la chitarra/ Composte e Dedicate/

A Sua Eccellenza/ [crest]/ II Signor Don Enrico Caetani/ Duca di
Sermonetta/ da/ MAURO GIULIANI/ [5 ] parte/ Op. [l2l]..." Vienna:
AUTHENTICATION: AiMs. COPY: WStB, Me 13946.
DATE: Appeared in 1823» for it is listed in Hdbuch,1824. First adv.
12 Jan 1824 (WeinArt).
LATER EDITIONS -
COMMENTS: The manuscript in Berlin shows evidence of being revised and

corrected in the process of composition. It is undoubtedly a working
manuscript of Giuliani's.
150
Opus 122 - ROSSINIANA N o. 4 . G.
Sostenuto
J!
FANTASIA I«“a , * ■:7 r H i
1 1 1 1 1 g_-r:
/f V r p i f f T t f
f v
AUTOGRAPH: "No Sei/ Rossiniane/ per Chitarra/ Composte/ Da/ Mauro Giuliani/
Opera 122 4a." LOCATION: Milan, Conservatory Library, Fondo Noseda,
M 15 - 7 - 3.
FIRST EDITION: "Premiere/ FANTAISIE/ pour la Guitare seule/ sur plusieurs

motifs de Rossini/ COMPOSITE PAR/ MAURO GIULIANI/ OEUVRE 122..."
Vienna: A.Diabelli & Comp., pi.nr. D.et C. NO 1667.
DATE: Adv. 9 Aug 1824 (WeinCap), listed in Hdbuch,1825.
COMMENTS: A thoroughgoing review of Op. 122 and 123 is in the Wiener

Zeitung #181. 9 August 1824 (WeinCap).
Opus 123 - ROSSINIANA No. 5. G.
Allegro con brio
FANTASIA IIda y- - - — =
jr t f f : 7 t z i r
AUTOGRAPH #1: "No Sei/ Rossiniane/ per Chitarra/ Composte/ Da/ Mauro
Giuliani/ Opera 123 5a ." LOCATION: Milan, Conservatory Library,
Fondo Noseda M 15 - 7 - 4. This MS. may have been sent to Ricordi
of Milan by the composer, but it was never published there. However,
Ricordi did bring out the following Rossiniana. Op. 124.
AUTOGRAPH #2: "Le Rossiniane per Chitarra, o Lira Composte da Mauro

Giuliani Opera 123," sealed by Giuliani and dated,"mano propria
Roma l.Ottobre 1823" (cf. Op. 114). This MS. was adequately described
131
(Op. 123 cont*d., Op. 124)
in Adolf Koczirz, "Wiener Gitarrenhandschriften von Mauro Giuliani,"

Musik im Haus VI, 1 (15 Jan 1927), 6. It was once in the Musikarchiv
of St. Peterskirche in Vienna, but got transferred to the National-
bibliothek around December 1968, with the entire Peterskirche musical
holdings. It was not made available for this study because it was
not catalogued by the Nationalbibliothek as late as June 1969.
FIRST EDITION, from which incipit is taken: "Seconds/ FANTAISIE/ pour

la Guitare seule/ sur plusieurs motifs de Rossini/ composes par/
MAURO GIULIANI/ oeuvre 1 2 3 * Vienna: A.Diabelli & Comp., pi.nr.
D.et C. No 1668. AUTHENTICATION: ArMs.
COPY: GdM, X 49081; also in the personal collection of Prof. Karl
Scheit of Viennaa
DATE: Autograph #2 is dated 1 Oct 1823. Tbe first edition was advertised
9 Aug 1824 (WeinCap).
COMMENTS: The first edition omits the footnotes of Autograph #2, which
detail the sources of the various Rossini motives. According to Koczirz
(v. supra) the piece is in eight sections, of which six are numbered.
Two of the numbered sections are in two parts:
1. Introduzione. Allegro con brio.

2. Maestoso (Footnote: Finale l®o nel Barbiere di Siviglia).
3. Andantino mosso (Footnote: Aria nell'Aureliano in Palmira;
Second part footnote: Cavatina nel Barbiere di Siviglia.).
4. Andante sostenuto (Footnote: Sestetto nell'Opera la Cenerentola).
9. Allegro (Footnote: Aria nell'Opera La Gazza Ladra).
6. Maestoso (Second part footnote: Terzetto nel Barbiere di Siviglia).
A thoroughgoing review of Op. 122 and 123 is in the Wiener Zeitung No.181,
9 Aug 1824 (WeinCap).
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Opus 124 - ROSSINIANA No. 6 . G. 132
GIULIANI INTRODUZIONE --
1 ' ‘ 4V-
Maestoao S-tj-U-i ■■ J
V
FIRST EDITION: MA S.E. Don ENRICO GAETANl/ DUCA' DI SERMONETTA/ VI/
ROSSINIANA/ (SEMIRAMIDE - LA DONNA DEL LAGO - L ’ASSEDIO DI CORINTO)/
COMPOSTA PER/ CHITARRA/ DA/ MAURO GIULIANI/ Op. 124..."
Milan: G.Ricordi., pi.nr. 2993*
AUTHENTICATION: ArMs (states Hofmeister as publisher), RicordiCat,1857.
LATER EDITIONS -
- Leipzig: Hofmeister (Hdbuch,1828).
- London: ed. Schulz, Giuliana No. 20 (ZuthN).
Opus 125 “ 6 ARIE IRLANDESI VARIATE. G.
Eveleen’a Bover
No. 1
Allegretto;
r~r
The last Rose of Summer
No. 2
ANDANTE
Sostenuto
Fi.rk - A - J ... y. J>,
— /H*
v z l z r z i z f i L u - z i l r
u-
Hiss Bailly
No. 3
ALLEGRO
• f z i z i i l t t r
Robin Adair
No. 4
LARGO
(Op. 125 cont’d., Op. 126) 153
My lodging is on the cold ground

No. 5
ANDANTE
Sostenuto I im -rP _ 5 0 =
Garyowen
No. 6
ALLEGRO _
con brio s ' '
*fT T" r* r
FIRST EDITION would correspond to this entry for Ricordi pi.nr. 1711.*
MSei Arie irlandesi var. per chitarra. Op. 125•”
AUTHENTICATION: Arils, RicordiCat,1857.,
COPY: Not located.
DATE: Appeared c.April 1825 (HeckR).
LATER EDITIONS -
- Leipzig: Hofmeister ed., from which incipits are taken. "Six/ AIRS
IRLANDOIS/ nationales/ VARIEES/ pour la Guitarre/ Composes et dediees/
A G.M. Kenny/ par/ Mauro Giuliani/... Oeuvre 125...(pl.nr. 1280).H
COPY: GdM, X 9996. DATE: Appeared c.1826 (DeutschMvN).
- Paris: A.Meissonnier (Hdbuch,1829)»
COMMENTS: Very often Friedrich Hofmeister of Leipzig would republish

exact copies of Ricordi editions, for resale north of the Alps. The
present incipits are no doubt identical to those of the first edition
by Ricordi.
FLAUTO
INTRODUZIONE
X
MAESTOSO y — g — t— '-sj^ r = r \
1 —i
<££..-p...... ■7-:d = f c H -J----- / I —
*•/
FIRST EDITION: "Gran/ POT-POURRI/ PER/ Flauto o Violino/ e Chitarra/
Composto e Dedicate/ A1 Signor/ EDOARDO FLOHR/ Da/ Hauro Giuliani/
Virtuoso di Camera di S. MaestA la Principessa/ Imperiale MARIA
LUIGIA Arciduchessa/ D'Austria, Duchessa di Parma, Piacenza, e
Guastalla, etc./ Opera 126..." Milan: G.Ricordi, pi.nr. 3157.
COPY: GdM, XI 6301.
DATE: Appeared c. May 1827 (HeckR). It was probably performed from
the manuscript in Rome in April of 1823. See Vol. I, Appendix I, 41.
LATER EDITIONS -
- Leipzig: Hofmeister (Hdbuch,1834).
COMMENTS: The chitarra terza (G*) is specified. The various sections

of this work are identified in the first edition as follows:
INTRODUZIONE
TEMA Allegro (Zelmira di Rossini).
Andante (Semiramide di Rossini).
TEMA Allegretto (Mannaggia Pullece. Canzonetta Popolare di
Napoli).
TEMA Maestoso (Alfredo il Grande di Donizetti).
FINALE.
The flute and violin parts of the first edition are printed seperate-
ly, while the guitar part remains the same for both. Giuliani's other
works with flute or violin and guitar generally had a single, integrated
version marked "Flauto, o Violino," with parallel staves for those passages
going lower than the flute's range.
Opus 127 - SERENATA. G & F(v).
FLAUTO o VIOLINO
[I]
Maestoso
(Op. 127 cont'd.) 135
FLAUTO o VIOLINO
[II ]
ALL.tto
Minuetto
1 3
*»/
CHITARRA
[III] Andantino
11W mosso
uuoov
T E M A *
con ft-1 ‘L ^ - J Ij ? p I
Variazioni jj CL — Zj £
O r <■ f < f f f
FLAUTO o VIOLINO
[XT]
ALL® ^
..,/dae-
Komb
FIRST EDITION: "Serenata/ per Flauto, o Violino e Chitarra/ Composta e

Dedicata/ AL SIG*/ ROCCO ARENA/ DA/ Mauro Giuliani/ Op* 127..."
Milan: G.Ricordi( pi.nr. 2992.
AUTHENTICATION; RicordiCat,1857.
COPY: GdM, XI 6385; Modena, Liceo Musicale.
DATE: Appeared c» Feb 1827 (HeckR).
LATER EDITIONS - Leipzig: Hofmeister (Hdbuch,1829).
MODERN EDITIONS -
- Vienna: ed. Zeitschrift fUr die Gitarre. I (1921/22). "Menuett aus
Giuliani Op. 127," in Musikbeilage Nr. 1.
- Berlin: ed. Die Gitarre (l920/2l), 29. "Andantino mosso."
COMMENTS:The first movement, which one would expect to find in sonata

form, is here an extended rondo, A(in G) - B(in e) - A(in G). This may
indicate that Giuliani found the sonata form somehow inimical to his own
compositional style, and reverted to simpler bi- and tri-partite forms
upon his return from Vienna to Italy.
* * # * • * # * * • * • * # * * * * * « * * * # * • * * # « * * * * * •
Opus 128 - VARIATIONS (Amazilia). G. 136
INCIPIT: A facsimile from the first edition is given here:
X im m e r i R o m a n i in d ica n o le jiojui/ioni o t a s t i .
B X niiiiieri Arab! indiesno le dita della m & n o sinisira.

po»Vuol didito Pollice della xnano sinistra..
EMA
A L L E G K O ^ ^ C S ^ ^ =
3 o ao i - W r
4- a 4
_
o a O r
'3
FIRST EDITION: "VARIAZIONl/ Pei/ Chitarra Sola/ Sul tema favorito della
Cavatina/ Io ti vidi e t'adorai/ Nell'Opera Amazilia/ Musica del Sigr
HO Gio. Pacini/ Composte e Dedicate/ A1 Sig. Francesco de Blaai/ Dal
suo Amico/ MA{JRO GIULIANI/ OP™- 128..." Milan: G.Eicordi, pi.nr.2989.
COPT: GdM, X 3880.
LATER EDITIONS -
- Leipzig: F.Hofmeister (Hdbuch,JC28),
- Berlin: Liscbke (Hdbuch,1834).
COMMENTS: This is one of the veiy fee works in which Giuliani himself
indicated throughout what fingers and positions were to be used; it is
thus of considerable interest to the cognoscenti. It is fingered by the
composer at his highest level of virtuosity, and still he calls for th9
thumb of the left hand (po) in many places (v. measure 3 above).
137
Opus 130 - VARIAZIONl CONCERTANTI. 2G (posth).

Chitarra la
INTRODUZIONE
MAESTOSO m
* W r U r A r w ^
FIRST EDITION: "VARIAZIONl/ CONCERTANTl/ PER/ due Chitarre/ COMPOSTE LA/
MACRO GIULIANI/ Op. 130..." Milan: G.Eicordi, pl.nr. 11623*
COPY: krick.
DATE: Appeared c. May 1840 (HeckR). Listed in Hdbuch,1844.
COMMENTS: The assignation by Ricordi of an opus number to this posthumous

publication may not reflect the composer's original intentions.
Eicordi found it expedient to publish both Op. 35 (Gran Variazioni
Concertanti per due Chitarre. pl.nr. 495l) and Op. 130 posthumously, in
1830 and 1840 respectively. There are similarities between the works in
regard to overall form, key, and the ascending figure of the introduction.
Op. 35 exhibits a typically Austrian, Landler-tvpe theme, and shows clearly
which audience the composer was writing for. Op. 130 is characterised by
careful, refined writing, and makes great demands on the performers. Vari
ation 3 of this work calls for "suoni armonici ossiano flautati" through
out the Guitar I part. This is the kind of work which Mauro Giuliani would
have played in concert in Naples with his daughter Emilia. It requires
consummate mastery of the instrument.
Richault of Paris brought out a "Grand Duo Concertant pour Guitare
et PlOte" as Op. 130, according to Hdbuch,1834. It could not possibly
be the real Op. 130, but it might be something like Op. 83, with a
spurious Richault opus number.
158
Opus 151 - 156 are not known to have been published.
* * * * * * * * * * * * * * * * * *
Opus 137 - 5 POLONESI CONCERTANTI. 2G (posth).
N° 1
Allegretto
1 A 1a 1
T CHF! 7 r r
IX
NO 2
Allegretto
1. r. 1
TT ;r *f±z.
11
1 1 1
NO 3
Allegretto
i Q i l
3= ? =
I
II ■#—4
■
0 — #-
0 -4 t=3
FIRST EDITION: HTR£/ POLONESI/ concertanti/ per due Chitarre/ composte

da/ MAURO GIULIANI/ Opera 1 3 7 . . Milan: G. Ricordi, pl.nr. 8495.
COPY: In the personal collection of Prof. A. Company of Florence.
(Op. 137 cont'd., Op. 139) 139
SATE: Appeared c. Aug 1836 (HeckR). Listed in Hdbuch,1839.

publication may not reflect the composer's original intentions*
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
f t * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Opus 139 - PRIME LEZIONI PROGRESSIVE* C (posth).
AnA*.nH*o A/f9***++<
FIRST EDITION: "24/ PRIME LBZIONl/ Progressive/ PER/ CHITARRA SOLA/ Divise
in quattro parti/ Per uso degli amatori che desideranno di perfezionarsi/
senza l'aiuto del Maestro/ COMPOSTE DA/ MAURO GIULIANI/ Op. 139.**/
Parte la..." Milan: Ricordi, pl.nr. 11622.
DATE: Appeared c. May.1840 (HeckR). Listed in Hdbuch,1844.
COMMENTS: The remaining three parts of this series are not known to have
been published. The assignation by Ricordi of an opus number to this
posthumous publication may not reflect the composer's original intentions.
Opus 140 - VARIAZIONl (Chi ta fatto). G (posth). 140
Grazioso
.< d ±z.
T E M A
r i j J z Z t T & Z l f
FIRST EDITION: "QUATTRO/ Varlazioni e Finale/ PER/ CHITARRA SOLA/ sul

tema favorito Napolitano/"Chi t'a fatto sta scarpettiella"/ composte
da/ MAURO GIULIANI/ Op. 140/..." Milan: G.Ricordi, pl.nr. 11621.
COPY: L. of C., M 127/ .G.
DATE: Appeared c. Kay 1840 (HeckR). Listed in Hdbuch,1844*

i t - * * * * * * * # * # * * * * * * * * * * * * * * * * * * * * * # * * * *
Opus 141 - VARIAZIONl (La Riccioletta). G (posth).
TEMA
ALLEGRETTO
-7~*± 7
4* r ’r 7f 7T 7
FIRST EDITION: "QUATTRO/ Variazioni e Finale/ PER/ CHITARRA/ sul tema
favorito napoletano/ LA RICCIOLETTA/ Composte da/ MAURO GIULIANI/
0p.a 141.*«H Milan: G.Ricordi, pl.nr. 12026.
COPY: GdM, X 19432.
DATE: Appeared c. July 1840 (HeckR). Listed in Hdbuch,1844.

Opus 142 - VARIAZIONl (Si tu Nenna). G (posth). 141
Grazloso
TEMA
I?
FIRST EDITION: "QUATTRO/ Variazioni e Finale/ per CHITARRA sola/ sul

tema favorito napoletano/"Si tu Nenna m'amave n'aut'anno"/ Composte
da/ MAURO GIULIANI/ Op. 142..." Milan: G.Ricordi, pl.nr. 12027.
COPY: GdM, X 19433.

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Opus 143 - VARIAZIONI (E nato miezo mare). G (posth).
FIRST EDITION would correspond to this entry in RicordiCat,1857: "Quattro

Variaz e Finale per Chitarra sul tema fav. napoletano, 'E nato miezo
mare.' Op. 143«" Milan: G.Ricordi, pl.nr. 12041.
AUTHENTICATION: RicordiCat,1857. COPY: Not located.
COMMENTS: The theme of this work, also entitled "Michelemma," is a Neapolitan

fishermen's song. It is found arranged for voice & piano in the collection
Le Napolitane. by Florimo (Ricordi pl.nr. 25285). That version has a
%
parallel Italian translation of the dialectical text, which begins, "E nnata
'mmiezo mare."
The assignation by Ricordi of an opus number to this posthumous
Opus 144 - VARIAZIONI (Si monaca te fa.ie). G (posth). 142
FIRST EDITION would correspond to this entry in RicordiCat,1857: "[Quattro

Variaz e Finale per Chitarra] sul tema fav. napoletano, 'Si monaca
te faje, io frate mi faro.' Op. 144." Milan: G.Ricordi, pl.nr. 12042.
AUTHENTICATION: RicordiCat,1857. COPY: Not located.
COMMENTS: The theme, also known as "La Monaca," is described as a "Can

zone popolare che si pub cantare ad una o due voci," in RicordiCat,1857,
opposite pl.nr. 25301. The version referred to there beginB, "Se. monaca
te faje."
The assignation by Ricordi of an opus number to this posthumous
Opus 145 - VARIAZIONI (Si cara. si buona). G (posth).
FIRST EDITION would correspond to this entxy in RicordiCat,1857: "[Quattro

Variaz e Finale per Chitarra] sul tema fav. napoletano, 'Si cara, si
buona, si bella graziosa.' Op. 145." Milan: G.Ricordi, pl.nr. 12043*
AUTHENTICATION: RicordiCat, 1857. COPY: Not located.
DATE: Appeared c.July 1840 (HeckR). Listed in Hdbuch,1844.

Opus 146 - FLORA D»ITALIA. G (posth).
INCIPITS: See WoO, G-12, 10, and 13 respectively.
FIRST EDITION: "FLORA D'JTALIA/ ossia/ Scelta raccolta dei pezzi/ favoriti
delle Musa Italians/ ridotta/ per/ Chitarra Sola/ da/ MAURO GIULIANI/
Virtuose da Camera di S. Maesta La Principessa Imperials Maria Luigia/
(Op. 146 cont'd., Op. 147a) 143
Archiduchessa d'Austria, Duchessa di Parma Piacenza e Guastalla etc./

Op. 146 Parte I...H Leipzig: F.Hofmeister, pl.nr. 1467.
AUTHENTICATION: See comments.
LATE; Appeared late 1829/ early 1830 (DeutschMvN). Listed in Hdbuch,1844.
COMMENTS: Ricordi and Hofmeister cooperated with each other to the extent
that the former sent the latter copies of practically everything he published
of Giuliani's. There seems to have been an arrangement vhereby Hofmeister
could bring out his own editions of these works, presumably upon recipro
cation, or payment of an honorarium to Ricordi. Vhen Hofmeister received
the 1828 Ricordi publications of VoO, G-12, Cavatina (Esule di Roma).
WoO, G-10, Allegro cantabile (Pirata). and VoO, G-13, Allegro moderato
(Esule di Roma), he took the liberty of gathering them under one opus
number, undoubtedly clearing it first with Ricordi, who controlled prac
tically all of Giuliani's works composed after about the year 1823* What
ever Giuliani intended for his Op. 146 may never be known. The original
work was supposedly sold to Ricordi, who then apparently decided not to
publish it. Thus the three operatic arrangements listed here are authentic
Giuliani, done during his lifetime* But the opus number was assigned
posthumously by Hofmeister, with the supposed consent of Ricordi.
* * * * * * * * * * * *
Opus 147a - TERSICOHE DEL NORD. G.
liwanTino
Attdan+iYio ■ i~ i
•Ms*
"FzT zJ t f t $oH» voce.
,AVesfoso
____ .Ar)da.ntino
./> rfa .n fm o
I/""
I f S zL r T T T
(rro -Z io s o
ZT r r * f l r t& 'T ' t

Allegretto A ll? vivace
'F & ' 32 rr
?ZA*~
S & S 3 E
V ] r r ^ W W W
AV
>♦**
i v r m r ~
r . r - r -
7 r r r r
r
AHeyeH-©
13 ^ b 6
i h m m m
■< v t
r r*
Tempo Aia"Va.lz.ef AHfiAre.'fô
/w“
15; l^gjl
?F r ' 7 fr f f
AUTOGRAPH:"La/ Tersicore del Nord/ contenente una prescelta raccolta di/
Pezzi Ballabbili/ per Chitarra sola/ composte da/ Mauro Giuliani/
Prima [also "Seconda" and Terza"] Parte/ Opera/ 147." LOCATION:
Berlin, Stiftung PreuBischer Kulturbesitz.
FIRST EDITION: "LA/ TERSICORE del NCRD/ contenente una prescelta raccolta/
DI/ PEZZI BALLABILI/ per/ Chitarra sola/ composti/ DA/ MAURO GIULIANI/
Parte [l—33/ Op. 147..." Vienna: Artaria & Comp., pl.nrs. 2966-67-68.
AUTHENTICATION: ArMs. COPY: L.of C., M 127/ .G.
DATE: Appeared c. Sept 1828 (WeinArt). Listed in Hdbuch,1829.
LATER EDITIONS -
- Leipzig & Vienna: Weinberger, pl.nrs. J.W.861-63. This was a republication
of the original Artaria plates.
Opus 147b - CANZQNETTA (Tengo piu) VARIATA. G (posth). 145
FIRST EDITION: "Tengo piu di trentun'anni/ E mi voglio maritar/ Canzonetta

favorita/ VARIATA/ per Chitarra sola/ da/ MAURO GIULIANI/ 0pa 147..."
Milan: G.Ricordi, pl.nr. 7785.
COPY: GdM, X 18214.
DATE: Appeared c. Oct 1834 (HeckR). Listed in Hdbuch,1839.

publication obviously does not reflect the composer’s original intentions.
Giuliani himself assigned Op. 147 to the preceding work (Op. 147a for the
present catalogue), as he indicates in the contract which he sent to
Artaria, dated 14 May 1828. A facsimile and translation of that document
is given in Vol. I, Ch. IV. The original is located in the WStB, and
has the call number J.N. 69734.
Opus 148 - GIULIANATE. Pt. 1 & 2, G.
- - - - - - (Part 1)
No. I La Risoluzione
Maestoso U .
risoluto
^ Tr JV Tr*r rJVL *
No. II Lo Scherzo
Tempo dij i f # -/ ? I «! 1
minuetto» e H r .g- < : - ■ * , # - ,
7 vF r rT T rf rV
No. Ill L'Amoroso
Grazioso
ga a — ' ~ ' — ■
m r t s L s L r L r L r I t
(Op. 148 cont'd) 146
No. IV Giocoso
S c h e r z o *^ ^ <U-r J—
J—-4—, ak —t-4
Allegro vivace ^
(Part 2)
No. V L'Armonia
Allegro ;
spiritoso 2 3 E E 2 E 2
No. VI II Sentimentale
Grazioso
•* ioiiu \Jocc,
No. VII La Melanconia
Andantino
V f f t - p ^ U r
No. VIII L'Allegria
Allegro
V t r r ^
AUTOGRAPH: "Le/ Giulianate/ contenente varie Idee/ Sentimental!/ per
Chitarra sola/ Composte da/ Mauro Giuliani/ Opera 148." LOCATION:
Berlin, Stiftung PreuBischer Kulturbesitz.
FIRST EDITION: "GIULIANATE/ contenenti/ VARIE IDEE SENTIMENTALl/ per

Chitarra sola/ composte/ da/ MAURO GIULIANI/ Parte [l or 2]/ Op. 148..."
Vienna: Artaria & Comp., pl.nrs. 2970 & 2971.
AUTHENTICATION: ArMs. COPI: WStB.
DATE: Adv. Sept 1828 (VeinArt). Listed in Hdbuch,1829.
(Op. 148 cont'd., Op. 149) 147
LATER EDITIONS -
- Leipzig & Vienna: J.Weinberger, pl.nrs. 808-809* This was a reprint
of the original Artaria plates.
Opus 149 - PASTORALE a 2 Voci, PI & G (posth).
TENORE
J # "t----S ---- M - T -
-----y---------
---- ----------«-------------------------- _
k
<
_ _
P o r — trii non /ata . n eja-rc. - --

----- ----- y ............ .........
4^ fe~*1/
— ■----- f T — S
k
- J — — V — - J L : — :
— :----------------------
......... # ■ ------
FIRST EDITION: "PASTORALE/ a due Voci/ con accompag*0 di Flauto e Chitarra/

o di Piano-Forte/ OPERA 149./ 01/ MAURO GIULIANI/ Dall'Editore Dedi-
cata/ A1 Dilettante/ Sig.? Filippo Isnardi..." Milan: G.Ricordi,
pl.nr. 7593.
«
COPT: OeNB, MS 39652; GdM.
DATE: Appeared c. June 1854 (HeckR).

publication may not reflect the composer'3 original intentions.
The dedicatee, Filippo Isnardi, was Giuliani's first biographer,
bringing out a short "Cenni Biografici - Intorno a Mauro Giulian[i]..."
in L 1Omnibus, foglio periodico. Vol. IV (Naples, 30 April 1836), p.9.
Isnardi himself was a guitarist of sorts, who composed for guitar
tuned in E major! Ricordi pl.nr. 11624 is his "Due gr. Walzer per Chitarra
accordata in Mi maggiore."
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Opus 150 - GRAN SONATA EROICA. G (posth).
|-g|.
ALL0 m a e s t o s o :
n
FT r
(Op. 150 cont'd., Op. 15l) 148
FIRST EDITION: "Gran/ SONATA EROICA/ per Chitarra/ Composta da/ MAURO
GIULIANI/ dall’Editore dedicata all'Egregio Sig.r/ FILIPPO ISNARDI/
DILETTANTE/ Op.a 150..." Milan: G.Ricordi, pl.nr. 12028.
AUTHENTICATION: RicordiCat, 1857.
COPY: L. of C,, K 127/ .G.
DATE: Appeared c.July 1840 (HeckR). Listed in Hdbuch,1844.
MODERN EDITION -
- Mainz: Schott's Sons, Gitarren-Archiv #55. ed. Vicente Avila.

See comments to Op. 149, with respect to the dedicatee.
*#*«•#•*******#***#*******•***•******#***
Opus 151 - ROMANCE (Pres d'un volcan). G acc. (po3th).
MAESTOSO
Pres d'un vol - can sur des bords enchan -tds
FIRST EDITION, heading: "Pres d'un volcan sur des bords enchant£a./ ROMANCE/
de Mr De Echerolles/ avec accompagnement de Guitare/ par/ Mauro
Giuliani/ 0pa 151..." Milan: G.Ricordi, pl.nr. 12029.
COPY: GdM, VI 19504.
DATE: Appeared c. July 1840 (HeckR).
COMMENTS: Giuliani would not have assigned one of his opus numbers to
a work for which he evidently provided only guitar accompaniment. This,
along with such works as Op. 147b, prompts great suspicion of Ricordi's
opus attributions. The type setting of the original edition exploits the
name Mauro Giuliani (undoubtedly to Giovanni Ricordi's advantage) at a
time when the composer is not around to protest, nor to profit from the
sale of works conspicuously bearing his name.
Opus 151bis - ODE D I ANACREONTIC Soprano & G (posth) 149
Ira strofa
J, > jijJJtjBip-j ' - f \-~==
Te delle Dee Re - gl na .
FIRST EDITION, heading: "ODE DI ANACREONTE/ per voci di Soprano/ con

.accompag.o di Chitarra/ o Piano-Forte/ Di/MAURO GIULIANI/ Op4 151bis.
Milan: Gio. Ricordi, pl.nr. 12030.
COPY: GdM, VI 19503.
COMMENTS: There are three stanzas, each individually set to music over
the same accompaniment, and published in an over-and~under, score-like
format. The very late appearance of this work, some eleven years after
the composer's death, coupled with its unusual assigned opus number
(supplied no doubt by Ricordi), give rise to suspicion regarding its
authenticity. However, the "Anacreontic ode," as a subject fit for a
musical setting, was known to Giuliani through at least one source:
the extemporaneous poet Leonesi, with whom he appeared in Naples in
May 1825 (v. Appendix I, 44 of Volume I).
150
MAURO G I U L I A N I
THEMATIC CATALOGUE OF THE
WORKS WITHOUT OPUS NUMBER
by
Thomas F. Hsek
151
WORKS FOR GUITAR
(WITHOUT OPUS NUMBER)
WoO, G-l - MARCHES (Tra.ian. Coriolan. Vestale. etc.).
Marcia dell'Opera Trajano in Dacia

Tempo
di
Marcia
te
n
ITT r
f
Marcia dell'Opera Coriolano
-«±KL
Allegretto
/ r r
Marcia dell'Opera La Vestale
Allegro rj ^
Vivace i
// r f T - ^ iTMCATo
Marcia dell'Opera Riccardo Cordileone
tSee
comments] £ ?— - -<4-
FIRST EDITION: "MARCHES/ DE L'OPERA/ Trajan/ Coriolan/ La Vestale/

Richard coeur de lion/ ARRANGE POUR LA/ GUITARRE/ par/ Mauro Giuliani.
Vienna: Artaria & Comp., pl.nr. 2125.
AUTHENTICATION: ArMs, SteinTh.
DATE: Adv. 26 Jan 1811 (VeinArt).
(VoO, G-l cont'd., WoO, G-2) 152
COMMENTS: The last inarch does in fact lack tempo indication. It is a

test of mastery of the bass strings, and probably would be taken slower
than the normal military march.
VoO, G-2 - RONDONGINO BRILLANTB. .
m is I V I H I— I___ I— R •
son ■—
FIRST EDITION: "RONDONGINO/ brillante/ per/ Chitarra/ composto da/

MAURO GIULIANI..." Leipzig: C.F. Peters, pl.nr. 12S8.
AUTHENTICATION: ArMa. ,
COPY: In the personal collection of Prof. Marga B&uml—Klasinc, Graz,
Austria.
DATE: Reviewed Dec 1817 (AmZ, XIX, 890). Listed in Hdbuch,1818.
COMMENTS: The aforementioned review from the AmZ is reproduced below in

facsimile: Rondongino brillante per C h ita r r a c o m p o s to da
M auro G iuliani. In Lipsia, presso Peters.'
(P r. 4 O r.)
Das Bcywort soli wol nur anf den Spieler

bezogen wcrden; dcim das klcinc Rondo isl durck-
gangtg nur gclallig und anmuthig. H r . G . hat cs
iibrigens gatiz, wie fu r zwey Tustrumcute gesclirie-
b e n , von denen das eiue die fliessende Melodic
vortragt, das zw eyte, meist in gcbrochcneu A c -
corden, sic bcgleitet: doch i.,t bcydes z u Einein
und a u f E iu e/n , m it vieler Gcscbickliehkcit uud
Kenntnis des Instruineuls vereinigt, so , dass alley
niclit nur gehorig Iicrausgebrachl, sondeni auch
zura Vciguiigcu des Zuhorers vorgelrngen wcrdcn
kanu. Dass ein schr gciihtcr Spieler dazu gehdrt,
uud dass dicser besoudcrs auch die Melodic, dut ch
nibglichst fliessenden, die Beglcjtung durch abgc-
stossoncn Vorlrag von einandcr sondern, und doch
bcydcs gut zusnmmcnhalten muss, braudit R ef.
katim hinzuzuselzcn.
VoO, G-3 - 3 TEMA FAV. CON VARIAZ. (Catalan!). 153
Variazioni sul Flauto Maggico di Mozart

Andantino mosso
Tema
Sulle Variazioni di Rode

Andante
Tema
r * T r J j t t t
Variazioni sulla Biondina in gondoletta
T e ^dd£=-
,u‘o
Andantino -.4?
?*/r 7t 7 r 7r
FIRST EDITION: "TRE TEMA FAVORITl/ con Variazioni di/ Mdme CATALANl/ messi
per/ CHITARRA SOLA/ da/ Mauro Giuliani..." Vienna: T.Veigl, pl.nr.
1708. AUTHENTICATION: ArMs.
COPI: VStB, Me 14132.
COMMENTS: Although the title of the first number states that its theme
is from Mozart's Magic Flute. I have not been able to find it in that opera
The melody in question may have been substituted into the opera at one time
The violin variations of the French composer Jacques-Pierre-Joseph
Rode (1774-1830) were very popular in Europe c.1818. Beethoven wrote a
Romance. Op. 50, for Rode. But probably Madame Catalan! went farther than
anyone else in propagating the name of this French violinist, by singing
his variations as a bravura piece on numerous occasions. See Appendix
I, 53 of Volume I for a review of such a performance.
At least one other version of the third piece, Variazioni sulla
Biondina in Gondoletta. is known to have come from Giuliani's hand. See
the comments to VoO, G & F(V)-5«
VoO, G-4 - SCELTA DI 4 PEZZI FAVORITI (Cntalanl). 154
SOL MARGINS D'UN RIO
ir i:---- ;— m--- Jz=£=fc

THEMA
Andante( «-p.
^ £ j '5
NEL COR Plfr NON MI SENTO
THEMA =J
Andante: H ' ..
J
DONNETTE INNAMORATE
RONDO
Andante ^ pE
x* - r 1 r y
[OESTERR. VOLKSLIED - See comments]
ANDANTE &
con moto
ffrr f f
FIRST EDITION: "Scelta di quattro pezzi favoriti/ eseguiti da/ MAD:
CATALANl,/ abelliti e Variati per/ CHITARRA SOLA/ da/ Mauro Giuliani/
Seconds ed ultima parte..." Vienna: Cappi & Diabelli, pl.nr.
C.et D. N° 167.
AUTHENTICATION: ArMs (which lists no "prima parte," but only this
"seconds ed ultima parte").
COPT: Krick. A gift of Prof. Marga Bauml-Klasinc of Graz, Austria.
DATE: Adv. 21 June 1819 (WeinCap), but undoubtedly publ. in latter 1818,
since it is listed in Hdbuch,1819.
COMMENTS: The Catalani variations on "Sul margine d'un rio" were sung
by Dea. Wranitzky with great success in Vienna in March, 1818. See the
review in WMZ. No.58 (28 March 1818). It was originally an air by Milico,
according to ibid.. and was often "varied" by early-19th-c. composers, such as
(VoO, G-4 cont'd., WoO, G-5) 155
L. DroUet (for PI & G acc., COPY: GdM, SB X 49330), and the indefatigable
Henri Herz (for Pfte., Ricordi pl.nr. 3617).
Catalan!'s variations on "Nel Cor Piu” were well known, and also
performed in concert often by other sopranos. Witness the "Musikalisch-
deklamatorische Mittagsunterhaltung" in the Theater an der Wien (Vienna),
in which this was sung by Signora Coda, member of the "Akademie zu Bologna."
(Review in WMZ, No.93 [l9 Nov 1817], 355.)
"Donnette innamorate" is known to have been arranged for flute (or
violin) and guitar by Giuliani. An autograph MS. of the same is in Berlin,
Stiftung PreuBischer Kulturbesitz. It is in score format, and an incipit
is given in the comments to WoO, G & P (v )-5 .
The last piece, but for an editorial oversight, would have been entitled
something like, "Oesterr. Volkslied." It is, in fact, the immortal hymn
composed by Haydn, and found in his string quartet Op. 76 no. 3* On 16 June
1818 Catalani sang her own variations on "Gott erhalte," with much suc
cess, as is reported in the WMZ. No.74 (1818), 599*
WoO, G-5 “ OVERTURE (Semiramide).
35
Presto
ir'lL!
T O
L U m err T
FIRST EDITION:. "OVERTURA/ dell'Opera/ SEMIRAMIDE/ ridotta/ per la Chitarra
sola/ dal Sig:/ M. Giuliani." Vienna: Artaria & Comp., pl.nr. 2859.
AUTHENTICATION: The scribe of ArMs probably made a slip of the pen in
writing "Sinfonie dell*Opera Ssmiramis p 2 Guit." The Ricordi edition
of exactly the same arrangement leaves little doubt of the work's
authorship (See below.).
COPY: WStB, Me 13945-
DATE: Adv. 13 July 1825 (WeinArt).
LATER EDITION - Milan: G.Ricordi, pl.nr. 2988. "SINFONIA/ Nella Grand'

Opera/ La Semiramide/ Musica del Sig.r Maeso/ ROSSINI/ Ridotta per
Lira, o Chitarra Sola/ da/ MAURO GIULIANI." COPY: Modena, Liceo
(VoO, G-5 cont'd., WoO, G-6) 156
musicale. DATE: Appeared c. Peb 1827 (HeckR).
COMMENTS? The first edition is ambiguous in stating the composer a3 "M.

Giuliani.'1 Possibly there was an agreement whereby Michel (Mauro's son)
was the official author for Artaria (who made the name ambiguous for legal
reasons), while Mauro Giuliani sold the same work to Ricordi. It is quite
possible that neither publisher was aware of the other's edition.
* *
VoO, G-6 - DUETTINO (Serbia mi ormor - SEMIRAMIDE).
1
ANDANTINO I
I M S ' f
FIRST EDITION: "DUETTINO/ Serbia mi ognor si fido il cor/ Nell'Opera/

La Semiramide/ Del Sig. Maes./ ROSSINI/ Ridotto per/ CHITARRA SOLA/
DAL SIGNOR/ Mauro Giuliani." Milan: G.Ricordi, pl.nr. 2922.
COPI: Modena, Liceo musicale.
DATE: Appeared c. Jan 1827 (HeckR).
VoO, G-7 - CAVATINA (Se d'amor - ALESSANDRO).
FIRST EDITION would correspond to this entzy in RicordiCat,1857 for pi.

nr. 2925* "PACINI. Alessanc.o nelle Indie. Opera. Cav. *Se d'amor
fra le ritorte,' rid. per chitarra da Mauro Giuliani."
COPY: Not located
LATER EDITION -
- Vienna: Diabelli & Co. (Hdbuch, 1844).
WoO, G-8 - CAVATINA (Bel raggio - SEMIRAMIDE). 157
AHD'*:e grazioso
FIRST EDITION: "CAVATINA/ Bel raggio lusinghiere/ Nell'Opera SEMIRAMIDE

•Del Maes° ROSSINI/ RIDOTTA PER CHITARRA SOLA/ del Signor/ MAURO
GIULIANI..." Milan: G.Ricordi, pl.nr. 2924.
COPY: Modenai Liceo musicale.
LATER EDITION - Milan: Ricordi, pl.nr. 50966, "edizione 2do." COPY: L.of C
COMMENTS: The first edition calls for the use of the thumb of the left
hand in places, indicated by "po" for the Italian "pollice."
VoO, G-9 ~ 2da MARCIA (Semiramide).
I PZ l ^ - ■■
4 J + -w
-+:-J 4
I ...........■
" -
ALLEGRO
r
FIRST EDITION, heading: "Seconda Marcia/ Nell'Opera/ La Semiramide di
Rossini/ ridotta/ per Lira o Chitarra sola/ Dal Signor Mauro Giuliani,
Milan: Gio; Ricordi, pl.nr. 2925*
COPY: Modena, Liceo musicale.
VoO, G-10 - ALLEGRO CANTABILE (Tu vedrai - PIRATA).
ALL0 C a n ta b lle ijr < tt^ g -

I j i' 4m I T P =
f t * r T f t
(WoO, G-10 cont'd., WoO, G-ll and 12) 158
FIRST EDITION: "Allegro Cantabile/ Dell'Aria/ Tu vedrai la sventurata/

Nell'Opera II Pirata/ Del Sig.r Maestro/ BELLINI/ Ridotto per Chitarra
Sola/ DA/ MAURO GIULIANI..." Milan: G.Ricordi, pl.nr. 5784.
COPY: In the personal collection of Sigr. Eber Romani, Reggio Emilia
(Modena), Italy.
COMMENTS: This is a straightforward guitar transcription of the Da Cato

aria. A theme and variations on the same is in VoO, G-15.
WoO, G-ll - SINFONIA (Cenerentola).
FIRST EDITION would correspond to this entry in RicordiCat,1857 for

pl.nr. 5785: "ROSSINI. La Cenerentola. Opera. Sinfonia rid. per
Chitarra da Mauro_ Giuliani."
COPY: Not located.
DATE: Appeared c. May 1828 (HeckR)*
* # * * * * * * * * * * # * * * * * * * # * # * * * * * * * * * * * * . * »
VoO, G-12 - CAVATINA (Esule di Roma).
CAVATINA
CANTABILE
FIRST EDITION: "CAVATINA/ Nell'Opera L'Esule di Roma/ Musica del Sigr

Maestro/ G. DONIZETTI/ Ridotta per Chitarra sola/ DA/ MAURO
GIULIANI/ ..." Milan: G.Ricordi, pl.nr. 5786.
COPY: Modena, Liceo musicale, #680.
WoO, G-13 - ALL0 MODERATO (Se a me fido - ESULE DI ROMA). 159
MODERATO
pm y s=jF ^ r r
FIRST EDITION: "Allegro moderato del Duetto/ (Se a me fido ognor sarai)/
Nell'Opera/ L'ESULE DI ROMA/ Musica del Sigr. M.°/ G. Donizetti/
Ridotto/ Per CHITARRA sola/ DA/ Mauro Giuliani..."
Milan: G.Ricordi, pl.nr. 3787*
COPY: Modena, Liceo musicale, #679*
DATE: Appeared c* May 1828 (HeckR).
#***#**•*##**###*****•«•*****■*•******#***
WoO, G-14 - CAVATINA (Nel furor - PIRATA).
ANDANTE
lE j -1- ^ ^
J- f T *
FIRST EDITION: "CAVATINA/ Nel furor delle tempeste/ Nell'Opera II Pirata/
del Maestro/ BELLINI/ Ridotta per Chitarra Sola/ DA/ Mauro Giuliani/..
Milan: G.Ricordi, pl.nr. 3968.
COPY: In the personal collection of Sig. Eber Romani, Reggio Emilia
(Modena), Italy.
DATE: Appeared c. Dec 1828 (HeckR).
| WoO, G-15 - VARIAZIONI: ALL° CANTABILE (Pirata).
FIRST EDITION would correspond to this entry in RicordiCat,1857 for

pl.nr. 3969: "GIU.LIANI (Mauro). Allegro cantabile nell’Aria,'Tu vedrai
la sventurata,' nell'Op. II Pirata di Bellini, var. per Chitarra..."
COPY: Not located.
DATE: Appeared c. Dec. 1828 (HeckR).
160
WORKS FOR TWO GUITARS
WoO, 2G-1 - OUVERTURE (Vestale).
Guitar I
Andante sostenu
V T
FIRST EDITION: "OUVERTURE/ de 1'Opera/ La Vestale/ composê/ par Mr.
Gaspard Spontini, et arrangee pour/ DEUX GUITARES/ par/ Mauro
Giuliani..." Vienna: Artaria & Co., pi.nr. 2214.
. AUTHENTICATION: ArMs, SteinTh.
COPY: Krick.
DATE: Adv. 18 Sep 1811 (WeinArt).
COMMENTS: Artaria published a number of pieces for two guitars by Mauro

Giuliani during the period Sep 1811 - Apr 1812. These include pl.nrs.
2214 (above), 2218 (Op. 16a), 2233 (Op. 35), 2237 (WoO, 2G-2), and 2240
(WoO, 2G-3)•
* * * * * * *
WoO, 2G*-2 - OUVERTURE (Clemenza di Tito).
Chitarra la. Con capotasto alia terza posizione, o tasto.
7 - fa-
Allegro ^ C
f T ^ r - yr r r T
FIRST EDITION: "OVERTURA/ dell'Opera/ La Clemenza di Tito/ di Mozart/
ridotta per due Chitarre/ da/ MAURO GIULIANI..." Vienna: Artaria &
(WoO, 2G*-2 coat'd,, VoO, 2G-3) 161
Comp., pi.nr. 2237.

SATE: Adv. 22 Apr 1812 (WeinArt).
COMMENTS: The actual key is C major, but Guitar I is a terz-guitar (G*),

reading in A major. Guitar II is, of course, in C.
WoO, 2G-3 - AUSWAHL (Apollo Saal).
G-ui-ha-r I
i h n
Hj z
/
4 ^ 4 j -T-X-
J 4 t ± t
5 m
If f i t f XT = V f r n r~r
* f - r r
/•> /N
■J Jf
/ r jry f s r j tT A -
- rrr
(WoO, 2G-3 cont’d., WoO, 2G-4) 162
FIRST EDITION; "AUSVAHL/ der beliebtesten Deutschen/ vom/ APOLLO SAAL/

gesetzt fUr/ Zwey Guitaren/ von/ MAURO GIULIANI...” Vienna;
.COPT: L. of C.
DATE: Adv. 22 Apr 1812 (VeinArt).
COMMENTS: The Apollo-Saal was a famous dance hall and indoor pleasure
garden a bit beyond the city walls of Vienna. It thrived at the time
Giuliani was in Vienna. An evening at the Apollo-Saal is described by
J. F. Reichardt, Vertraute Briefe.... Vol. I (Amsterdam, 1810), 505f.
Diabelli wrote a set of Menustten m-it Trios fllr das Apollo-Saal in
WIEN (pl.nr. C.& D. No. 484). COPY: WStB, Me 9688.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
I
WoO, 2G-4 - SINFONIA (Pirata).
FIRST EDITION would correspond to this entzy for Ricordi pl.nr. 3970, given
in RicordiCat,1857: "BELLINI. II Pirata. Opera. Sinfonia rid. per
due Chitarre da Mauro Giuliani.”
COPY: Not located.
163
WORKS FOR GUITAR AND PIANOFORTE
WoO, G & P-l - GRAND DUO CONCKRTANT (Moscheles & Giuliani).

All0 maestoso
Giuliani
Moscheles
FIRST EDITION: "Grand/ DUO CONCERTANT/ pour le/ Piano-Forte et Guitare/

ou deux Piano-Forte/ compost et dedie/ A S.A, Imp.le Mg1 L'Archiduc/
RODOLPHE/ d'Autriche/ par ses trbs humbles et tr&s soumis serviteurs/
J. MOSCHELES et M. GIULIANI..." Vienna: Artaria & Co., pl.nr. 2282.
COPY: Modena, Liceo musicals.
LATER EDITION -
COMMENTS: This work is also catalogued among the works of Moscheles

as his Op. 20.
VoO, 0 & P-2 - 4 RONDEAUX, arr. Lehmann. 164
C.o.f>iS\r HT
iG’rtzioso
p I
nC-i/ifatr ha s p rin cip al mna.1oky)
(G-u I4av hflS prfatifoAtmelody

-«rajjf o y
RO ND O - L a . C h e L tie
GlockehteLuteS von B o lo g n a
Muci».hmiir>g ties
t V & 9ro_______ ______ _______
FIRST EDITION: "IV/ RONDEAUX/ composes par/ M. Giuliani/ arranges en ma-

ni&re facile et agreable/ pour/ Pianoforte et Guitarre/ par/ Mag.
I. T. Lehmann..." Leipzig: F.Hofmeister, pl.nr. 1095 (Cahier I) and
1165 (Cahier II).
COPY: Berlin, Stlftung PreuBischer Kulturbesitz.
DATE: Appeared c. 1824, first listed in Hdbuoh,1825»
LATER EDITIONS -
- Breslau: Fb’rster, Cahier II (Hdbuch,1826), III (Hdbuch,1829).
- Braunschweig: Spehr, Cahiers I & II (Hdbuch,1828).
- Leipzig: W.HHrtel, Cahiers III, IV & V (Hdbuch,1828).
Hofmeister, Cahier III (Hdbuch,1829)«
- Paris: Richault, "Quatre/ RONDEAUX/ Pour/ GUITARE ET PIANO/ Composes/
PAR/ MAURO GIULIANI/ Oeuv. 94 (3em© livre).../ N.a Ces Rondeaux sont
arranges par LEHMANN..."Pl.nr. of title page is 1734-1735 R» but pl.nr.
of music is 2542 R. COPY: L. of C., M 277/ .G. The opus number
assigned by Richault is false.
COMMENTS: Lehmann was an erstwhile colleague of Giuliani's in Vienna. He

apparently decided to exploit the latter's popular name (after Giuliani
had left Vienna) by doing these arrangements of original solo guitar
pieces for a medium (G & Pfte) which probably would not have met with
Giuliani's approval. Lehmann probably did them without seeking or obtain-
ing the composer*8 consent. Many of Giuliani's earlier opera reappear
without identification in these arrangements. For ex:
Cahier I, No. 3 - Op. 3, No. 3.
Cahier I, No. 4 = Op. 5.
Cahier I, No. 1 = Op. 14, No. 2.
. . . etc.
Cahier II, No. 1 = Op. 14, No. 1.

. . . etc.
The existence of three more cahiers of arrangements by Lehmann (Books

III, IV, & V, publ. Leipzig by Hartel) is indicated in Hdbuch,1828. But
no primary catalogue of Giuliani's works (such as ArMs, or SteinTh) makes
mention of them. They were not available for this study.
166
WORKS FOR GUITAR AND FLUTE (or VI.)
(WITHOUT OPUS NUMBER) _
WoO, G & F(V)-1 - DUO.
Violino
[I]
Allegro'
[II]
----- f*—
■B-* i
Menuetto
i s
tr. tn
y/
[ill] All0 nod*0

jfe 1 X
Rondo r j £ ^ M £ t ±
m
FIRST EDITION: "DUO/ arrangle/ pour/ GUITARHE ET VIOLON/ par/ MAURO

GIULIANI..." Vienna: Imprimerie chimique, pl.nr. 1457.
AUTHENTICATION: SteinTh.
ARRANGEMENT, G & F: "DUO/ arrangee/ pour/ Guitare et Flftte/ par/ MAURO

GIULIANI..." Vienna: S.A. Steiner & Co., pl.nr. 1638 (or 1457-1638).
COPY: GdM, SB X 49830. DATE: Appeared 1811 (WeinPrep).
VoO, G & F(v)-2 - ORIGINAL MAERSCHE (VerbUndeten Mhchte). 167
FlOte
1. Russischer Marsch 2. Russischer Marsch

Maestoso moderato Moderato
wim-m-r*' .jirrrirJ- \AT
3» Marsch der k.k. Oester- 4. Oesterreichischer Marsch

reichischen Truppen
Allegro Allegro molto
5. PreviBischer Marsch 6. Preusischer Marsch

Allegro con fuoco ,Allegro
Km m.i, r.r m i
T f } //
7* Marsch der Schveden 8. Marsch der Schveden
Moderato Moderato
9* Marsch der k. Bayrischen 10. Marsch der k. Bayrischen

Truppen Truppen
Allegro maestoso Allegro maestoso
FIRST EDITION: "ORIGINABL/ MAERSCHE/ de.* VerbUndeten Machte/ arrangirt

flir/ Guitarre und Fl'dte/ von/ MAURO GIULIANI...” Vienna: Artaria
& Comp., pl.nr. 2296.
LATER EDITION - Paris: A.Meissonnier (Hdbuch,1828).
I
VoO, G & F(v)-3 - flatl POLONESE (Mavseder). 168
Violino
/tf*-
Polossse;
FIRST EDITION: "POLONESE/ del Signore/ Mayseder/ ridotta/ per/ Violino

e Chitarra/ da/ MAURO GIULIANI/ Op:__/..." Vienna: Pietro Mechetti
qm Carlo, pl.nr. 309.
AUTHENTICATION: There is no indication of this arrangement in the
early publishers' catalogues of Giuliani's works.
DATE: Appeared in latter 1819 (see comments).
r
COMMENTS: The original edition of Mayseder's first Polonaise (his Op. 10)
was published, as far as I know, by Artaria in an arrangement for solo
violin, 2V, Va & Vc, pl.nr. 2407, first adv. 14 Apr 1815 (terminus a quo).
Mech qm Carlo pl.nr. 402 was adv. 20 Jan 1816 (terminus ad quern), ac
cording to BeitrSge 11,10.
* *
WoO, G & F(v)-4 - 2d P0L0N0ISB (Mavseder).
Violino o Flauto
Polonese
-Off T i f
FIRST EDITION: "Seconds/ P0L0N0ISE/ de Mr. Mayseder/ arranges pour/

Violon ou Flflte/ et/ Guitarre/ par/ MAURO GIULIANI..." Vienna:
Artaria et Comp., pl.nr. 2445.
COPY: WStB, Me 13951? GdM; N. Y. Fublic.
(WoO, G & F[v]-4 cont'd., WoO, G & f[v]-5) 169
COMMENTS: The original edition of Mayseder*3 second Polonaise (in E^)

was published by Artaria, pl.nr. 2435 (Adv. 8 Jan 1816). It was for
string quartet, with a virtuoso first violin part. Giuliani made this
guitar reduction of the 2nd violin, viola, and 'cello parts, ultimately
requiring a transposition of the original to G. '
Mayseder's third Polonaise was adapted for violin and guitar by
a lesser guitarist living in Vienna at the time Giuliani was there,
Anton GrHffer (Artaria pl.nr. 2469, adv. 28 Oct 1816 [WeinArt]).
# *
WoO, G & F(v)-5 - RACCOLTA DI VAHIAZIONI (Catalani).

r
INCIPITS: See comments below.
AUTOGRAPH: "Raccolta di Variazioni di Mad.me Catalani ridotte per il

Flauto, o Violino, e Chitarra da Mauro Giuliani, Parte lma."
LOCATION: GdM.
FIRST EDITION would correspond, to this entry in ArMs: "Recueil de

Variations chanties par M. Catalani arr. pour Guit. et VI ou
Flut, Cah. 1.2. Mollo..." Although this Mollo edition did not
find its way into BeitrSge II,9» WeinPrep provides the Mollo plate
numbers as 1734 and 1736. COPY: Not located.
LATER EDITIONS -
~ Vienna: Easlinger (Hdbuch,1834)•
COMMENTS: The aforementioned autograph in possession of the GdM could not

be retrieved while I was in Vienna, 1968-69, due to misshelving. It is
carefully described, however, in Koczirz, "Wiener Gitarrenhss. von Mauro
Giuliani," Musik im Haus. VI, 1 (15 Jan 1927), 7. The theme of the first
number (contained in "Parte lma"), called "0 dolce contento di Mozart,"
is not now regarded as genuine Mozart. The Mozart-Handbuch (Vienna, 1962),
I
?
(WoO, G & F[v]-5 cont'd., WoO, G & f[v]-6) 170
page 141» Anh. 188c lists "Oh dolce contento" as being of doubtful
authenticity.
Two themes with variations known to have been sung by Catalani,
and arranged for G & F(V) by Giuliani, are in Berlin, Stiftung PreuBischer
Kulturbesitz. They are autographs, in score format, without opus
number, and have the following incipits:
1. Heading, "Variazioni Sull'aria - la biontina in gondoletta."
J l I
Chitarra
2. Heading, "Hondo - Donnette innamorate in' Pot-Pourri."
FI o Violino
See the comments to WoO, G-3 & 4 for background information on

these themes. If the Hollo first editions ever turn up, it would not be
surprising to find the above included in them, along with "0_dolce con
tento [or concento I" mentioned earlier. If a concordance is ruled out
in the case of "la biontina" and "Bonnette innamorate," then these works
will revert to the classifications WoO, G & F(V)-7 and 8 respectively.
« # • * * * * * * * »
I WoO, G & F(V)-6 - QUINTETTO (dual mesto gemlto - SEMIRAMIDE).

Larghetto
1._________ -1 AlC
Flauto o 1r::prf^
Violino 1 ^ -
FIRST EDITION: "Qual mesto gemito/ QUINTETTO/ nella Semiramide di Rossini/

Ridotto per Flauto, o Violino, e Chitarra/ dal Signor Mauro Giuliani/.
Milan: G.Ricordi, pl.nr. 2926. AUTHENTICATION: RicordiCat,1857.
I
171
VOCAL WORKS
(WITHOUT OPUS n u m b e r )
WoO, vocal-1 - 3 CAVATINB.
TEXT INCIPITS: (l) Confusa questa alma.

(2) Amor perche.
(3) Quando vedo 11 pastorello
FIRST EDITION: HTre Cavatine/ ridotte per 1'accompagnamento di Chitarra/

da/ Mauro Giuliani/ No. I...” Vienna: Contojo delle Arti e d'indus-
tria, pl.nr. 582. It was reprinted, unaltered, with S.A. Steiner &
Comp, pl.nr. 4224.
AUTHENTICATION: ArMs, SteinTh (which provides musical incipits).
DATE: Adv. 22 Aug 1807 (WeinPrep).
COMMENTS: Review in AmZ, X (30 Mar 1808), 427. This collective review
does not treat individual works in detail.
WoO, vocal-2 - 2 GRAND ARIE & 1 MARCIA.
TEXT INCIPITS: (l) Pria che spunta in ciel l'aurora.

(2) In questo amaro istante.
The third number is a guitar solo, a march.
FIRST EDITION would correspond to this entry in ArMs: "Due grand Arie ed
una Marcia ridotte per chitarra da Mauro Giuliani. No. II..." Vienna:
Contojo delle Arti e d'Industria, pl.nr. 588. It was reprinted,
unaltered, with pl.nr. S.u.C. 4225 H by Tobias Haslinger.
(WoO, vocal-2 cont'd., WoO, vocal-3) 172
AUTHENTICATION: Arils, SteinTh (which provides musical incipits),

COPY: Not located.
PATE: Adv. 9 Sept 1807 (WeinPrep).
COMMENTS: The march (third number, guitar solo) is from Anniro e Daura
by Nicholas Giuliani, uncle of Mauro Giuliani. Nicola lived most of
his life as a singing teacher in St. Petersburg.
A review mentioning 2 Grand Arie... is in the AmZ, X (30 March
1808), 427f.
* * * * * * * * * * * # * * * * * * * * * * * * * * * * * » * * * * * * *
WoO, vocal-3/ I-XII - LE TBOUBAPOUR DU NOHD (oeuvre plriodioue).
TEXT INCIPITS are taken from WeinArt, p.150:
Cahier I, pl.nr. 2049 Cahier II, pl.nr. 2070
1) On vante toujours la nature (1)

1) Partant pour la Syrie
S;
2) Te bien aimer, 8 ma ch&re Z6l±e (2)
2) Mon coeur soupire
3 i La sentinelle - L'astre (3) Soldat qui garde
Nici bedda, Nic1 ingrata (4) Jeune encore
Puettino: II mondo nuovo (5)
is) Ecco di Guido
(
(6) Amor
Amor che
che nasce
Cahier III, pl.nr. 2117 Cahier IV, pl.nr. 2235
(1) Come potrei

u2) J'arrive ici
(
(3) II est trop tard
'amo
....... .... canore
(6) Duetto: La vostra Pamela
Cahier V, pl.nr. 2299 Cahier VI, pl.nr. 2309.
(1) Lundi pour une semaine (1) Lorsque dans une tour
(2) Nina, s'4 ver che m'ami (2)
2) Se anch'io fossi
(3) Je vous attends (3) L'amour est un enfant
(4) C'est pour te plaire (4) Duetto: Amore vi chiedo
(5) Duetto: Sono dolci le catena
1
(WoO, vocal-3/ I-XII cont'd.) 173
Cahier VII, pl.nr. 2400 Cahier VIII, pl.nr. 2402
Triste accabl£ Je vous 4cris

Vuoi per sempre II ne vient pas
Plus leger Voi che - Mon coeur soupire
IIIfaut partir Un jeune troubadour
Se non lontano Duetto: Piaceri dell'anima
Cahier IX, pl.nr. 2474* Cahier X, pl.nr. 2497.
1) Toujours, toujours (l) Tu che accendi

2) Ardo ognor per te 2) Nina nor dir di no
3) Du mirthe frais 3) Per pietli bell'Idol.
(4) Parle moi (4) Terzetto: Fra quai soavi
(5) Duo: Je t'aime tant
Cahier XI, pl.nr. 2538* Cahier XII, pl.nr. 2399.
1) Reposez vous bien chevalier (1) N'oubliez pas

2) N'avoir sans y songer (2) L'amiti£
3) Un Portugais dont l'Sme (3) On n'est heureux
4) Je vais en Palestine (4) Canon h. trois voix: L'amour,
(5) Terzetto: Da quel sembiante l'amiti£ et le vin
FIRST EDITIONS had thiB title page: "LE TROUBADOUR DU NORD/ Oeuvre
p4riodique Musical/ contenant un recueil de pieces choisies/ pour
le Chant/ avec accompagnement de/ GUITARRE/ ou/ Forte-Piano/ par/
MAURO GIULIANI/ Num°[l-XIl] . . . Cahier [i-XIl]/.. Vienna:
Artaria & Comp., pl.nrs. as given above.
AUTHENTICATION: ArMs, SteinTh (which has musical incipits for
Cahiers I - VIl).
DATES CAHIERS COPIES
Early 1610 I ’ Prague, Universitni Knihevny, CSR UK.
Early 1810 II Ibid.. and WStB, Me 13515.
26 Jan 1811 III Prague
22 Apr 1812 IV Prague
13 Apr 1814 V Prague
13 Apr 1814 VI Prague
[1815] VII Prague, N. Y. Public
(WoO, vocal-3/ I-XII cont'd., WoO, vocal-4) 174
DATES CAHIEES COPIES
20 Sep 1815 VIII Prague, loo, cit,

8 Mar 1817 IX Prague
23 July 1817 X
7 Dec 1818 XI
[1819] XII
N.B. All dates are taken from VeinArt
* * *
WoO, vocal-4 - DAS LEBENDIGE VEINFASS (3 Numbers)
TEXT INCIPITS: (l) Plattre kleiner Vogel.

(2) Getreu will ich lieben.
(3) Stille mein Klagen.
FIRST EDITION: "Das lebendige Veinfass, Ein Liederspiel und comisches

Melodrama in 3 Aufzligen, von H er m Matth'dus Stegmayer, fUr das
Pianoforte eingerichtet von I. R. von Seyfried, Erster Kapellmeister
des k.k. priv. Theaters an der Wien..." Vienna: k.k. Hof-Theater-
Musik-Verlage, pl.nrs op:12 through op:34f.
AUTHENTICATION: There is no reason to doubt that this collective
compositional effort features genuine works of Giuliani, Mozart, Voelfl,
Haydn, Mueller, Umlauf, Pechatschek, Beethoven, & Hofmeister, as
stated in Beitr&ge. Hof. 74f.
COPY: GdM, IV 6291.
DATE: Adv. 23 May 1812 (Beitrdge, Hof)
§
COMMENTS: The three numbers contributed by Giuliani have these plate
numbers and designations within the Liederspiel:
- pl.nr. op:13 No. 2: Ariette, Flattre kleiner Vogel
op:14 No. 3: Duetto, Getreu will ich lieben
op:16 No. 5: Duetto, Stille mein Klagen
I
WoO, vocal-5 - 3 DUETTI NOTTURNI. 175
TEXT INCIPITS: (l) Almen se non poss'io seguir

(2) Senza parla fra loro
(5) Sentirsi dire dal caro bene
FIRST EDITION: "Tre/ DUETTI NOTURNl/ per Soprano, e Tenore, ridotti per
il/ Forte-Piano 6 Chitarra/ da/ MAURO GIULIANI/..." Vienna:
Artaria & Comp., pl.nr. 2259.
AUTHENTICATION: ArMa. COPT: WStB, Me 13955-
LATER EDITION - Bonn: Simrock, pl.nr. 1113 (ZuthN).
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
r
WoO, vocal-6 - 6 DEUTSCHE LIEDER (von Reiaaig).
TEXT INCIPIT: Not available.
FIRST EDITION would correapond to this entry in Beitrdge II, 9: MSecha

Deutsche Lieder von Louis von ReiBig, Ges. u. Pfte. Q. 1 fl...M
Vienna: T. Mollo, V.nr. 1637.
AUTHENTICATION: This type of cooperative compositional undertaking
was very common at the time, and there is no reason to doubt that the
composers named were actually involved:
Beethoven Gros8heim
Salieri Giuliani
Hummel Moscheles
COPY: OeNB, S.A. 63-3 A 85.
DATE: Adv. 29 Nov 1815 (Beitrdge, 11,9).
COMMENTS: Through Beethoven's contribution (poss. "Lied aua der Ferne?")

there may be a connection between this work and WoO, vocal-8. A corres-
pondance would have to be established between WoO, vocal-6 and "Sechs
Deutsche Lieder fUr das Piano-Forte von Beethoven, Grosheim, Salieri, Hum
mel, Giuliani, und Moscheles...(Josef Pargfrieder gewidmot)," Vienna: Mollo,
pl.nr.(?), cited in the Halm Beethoven-Verzeichnis under WoO 138.
WoO, vocal-7 - SANG AUS NORDEN (Fiorenza). 176
TEXT INCIPIT: Fiorenza, Fiorenzai (TITLE: Sang aue Norden).
FIRST EDITION appears in WMZ, Vol. I, No. 16 (18 Apr 1816), pp. 151-52
plus music foldout.
AUTHENTICATION: Printed during Giuliani's stay in Vienna, and with
text by a-fellow member of the Ludlams-Gesellschaft, Aloys Jeit-
teles, there can be little doubt of its authenticity.
COPY: OeNB.
DATE: Publ. 18 Apr 1816, as indicated above.
# * * # # * # # # # # * * * * * * * * * * * * ■ * # * * # * # * * * * * * #
VoO, vocal-8 - DER JUENGLING IN DER FREMDE (Reissig).
TEXT INCIPIT: Der FrUhling entblUhet... (TITLE: Der JUngling in der

Fremde).
FIRST EDITION: "Der JUngling in der Fremde/ in 6 Strophen aus Reissigs

BlUmchen der Einsamkeit/ fUr das/ PIANO-FORTE/ eingerichtet von/
Beethoven, Giuliani, Moscheles, Reichardt, Kanne u. Hummel/ und/ DEM
HBRRN/ JOH. NEP. von BERNATH/ aus Hochachtung zugeeignet von dem
Dichter..." Vienna: Artaria & Comp., pl.nr. 2454.
AUTHENTICATION: As with WoO, vocal-6, thi3 type of cooperative
compositional undertaking was veiy common at the time, and there is
no doubt that the composers named were actually involved.
DATE: First adv. 22 June 1816 (WeinArt).
COMMENTS: Further information on this piece can be gotten in Das Werk

58 Beethovens.... ed. Hans Halm (Munich, 1955), 606, under WoO 138. According
6
g to this source, the Beethoven music to this joint compositional venture
was taken from an earlier strophic Lied (WoO.137), to which the Reissig
poem, "Lied aus der Ferne" was set.
WoO, vocal-9 - LE CHANSONNIER DU JOUR (oeuvre p^riodique). 177
TEXT INCIPITS:
Cahier 1 - (l) La brava Cattina (CMZONETTE)

(2) Dans tes beaux yeuz (ROMANCE)
(3) Concois-tu toute3 mes douleurs (TITLE: Le d6lire, Romance)
(4) Dove son quei trasporti (DUETTO)
Cahier 2 - (l) L'astre des nuits (TITLE: Le soir - Romance)

(2) Lise sens tu comme il palpite (TITLE: Lise)
(3) Dans notre Suae une voix secrete (TITLE:La conscience d'Amour)
(4) N'a plus pouvoir dormir (TITLE: Air Bcossais)
(5) Non ti celar con mi (TITLE: Canzoncina)
Cahier 3 " (l) N'avoir jamais qu'une pens£e

(2) Venez aux champs
(3) Je l'aime helas
(4) Tu disois que 1'amour
(5) Pour quoi regretter ces beaux joura
Cahier 4 - (l) Un non s6 che mi sento (TITLE: Cavatina)

(2) Brdlant d*amour (TITLE: Le Troubadour, Romance)
(3) A peine au sortir de l'enfance (TITLE: Joseph, Romance)
(4) Un jeune enfant (TITLE: Belioaire)
(5) Sentirsi dire (TITLE: Duettino Nottumo)
Cahier 5 - (l) Povero cor perche (TITLE: Cavatina)

(2) Aux vains d£sirs qui tourmentent la vie
Le Troubadour ne livre pas son coeur (TITLE: Le Troubadour)
(3) La sympathie est le lien (TITLE: La sympathie . Romance)
(4) Tu me dis refrain menteur (TITLE: Romance)
Cahier 6 - (l) Je le saurai (TITLE: Romance)

(2) Devine moi, je n'ose te le dire (TITLE: Romance)
(3) Da quel sembiante appresi (DUETTO)
(4) Come fugace lampo (DUETTO)
FIRST EDITIONS would correspond to this title on a manuscript copy, from

which text incipits are taken: "Le Chansonnier du Jour/ Oeuvre plri-
odique/ Contenant un recueil de pieces choisies pour le Chant/ Avec
11accompagnement de/ Guitarre ou Forte Piano/ de/ Mauro Giuliani.
Napoli: Strada toledo N° 177." LOCATION: N. I. Public, Drexel 4192.
Vienna: Tranquillo Mollo, pl.nrs. and dates given infra.
AUTHENTICATION: ArMs
DATES CAHIERS MS. COPY PRINTED COPY
13 Jul 1816 I N. Y. Public Schlossarchiv Kremsier, Austria
13 Jul 1816 II m u jj0t located.
DATES CAHIERS MS. COPY PRINTED COPY
13 Jul 1816 III N.Y. Public Brno, Univ. Knihovna, C.S.S.R.

17 Jan 1818 IV N.Y. Public Not located.
17 Jan 1818 V N.Y. Public Not located.
2 May 1818 VI N.Y. Public Not located.
2 May 1818 VII Not located Not located.
COMMENTS: Beitrdge 11,9 provides the foregoing dates, and furnishes

these plate numbers for the original T. Hollo editions; Cahier I (l62l),
II (1645), III (1646), IV (1667), V (1670), VI (1695), and VII (1713).
# * * # * # # # # * # * * * * # # * * # * ■ * # * * * * * ■ * * * * * * * * *
r
WoO, vocal-10 - DER THEUE TOD.
TEXT INCIPIT; Der Ritter muss zum blut'gen Kampf hinaus (TITLE; Der
treue Tod).
FIRST EDITION: "DER TREUE TOD/ von Theodor K'drner/ in Musik gesetzt/ mit
Begleitung des Pianoforte Oder Guitarre/ von/ Giuliani/ gesungen in
den grossen Concerten zu Berlin/ von/ F. WILD/ TenorsHnger aus Wien...
Berlin: Schlesinger, pl.nr. 232.
AUTHENTICATION: See comment below.
COPT: WStB, He 14239.
DATE: Appeared late 1816 (DeutschMvN).
COMMENTS: The WM2. No.4 (ll Jan 1817) carries the following dateline:
Leipzig, 19 Dsz. [1816]. Der Opernsanger Herr Wild ist von Berlin
hier eingetroffen und hat am 19. Dec. mit dem entschiedensten Beyfall
ein Konzert gegeben. Er sang eine Scene und Arie aus Paers Agnese:
"Adelaide" von Matthison nach Beethovens vortrefflichen Komposition;
ein Duett von Farinelli mit Mme. Neumaim-Sessi, und "der treue Tod"
von KUraer, Musik von Giuliani, letzteres so schUn und schmelzend,
dass die Wiederholung verlangt wurde. Es heisst, dass er sich auf
der RUckreise nach Wien befinde, von wo er seit l&ngerer Zeit ab-
wesend ist" - p.31.
WoO, vocal-11 - 2 ROMANCES. 2 DUOS (Blangini). 179
TEXT INCIPITS: (l) 0 toi que j'adore

(2) Las'. j'£tois en si doux servage
(5) Care pupille
(4) Per valli, per boschi
FIRST EDITION: "Deux/ ROMANCES h. 2 voix et 2 DUOS ITA1IENS/ de/ Mr.

Blangini/ avec accompagnement de/ Pianoforte ou Guitarre/ par/
MAURO GIULIANI..." Vienna: Artaria & Co., pl.nr. 2524*
COMMENTS: This edition is reviewed in the WM2. No. 104 (29 Aug 1818):
Eine recht angenehme Kleinigkeit, die wir alien Freunden leichter
GeBangsmusik als Unterhaltung und zugleich Anfttngern als hdchst
zweckmhssige Uebung empfehlen k'dnnen. Alles ist auBerst einfach
ohne Schwierigkeit (in keiner der beiden Stimmen wird der Umfang
einer Dezime Uberschritten) und doch mit so viel Geschmack behandelt,
daB man diese StUcke, gut vorgetragen, immer mit VergnUgen hdren
wird. Die zweite Romanze, D-dur, zeichen wir besonders aus.
VoO, vocal-12 - BOLERO (Catalani).
TEXT INCIPIT: Son Gelsomino, son piccol fiore
FIRST EDITION: "BOLERO/ Cantato in Parigi/ dalla/ SIGNORA CATALANI/

Ridotto/ con accompagnamento di/ Piano-Forte, o Chitarra,/ da/
Mauro Giuliani..." Vienna: T. Mollo, pl.nr. 1728.
AUTHENTICATION: ArMs, but see comment below. COPY: GdM, VI 12354.
DATE: Adv. 10 June 1818 (BeitrSge, 11,9).
COMMENTS: There is only one entry in ArMs containing the words "Bolero"
and "Mollo." It is at a variance with the above title: "Sechs Original
Boleros Spanisch und Ital. Mollo." Acc. to the complete publisher's cata
logue for T.Mollo (Beitrhge, 11,9)» there is no other piece by Giuliani .
even faintly resembling this, nor is there any entry like it under "Catalani.
We conclude that the scribe for ArM3 made an error in entering this work.
VoO, v o c a l- 1 3 - DER ABSCHIED DER TROUBADOURS. 180
TEXT INCIPIT: Ach hier lachten sllsse Freuden

(Xtal: Nunzia ognor di dolci...)
FIRST EDITION: "Der Abschied der Troubadours/ ROMANZE/ mit deutsch und
italienischem Texte/ UnterhaltungsstUck/ filr/ Gesang, Pianoforte,
Guitare und Violine/ mit abwechselnden Variationen/ componirt/ von/
I. Moscheles, M. Giuliani und J. Mayseder..." Vienna: Cappi &
Diabelli, C.et D. fi° 93.
AUTHENTICATION: See VoO, vocal-6 authentication, and see below.
DATE: Adv. 6 May 1819 (VeinCap). However, given in concert 25 April 1619,
and possibly as early as the spring of 1815* See Vol. I, App. I, 24.
COMMENTS: The text is by Castelli, the melody presumably by Blangini

(v. VoO, vocal-14). The piece calls for terz-guitar in D, so the actual,
key is F. It was often used as a concert finale, with success, as we
read in numerous reviews. See, for ex, App. I, 24, 34, & 35 of Vol. I.
These attest to its authenticity as at least the partial work of Mauro
Giuliani. According to VeinCap, there is a long review of the work in
the Wiener Zeitung. No. 103, 6 May 1819.
f t * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
VoO, vocal-14 - DER ABSCHIED DER TROUBADOURS (Manieren von Giuliani).
TEXT INCIPIT: Ach hier lachten sllsse Freuden
FIRST EDITION: "Der Abschied der Troubadours, Romance von Blangini mit
Manieren von M: Giuliani, mit Begleitung der Gitarre." PHILOMELE/
ein« Sammlung der beliebtesten/ Ges'dnge/ mit Begleitung der Guitare/
eingerichtet und herausgegeben/ von/ Anton Diabelli/ No 50.
Vienna: Cappi & Diabelli, pl.nr. C.et D. N° 137.
AUTHENTICATION: The close personal association of Giuliani with both
Blangini (the composer) and Castelli (the poet) argue for the authen
ticity of this title, which specifically states that Giuliani con
tributed only the vocal ornaments and guitar accompaniment.
COPT: OeNB, M.S. 8470.

DATE: Ignaz Weinmann (WeinCap) has found advertisements for Heft 40 of
PHILOMELE... mit Begleitung der Gitarre... on 14 May 1819 (terminus
a quo) and Heft 51 on 5 Nov 1819 (terminus ad ouem).
COMMENTS: There is e ihematic catalogue of PHILOMELE... mit Begleitung der

Gitarre.... Hefte 25-50, bound with this work, at p.7.
A later edition of this work, publ. Berlin: F.S. Lischke, pl.nr. 2014
is listed in ZuthN.
WoO, vocal-15 (n.d.) - 54 CANZONETTE (No. 2).
TITLE of Giuliani1a contribution: II Sogno (2da Canzonetta).
FIRST EDITION: "XXXIV/ Canzonette o Romanzi/ Messi in Musica/ dai piu

celebri Maestri, e Dilettanti/ in/ VIENNA/ Composti e Dedieati/ A Sua
Altezza Imperiale L'Arciduca RODOLFO/ etc. etc. etc./ dal suo piu
umile e sommesso Servitore/ ANTONI." Vienna (no publisher, no pl.nr
AUTHENTICATION: See "Authentication" for WoO, vocal-6. -
COPY: GdM, 10661, verschiedene.
DATE: None available.
COMMENTS: The composers represented are:

Alossi Bevilacqua
Brambilla Bridi
Bragonetti Gelinek
Giuliani Gyrowetz
Hummel Kozeluch
Krufft Leidesdorf
Liverati Moscheles
Salieri Sechter
Siboni Terziani
Vogel Weigl
VoO, vocal-16 (n.d.) - LA SENTINELLE 182
TEXT INCIPIT? (French version) L'astre des nuits (TITLE: La Sentinelle).

(German version) Das Nachtgestim (TITLE: Die Schildwache).
According to the first edition of J. P. Reichardt's Vertraute Briefe

geschrieben auf einer Reise nach tfien... zu Ende des Jahres 1808 und zu
Anfang 1809. Vol. I (Amsterdam, 1810), Giuliani performed "La Sentinelle,"
in the company of two other Italian singers, at a "Liebhaberkonzert" just
prior to 10 Dec 1808 (v. 0j>. cit., xiv, and 218-20).
In an annotated edition of Vertraute Briefe.... ed. Gustav Gugitz
(Munich, 1915), we are told the following about that number:
Seine [Giuliani's] beliebteste Hummer war "La Sentinelle," eine
franzbsische Romanze von Jch. Nep. Hummel fiir die gennanten "Dukaten-
konzerte" besonders arrangirt (s. E. Hanslick, Cesch. d. Konzert-
wesena I. c. I, S. 215, 256f. . .) . .r •*
Certain people would interpret this to mean that Hummel actually composed
"La Sentinelle." Acc, to Hanslick (ibid.). Hummel merely arranged this
for the "Dukaten Concerts." See Vol. I of this dissertation, App. I, 24*
A search through standard reference books on Hummel and his works yields
no "Sentinelle" attributable to him in any way before 1815. Villi Kahl,
in the bibliography to his "Hummel" article in MGG. VI (1957), lists a
theme and variations on "La Sentinelle," Op. 34b (Vienna, 181l) as the
earliest occurrence of the work. Only later, Op. 71, does Hummel arrange
"La Sentinelle," in conjunction with Mayseder & Giuliani, for Pfte»,
voice, violin, & guitar (publ. Vienna, 1816).
On the basis of the earlier Reichardt observation, I am inclined to

attribute "La Sentinelle" to Giuliani, pending proof of an earlier author.
At least two editions of the song, which evidently became very popular in
Vienna during the years 1808-1818, are known to exist:
1. "La Sentinelle - Die Schildwache/ Romance/ mit Begl. der Guitarre,"

PHILOMELE/ eine Sammlung der beliebtesten/ Gesapge mit Begleitung
der Guitarre/ eingerichtet und herausgegeben/ von/ Anton Diabelli/
N° 8. Vienna: C.et D. N° 40 (pl.nr. supplied by VeinCap), datable
c. early 1819 - the firm of C. & D. was founded in 1818.
♦Vertraute Briefe. ed. Gugitz, 174-75, footnote 2.
(WoO, vocal-16 cont’d.) 183
2. "La Sentinelle - Die Schildwache/ Romance/ mit Begl. des Piano-Forte

PHILOMELE/ ...etc./ CesHnge mit Begleitung des Pianoforte/ einge
richtet und herausgegeben/ von Anton Diabelli/ M° 5.
Vienna: C. & D. N<> 172. COPY: GdM, VI 7160. (revision 1965: 5697).
DATE: Pl.nr. 137 is datable c, July/August 1819 (WeinCap), therefore
this work appeared roughly toward the end of 1819*
It will be noted that neither of the above editions pretends to

name the composer. The latter, however, has a handwritten attribution,
"Giuliani," done probably by one of the early librarians of the GdM.
Furthermore, ArMs attributes ”Troi3 Couplets sur la Sentinelle, Cappi ...
to Mauro Giuliani under the heading, "Werke ,von Giuliani. Arrangirt oder
ohne Nummern."
Giuliani also wrote an introduction, theme & variations on La Senti
nelle for his Op. 91* adv. 20 Oct 1818. The melodic incipit given for
Op. 91 may be useful for the reader who wishes to pursue this problem
further.
164
VoO VORKS WITH ONLY
GUITAR ACCOMPANIMENT
BY MAURO GIULIANI
VoO, G acc.-l — 3 ARIETTE ITAL. (Paer)»
COMPOSER SONG TITLE TEXT INCIPIT

r ■ •
Paer La tlmlda dichlarazlone Palesar a fiamma

Paer - Pupille tenere del caro bene
Paer L'amante infelice Un amator sincero
FIRST EDITION: "Tre/ ARIETTE ITALIANE/ per/ Voce Sola di Soprano/ con/
L'accompagnamento di Chitarra/ Ridotte da/ MAURO GIULIANI/ N° 3.•«H
Vienna: Artaria & Comp., pl.nr. 1954*
AUTHENTICATION: ArMs, SteinTh (which has incipits).
DATE: Adv. 14 Nov 1807 (VeinArt).
LATER EDITION - Milan: Ricordi, pl.nr. 12040, as entered in RicordiCat,

1857: **Tre Ariette per T. (in Ch. di Sol) conaccomp. di Chitarra o Pfte.M
This is identical with Artaria pl.nr. 1954, according to ZuthN. I have
not found a copy of Ricordi 12040 to compare. In any event, the Ricordi
edition would involve a transposition to G from the original keys of Nos.
1 (A) and 3 (c). In addition, the Artaria edition is written for
soprano.
VoO, G acc.-2 - 3 COUPLETS SUR LA SENSIBILITB.
COMPOSER: "A.B.D.L.” TITLE: Trois couplets sur la sensibility.
(WoO, G acc.-2 cont'd., VoO, G acc.-3) 185
FIBST EDITION, acc. to ZuthN: "Trois Couplets sur la sensibility.

Paroles de F.I.C.D.D.P.L. Musique d'A.B.D.L. Accompagnement de
Guitare de M. Giuliani..." Vienna: Jean Cappi, pi.nr. 1333*
COPY, acc* to ZuthN: OeNB.
DATE: Cappi pi.nr. 1291 is datable ca.1808 (terminus a quo) , and pl.nr.
1405/05 is datable ca.1809 (terminus ad auem). acc. to DeutschMvN.
WoO, G acc.-3 - 10 LIEDER (Dietrichstein).
COMPOSER: Graf Moriz von Dietrichstein.
FIRST EDITION: "10 LIEDER/ von/ A. Freyherrn von Steigentesch/ in Musik

gesetzt und dem Dichter gevidmet/ vom/ Grafen Moriz von Dietrichstein/
Die Guitarre-Begleitung ist/ von/ Hn. MAURO GIULIANI/ [l. or 2.] Ab-
theilung/..." Vienna: Artaria & Comp., pl.nrs 2089 (i) and 2095 (il).
COPY: GdM.
DATE; Both parts adv. 23 Mar 1810 (WeinArt).
VoO, G acc.-4 - AUGENARZT (Gvrovetz).
COMPOSER: Adalbert Gyrovetz
TITLES (& pl.nrs.): Quintett: Drey Wanderer (79)

Romanze: Es schmolz der Schnee (80)
Cavatine: Mir leuchtet die Hoffnung (8l)
1
Duett: Kann ich froh die Hoffnung nMhren? (82)
Romanze: Die Ruh' ist mir entschvunden (83)
1
Duett: Wir vandeln beseligt (84)
FIRST EDITIONS: "Der Augenarzt/ [Titles inserted here]/ von Herrn Kapell
meister Adalbert Gyrowetz/ mit Begleitung der Guitarre gesetzt v. Km.
I
(WoO, G acc.-4 cont'd., WoO, G acc.-5) 186
Mauro Gyuliani..." Vienna: Pietro Mechetti qm Carlo, pl.nrs, as

given on preceding page.
AUTHENTICATION: SteinTh, which gives six incipits.
DATE: Adv. 25 Apr 1812 (Beitrhge II,10).
COMMENTS: At least one other guitarist arranged a piece from Per Augen
arzt for guitar accompaniment:
CAVATINE/ aus dem Augenarzt von A. Gyrowetz/ fUr die Guitarre
eingerichtet von J.N. Huber... Vienna: Johann Traeg, pi.nr. 514.
COPY: WStB.
Undoubtedly Mechetti and Traeg commissioned the arrangements independently,
in their own interests. The Italian publisher (Mechetti) contacted an
Italian guitarist (Giuliani), while the publisher of German descent (Traeg)
sollicited an arrangement from a local Viennese guitarist, Huber.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
WoO, G acc.-5 - 2 DEUTSCHE ROMANZEN.
TEXT INCIPITS: (l). Zwei Augen sind’s (TITLE: Minna's Augen).

(2) Ein Vogel kam geflogen (TITLE: Das MHdchen u. der Vogel).
FIRST EDITION: "2/ Deutsche Romanzen/ mit/Begleitung des Piano-Forte Oder

Guitarre/ gesetzt/ von/ Mauro Giuliani." Vienna: Artaria u. Comp.,
pi.nr. 2260.
COPY: WStB, He 13954.
LATER EDITION - Leipzig: Kunst u. Industrie Comptoir. COPY: Boston Public.

♦
COMMENTS: Artaria, who published earlier Mozart settings of these songs
(pi.nr. 824, mid-1799)» probably sollicited a new arrangement with the
fashionable guitar as accompaniment (parallel to a piano acc't.) from
the fashionable guitarist, Giuliani. Acc. to the KUchel-Verzeichnis notes
to Anh. C 8.09 ana C 8.08 (the above pieceB respectively), A.E. Miiller was
(WoO, G acc.-5 cont'd., VoO[posth], G-l) 187
the composer of "Das M&dchen...," while the text to Minna* 3 Augen is

attributable to Alois Blumauer.
Both Mozart and Giuliani use the same melodies - a fact which is
in no way reflected in the title page.
POSTHUMOUS WORKS
FOR GUITAR
VoO(posth), G-l - GRAN VARIAZIONI (Teaa Savo.iardo),
TEMA
Allegretto:
FIRST EDITIONS
nr
"GRAN/ VARIAZIONI/ per Chitarra sola/ Sopra un Tema/
SAVOJARDO/ Composte/ DA/ M. GIULIANI..." Milan: Gio. Ricordi,
pi.nr. 4946.
AUTHENTICATION: This and all succeeding work3 in the "WoO(posth)"
section are authenticated only by Giovanni Ricordi*3 attribution,
in RicordiCat,1857 and in other Ricordi catalogues.
COPY: GdM, X 3876; Codogno, Biblioteca "L.Ricca.**
I
COMMENTS: Ricordi plate numbers 4946 through 4963, devoted exclusively

to the works of Mauro Giuliani, appear approximately one year after the
composer's death. One wonders why they were not published during his
lifetime, if, indeed, they are authentic works of Mauro Giuliani.
VoO(posth), G-2 - SEMIRAMIDE IN 12 WALZBR. 188
INTRODUZIONE
Tempo di Walzer
r t f• t
FIRST EDITION: "La Semiramide/ ridotta in/ 12. WALZER/ per/ Ghitarra/ con
Introduzione, e gran Finale/ DA/ MAURO GIULIANI..." Milan:
G. Ricordi, pi.nr. 4952.
COMMENTS: The following pieces make up thiswork:

r
Introduzione (in A)
No. 1 - Sinfonia (a )
No. 2 - Trio della Marcia d'Introduzione (d )
No. 3 - Quartetto, Di tanti regi e popoli (A)
No. 4 - Cavatina, Ah quel giomo (a )
No. 5 - Trio (a )
No. 6 - Duetto, Serbami (D)
No. 7 - Cavatina, In si barbara sciagura (A)
No. 8 - Duetto, Se la vita (d )
No. 9 - Aria, Que Numi furienti (a )
No. 10 - Quintetto, Qual Mesto gemito (amin.)
No. 11 - Idem., Maggiore (a )
No. 12 - Trio & Finale
* *
VoO(posth), G-3 - TERZETTO (La dal Gange - SEMIRAMIDE).
ANDtS S0ST9
+T r K FF r
FIRST EDITION, heading: "TERZETTO/ La dal Gange a te primiero/ Nell1
Opera LA SEMIRAMIDE del Celebre Sr M° ROSSINI/ Ridotto per Chitarra
(WoO[posth], G-3 cont'd., VoO[posth], G-4 & 5) 189
sola/ Da/ MAURO GIULIANI..." Milan: G.Ricordi, pi.nr. 4953.

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
WoO(posth), G-4 - QUARTETTO (Di tantj regi - SEMIRAMIDE).
ALLEGRO
r V 1 r x r x
FIRST EDITION, heading: "QUARTETTO/ Di tanti Regi e Popoli/ Nell'Opera
LA SEMIRAMIDE del Celebre M° ROSSINI/ Ridotto per Chitarra sola/
Da/ MAURO GIULIANI..." Milan: G.Ricordi, pl.nr. 4954.
COPY: Not located; however, a Ms copy is in the NachlaB of Romolo
Ferrari, Modena, Liceo musicale. The incipit is drawn from this Ms.
MoO(posth), G=5 - CAVATINA (Ah auel giorao - SEMIRAMIDE).
ANDANTINO _ A
Grazioso
_J"7~7
FIRST EDITION, heading: "CAVATINA/ Ah quel giomo/ Nell'Opera LA

SEMIRAMIDE del Celebre MO ROSSINI/ Ridotta per Chitarra sola/ Da/
MAURO GIULIANI..." Milan: G.Ricordi, pl.nr. 4955.
AUTHENTICATION: RieordiCat,1857.
WoO(posth), G-6 - DUETTO (Bella imago - SEMIRAMIDE). 190
ALL° Giusto ii
F 7 «jf
FIRST EDITION, heading; "DUETTO/ Bella imago degli Dei/ Nell'Opera LA
SEMIRAMIDE del Celebre Sigr M° ROSSINI/ Ridotto per Chitarra sola/
Da/ MAURO GIULIANI..." Milan; G.Ricordi, pl.nr. 4956.
AUTHENTICATION; RicordiCat,1857.
WoO(posth), G-7 - Q.UINTETT0 E FINALE PRIMP (SEMIRAMIDE).
ANDANTINO
FIRST EDITION, heading: "QUINTETTO E FINALE PRIMO/ Giuri ognun/ Nell'

Opera LA SEMIRAMIDE del Celebre Sr M° ROSSINI/ Ridotto per Chitarra
Sola/ Da/ MAURO GIULIANI..." Milan: G.Ricordi, pl.nr. 4957.
WoO(posth), G-8 - DUETTO (Se la vita - SEMIRAMIDE).
ALLEGRO & t £ -0— P— P — P — P— P — P— p-
FIRST EDITION, heading: "DUETTO/ Se la vita/ Nell’Opera LA SEMIRAMIDE del

Celebre Sigr Maestro ROSSINI/ Ridotto per Chitarra sola/ Da/ MAURO
GIULIANI..." Milan: G.Ricordi, pl.nr. 4958.
AUTHENTICATION: RicordiCat,1857. COPY: Modena, Liceo Musicale.
WoO(posth). G-9 -■ ARIA (in si barbnrn - SEMIRAMIDE)« 191
AM°° rr ^ ^
FF f uir t - r - r -pr rr
FIRST EDITION, heading: **ARIA/ In si barbara sciagura/ Nell*Opera LA
SEMIRAMIDE del Celebre Sigr© Maestro ROSSINI/ Ridotta per Chitarra
sola/Da/MAURO GIULIANI...1* Milan: G.Ricordi, pl.nr. 4959.
VoO(posth), G-10 - ARIA (Deh ti arresta —■SEMIRAMIDE).
FIRST EDITION, heading: "ARIA/ Deh ti arresta/ Nell*Opera LA SEMIRAMIDE

del Celebre Maes0 ROSSINI/ Ridotta per Chitarra sola/ Da/ MAURO
GIULIANI...** Milan: G.Ricordi, pl.nr. 4960.
VoO(pOsth), G-ll - PREGHIERA (SEMIRAMIDE).
gffi % W:f y F^j-3- jt,. a:..

"L.... t\m+ h i fV—
JL-g...
7
___________
f------ -------------
J JolnH
FIRST EDITION, heading:
=t ± * r I VI
"PREGHIERA/ A1 mio pregar t'attendi/ Nell*Opera
LA SEMIRAMIDE, del Celebre M° ROSSINI/ Ridotta per Chitarra sola/ da/
MAURO GIULIANI..." Milan: G.Ricordi, pl.nr. 4961.
WoO(posth), G-12 - TERZETTO (L'usato' ardir - SEMIRAMIDE). 192
AND110
FIRST EDITION, heading: "TERZETTO/ L’usato ardir/ Nell*Opera LA. SEMI

RAMIDE del Celebre M° ROSSINI/ Ridotto per Chitarra Pola/ da/
MAURO GIULIANI...” Milan: G.Ricordi, pl.nr. 4962.
DATE: Appeared c. July 1830.(HeckR).
VoO(posth), G-13 - CORO (Vieni Arsace - SEMIRAMIDE).
ALL0 TJ IJ
*
T * rrrr r
FIRST EDITION, heading: "Coro/ 'Vieni Arsace'/ Nell'Opera LA SEMIRAMIDE
I sel Celebre Maes0 ROSSINI/ Ridotto per Chitarra sola/ Da/ MAURO
GIULIANI..." Milan: G.Ricordi, pl.nr. 4963*
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
WoO(posth), G-14 - 6 ARIE NAZ. SCOZZESI.
THE SOLDIER'S RETURN
NAidLte j
CantabUe T >
THIS IS NO MY AIN LASSIE
Andanti.no ^
mosso
r
R e p ro d u c e d w ith p erm is sio n o f th e co p yrig h t o w n e r. F u rth e r re p ro d u ctio n pro hib ited w ith o u t p erm is sio n .
(WoQ[posth], G-14 cont'd., WoO[posth], G-15) 193
COMING THROUGH THE RYE
No. 3
Andi®
cantablle
JENNYS BAWBEE - A REEL
No. 4 / X 5 T 3 j
■0— e-
Allegretto
*nF i ^ r
r r
THE BLUE BELLS OF SCOTLAND
No. 5 # . J J . -£±t=_
MODERATO & |
i con etfressiom r r r" * r
THE OLD COUNTRY BUMPKIN
No. 6
ALLEGRETTO
FIRST EDITION:
r
"Sei Arie Nazionali Scozzesi/ variate per la/ Chitarra,
o Lira/ composte e dedicate/ a madamigella/ ELISABETTA MACKENZIE/ dal
suo Maestro/ Mauro Giuliani/ Virtuoso di Camera di Sua MaestA/ La
Principessa Imperiale/ MARIA LUIGIA/ Arciduchessa d*Austria Duchessa
di Parma etc..." Milan: G;Ricordi, pl.nr. 7782.
COPY: GdM. X 18213.
DATE: Appeared c. Oct 1834 (HeckR). Listed in Hdbuch,1834.
WoO(posth), G-15 - VARIATIONS.
Allegro maestoso
INTRODUZIONE r/|
r r
R e p ro d u c e d w ith p erm is sio n o f th e co p yrig h t o w n e r. F u rth e r re p ro d u ctio n p ro hib ited w ith o u t p erm is sio n .
(WoO[posth], G-15 cont’d., Wo0[po3th}, 2G-l) 194
FIRST EDITION would correspond to this advertisement in the Wiener Zeitung.

N° 95, 13 July 1816, entered by the firm of Tranquillo Mollo:
WM. Giuliani, Variationen fUr Gitarre* (BeitrHge 11,9, p.68). A
copy of that edition, first published (we assume) by Hollo, has not
been found.
LATER EDITION (?) - The only work which has a title matching the above
is, "VARIATIONS/ pour la/ GUITARE/ par/ MAURO GIULIANI/.../ Oeuvre
Posthume." Vienna: Mechetti qm Carlo, P.M, No. 3725.
AUTHENTICATION: See comments.
COPY: GdM,X49082 (from which incipits are taken).
DATE: Mech. qm Carlo pl.nr. 3724 was adv. 7 Apr 1843, while pl.nr. 3738
was adv. 16 Apr 1843*
COMMENTS: Stylistically the "later edition (?)" looks very much like the
work of Mauro Giuliani, and this argues for its authenticity. The cor
respondence between the titles of the Mollo work and that of Mechetti
qm Carlo, and only between these two editions, suggests that the latter
obtained the publishing rights from the former. However, firm evidence is
lacking, and thus the work must be regarded as questionably authentic.
POSTHUMOUS WORKS
FOR TWO GUITARS

%
WoO(posth), 2G-1 - SINFONIA (Elisabetta d'lnghilterra).
FIRST EDITION would correspond to this entry for Ricordi pl.nr. 4947:
"ROSSINI. Sinfonia nell'Elisabetta d’lnghilterra. rid. per due chitarre
da Mauro Giuliani.” AUTHENTICATION: RicordiCat,1857. COPY: Not located.
R e p ro d u c e d w ith p erm is sio n o f th e co p yrig h t o w n er. F u rth e r re p ro d u ctio n pro hib ited w ith o u t p erm is sio n .
WoO(posth), 2G-2 - SINFONIA (Cenerentola). 195
FIRST EDITION would correspond to this entry for Ricordi pl.nr. 4948s
M[R0SSINl]. Sinfonia nella Cenerentola. idem.[rid, per due Chitarre
da Mauro Giuliani]." AUTHENTICATION: RicordiCat,1857.
COPY: Not located.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
VoO(posth), 2G-3 - SINFONIA (Assedio di Corinto).
"[ROSSINl]. [Sinfonia] nell’Assedio di Corinto. [rid. per due Chitarre
COPY: Not located.
* * * * * *
WoO(posth), 2G-4 - SINFONIA (Gazza Ladra).
"[ROSSINI]. [Sinfonia] nella Gazza Ladra. [rid. per due Chitarre
| COPY: Not located.
* * * * •
WoO(posth), 2G-5 - TARANTELLA (Lanza).

Reproduced w ith p erm is sio n o f th e co p yrig h t o w n e r. F u rth e r re p ro d u ctio n p ro hib ited w ith o u t p erm is sio n .
(WoO[posth], 2G-5 cont'd., WoO unresolved) 196
"GIULIANI (Mauro). Tarantella del Lanza [G.Lanza], trad, ed abbellita

per due Chitarre." AUTHENTICATION: RicordiCat,1857.
COPY: Not located.
DATE: Listed in Hdbuch,1834.
* *
UNRESOLVED WORKS
Entries in the "unresolved" category ajre copied from various sources,

such as ArMs or ZuthN, and cannot at present be discussed for lack of
further information. They are all undoubtedly republications.
1. "Trois themes varies, Meissonnier" (SOURCE: ArMs). Listed in Hdbuch,1828.
I 2. "Trois airs varies, Meissonnier" (ArMs). Listed in Hdbuch,1828.
3. "8 Divertissements (Op.98), Lemoine." (ArMs).
4. "Grand Duo conc. p. VI ou fl et Guit, Richault" (ArMs).
5. "Differents morceaux tir£s du Barbier de Seville. Ballet (0p.6l),

| Carli." (ArMs).
j
6. "Diversi Walz per Chitarra di Mauro Giuliani. Presso B.Girard e Cie
strada Toledo N° 177 Napoli" (ZuthN).
7. "Vier Romanzen mit Begleitung des Pianoforte Oder der Guitarre von
M. Giuliani. Braunschweig: Spehr. (l) Vom frtihen Morgen, (2 )
Geschmllckt, (3) Sch'dtzchen, (4 ) Mit Glanz." (ZuthN).
R e p ro d u c e d w ith p erm is sio n o f th e co p yrig ht o w n er. F u rth e r re p ro d u ctio n p ro hib ited w ith o u t p erm is sio n .
197
A P P E N D I X I
THE WORKS OF MAURO GIULIANI
PUBLISHED BY GIOVANNI RICORDl' OF MILAN
These entries are taken from RicordiCat,1857, and dated according to

HeckR, My identification of each work, according to the present catalogue,
follows in square Brackets.
Approx. publication
Pl.nr. date Entry in RicordiCat.1857
185 1814 Gran Ouverture per Chitarra, Op. 61.
186 " Sei Variazioni per Chitarra sopra un tema originale [Op.62],
187,88 " Gran Quintetto, Variaz, e Polonese per Chitarra, 2V,
Va, Vc, Op, 65.
1697Mar 1825 Gr. Variaz. e Polonese per Chitarra e Pfte (2da edizione).
Op. 65 [Op. 65 arr.].
1705 Apr 1825 Pot-pourri Nazionale Romano per Chitarra. Op. 108,
1706 ” Le Ore d*Apollo. Raccolta di Pezzi fav. per Chitarra d*
una facility progressiva. Parte I. Op. 111.
1711 ” Sei Arie irlande3i var, per chitarra. Op, 125*
1712 ” La Caccia. Gr. Rondb per Chitarra. Op. 109.
1715 " Marcia nolle Due Giomate di Cherubini, var. per
chitarra. Op. 110.
1714 " Sei gr. Variazioni per Chitarra. Op. 112.
2555 Nov 1825 Le Ore d*Apollo. Raccolta di Pezzi fav, per Chitarra d'
una facility progressiva. Op. Ill, Parte 2.
2922 Jan 1827 ROSSINI. Semiramide. Opera. Duetto "Serbiami ognor,"
rid, per chitarra da Mauro Giuliani. [WoO, G-6]
2925 " PACINI. Alessandro nelle Indie. Opera. Cav, "Se d*amor
fra le ritorte," rid. per chitarra da Mauro Giuliani.
[WoO, G-7]
2924 " ROSSINI. Semiramide. Opera. Cav. "Bel raggio," rid, per
chitarra... etc. [WoO, G-8],
198
(Appendix I cont'd.)
2925 Jan 1827 ROSSINI. Semiramide. Opera. Marcia rid. per Chitarra
da Mauro Giuliani. [WoO, G-9]
2926 " Idea. Quintetto per FI. o Violino e Chit., rid. dal
sud. [WoO, G & F(v)-6]
2988 Feb 1827 ROSSINI. Semiramide. Opera. Sinfonia rid. per Chitarra
da Mauro Giuliani. [WoO, G-5]
2989 11 GIULIANI (Mauro). Variaz per Chitarra sopra la Cav."Io
ti vidi e t'adorai," nell*Amazilia di Pacini. Op. 128,
[2990 " This is an entry for Michel Giuliani's Op. 9.]
2991 " GIULIANI (Mauro), Tema di Haendel var, per Chitarra, Op,107.
2992 " Serenata per Chitarra e Violino o FI. Op, 127.
2995 " Sesta Rossiniana per Chitarra, dedicata a S.E, il Duca

di Senaonetta... Op. 124.
5157 May 1827 Gr. Pot-Pourri per Flauto o Violino e Chitarra.. Op. 126.
5755 May 1828 Le Awenture d' Amo re. espre3se in 10 Valzer caratteristi-
ci per Pfte. Op. 116 [Op. 116 arr.].
5783 May 1828 Le Awenture d* Amo re. espresse in 10 Valzer caratteristi-
ci per due Chitarre. Op. 116.
5784 " BELLINI.II Pirata. Opera. Allegro cantabile dell'Aria
"Tu vedrai la sventurata," rid. per Chit, da Mauro
Giuliani [WoO, G-10],
5785 " ROSSINI. La Cenerentola. Opera, Sinfonia rid. per Chi
tarra da Mauro Giuliani. [WoO, G-ll]
5786 " DONIZETTI. L'Esule di Roma, Opera. Cav. rid, per Chi
tarra da Mauro Giuliani. [WoO, G-12]
3787 " Idem. Alio, moderato del Duetto "Se a me fido ognor
sarai," rid. per Chitarra dal sud. [WoO, G-13]
5968 Dec 1828 BELLINI, II Pirata. Cav."Nel furor delle tempests," rid.
per Chit, da Mauro Giuliani. [WoO, G-14]
5969 " Allegro cantabile nell'Aria "Tu vedrai la sventurata,"

nell'opera II Pirata di Bellini, var. per Chitarra.
[VoO, G-15]
5970 Jan 1829 BELLINI. II Pirata. Opera. Sinfonia rid. per due Chitarre
da Mauro Giuliani.[WoO, 2G-4]
* * * * * * * * * * Mauro Giuliani dies 8 May 1829. * * * * * * * * * * *
4946 July 1830 Gr. Variaz per Chitarra sopra ua tema savojardo. [WoO
(posth), G-l]
199
(Appendix I cont'd.)
4947 July 1830 ROSSINI. Sinfonia nell'Elisabetta d'Inghilterra. rid.

per due Chitarre da Mauro Giuliani. |_Wo0(posth), 2G-l]
4948 " . Sinfonia nella Cenerentola. idem. [WoO(posth),
2G-2]
4949 " . Idem. nell'Aaaedio di Corinto. idem. [VoO
(posth), 2G-3]
4950 " . Idem nella Gazza Ladra. idem.[WoO(posth), 2G-4]
4951 " Gr, Variaz concertanti per 2 Chit. [Op. 35]
4952 " ROSSINI. La Semiramide. ridotta in 12 Valzer per Chitarra
con Introd. e gr. Finale da Mauro Giuliani,[WoO(posth),
G-2]
ROSSINI. Semiramide. Opera, Pezzi scelti rid.
per Chitarra da Mauro Giuliani:
4953 July 1830 Terzetto, Lk dal Gange. [Wo0(posth), G-3]
r
4954 " Quartetto, Di tanti regi e popoli.[WoO(posth), G-4]

4955 " Cav., Ah quel giomo. [WoO(posth), G-5]
4956 " Duetto, Bella immago. [WoO(posth), G-6]
4957 " Quintetto e Finale I, Giuri ognuno.[WoO(posth), G-7]
4958 " Duetto, Se la vita. [WoO(posth), G-8]
4959 " Aria con Coro, In si barbara sciagura. [VoO(posth), G-9]
4960 " Aria con Coro, Deh! t'arresta, [WoO(posth), G-10]
4961 " Preghiera, A1 mio pregar. [WoO(posth), G-^ll]
4962 " Terzetto. L'usato ardir. [WoO(posth), G-12]
4963 " Coro, Vieni, Arsace.[WoO(posth), G-13]
[N.B, Emilia Giuliani's first listing is for pl.nr. 7576, c. May 1834]
7593 June 1834 GIULIANI (Mauro). Pastorale a due voci, C. et T. (in Ch.
di Sol), con accomp. di Chitarra e Flauto, o di Pfte,
"Dormi, non piangere, Gesu diletto." Op. 149.
7782 Oct 1834 Sei Arie nazionali scozzesi var. per Chitarra, [WoO(posth),
G-14]
7785 " "Tengo pit di trentun'anni," Canzonetta fav,var, per
Chitarra, Op. 147[b],
8495 Aug 1835 Tre Polonesi concertanti per due Chitarre, Op. 137.
9478 Aug 1836 Tarantella del Lanza, trad, ed abbellita per due
Chitarre. [Wo0(posth), 2G-5]
(Appendix I cont'd.) 200
11620 May Tema con Variaz per Chitarra e Pfte sull'Aria, "Partant
pour la Syrie," Op. 104.
11621 19 Quattro Variaz e Finale per Chitarra sul Tema fav.
napoletano, "Chi ta fatta sta scarpettiella," Op. 140.
11622 ft 24 prime Lezioni progressive per Chitarra, divise in 4
parti, per uso degli amatori che desiderano di perfe-
zionarsi senza l'ajuto del Maestro. Op. 139.
11623 If Variaz. concertanti per due Chitarre. Op. 130.
[N.B. 11624 ardi's "Due gr. Walzer per Chitarra accordata in Mi
maggiore."]
12026 Julj Quattro Variaz. e Finale per Chitarra sul tema fav.
napoletano, "La Riccioletta," Op, 141.
12027 91 Quattro Variaz. e Finale per Chitarra sul tema fav.
napoletano, "Se tu Nenna." Op. 142.
12028 fl Gran sonata eroica per Chitarra. Op. 150.
12029 ft "Prfes d'un volcan sur des bords enchant^s," Romance de

M* Des Echerolles (en Clef de Sol) avec accompagnement
de Guitare. Op. 151.
12030 II Ode di Anacreonte per S. con accomp. di Chitarra o
Pfte. Op. 151bis.
12040 II Tre Ariette per T. (in Ch. di Sol) con accomp. di
Chitarra. [WoO, G acc.-l]
12041 II Quattro Variaz e Finale per Chitarra sul tema fav.
napoletano, "E nato miezo mare." Op. 143.
12042 19 Idem sul tema fav. napoletano, "Si monaca te faje, io
frate mi far2>." Op. 144.
12043 If Idem sul tema fav. napoletano, "Si cara, si buona, si

bella graziosa." Op. 145.
15385 II 12 Lezioni per Chitarra, estratte dal Netodo. [v. Op. l]
i
201
A P P E N D I X •II..'
| A r T h
.
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Bibliographical information on this early thematic catalogue (publ.
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A P P E N D I X III
S O N G P I L E
This is a comprehensive index of text incipits and titles of

songs which appear in any manner (arrangements for guitar, variations,
vocal numbers, etc.) in the work of Giuliani.
A peine au sortir de l'enfance. WoO, vocal-9/ 4, no.3.

A SchUsserl [Schisserl] und a Reindl, See "SchUsserl,"
Abschied von Goethe. Op. 89, no.l.
Abschied der Troubadours (Der). See WoO, vocal-13 and vocal-14.
Ach hier lachten sllsse Freuden. WoO, vocal-13 and vocal-14.
Ad altro laccio. Op. 93, no.3*
Ah non dir che non t'adoro. Op. 39, no,4.
Ah quel giomo, Wo0(posth), G-5.
A1 mio pregar, WoO(posth), 0-11.
Alle mie tante lagrime. Op. 39, no.3.
Alles ruht vie abgeschieden. Op. 89, no.3.
Almen se non poss'io seguir. WoO, vocal-5, no.l.
L'amante infelice. See "Un amatcr cincero."
Amator sincero (Un). WoO, G acc.-l.
L'amitil. WoO, vocal-3/ XII, no.2.
Amor che nasce. WoO, vocal-3/ II, No.6.
Amor perche. WoO, vocal-1, no.2.
L'Amore nascolo. Op. 16b, no.2.
Amore vi chiedo. WoO, vocal-3/ VI, No.4.
L 1amour est un enfant. WoO, vocal-3/ VI, no.3.
L ’amour, l ’amitil et le vin (canon h 3). WoO, vocal-3/ XII, no.4.
An das Schicksal. Op, 89, no.6.
Ardo ognor per te. WoO, vocal-3/ IX, no.2.
L'astre des nuits. WoO, vocal-9/ 2, no.l; and WoO, vocal-16.
Au premier moment. Op. 22, no.3.
Aux vains dlsirs. WoO, vocal-9/ 5» no.2.
Basta cosi. WoO, vocal-3/ III, no.3.
Bel raggio, WoO, G-8.
(song f i l e ) 207
Belisaire. WoO, vocal-9/ 4> no.4.

Bella immago. WoO(posth), G-6.
Besoin d'aimer. Op. 13, no.3. See footnote 72 of Ch. II in reference to
an autograph of this romance, signed by Giuliani and dated,"Baaden,
le 15 Oct 1814."
Biontina [Biondina] in Gondoletta (La). WoO, G-3 and WoO, G & F (v )-5 .
Bolero. WoO, vocal-12.
Brftlant d'amour. WoO, vocal-9/ 4, no.2.
Care pupille tra mille e mille piii. WoO, vocal-11.
C'est pour te plaire. WoO, vocal-3/ V, no.4.
Chi t ’ha fatta sta bella scarpetta. Op. 140.
Ch'io sent'amor per femine. Op. 39> no.5.
Come fugace. WoO, vocal-9/ 6, no.4.
Come potrei. WoO, vocal-3/ III, no.l.
Conqois-tu toutes. WoO, vocai-9/ 1, no.3.
Confuaa questa alma. WoO, vocal-1.
Confuso smarrito. Op. 39» no.2.
Da brava cattina. WoO, vocal-9/ 1, no.l.
Da quel sembiante (terzetto). WoO, vocal-3/ XI, no.4; and vocal-9/ 6, no
Dans notre flme. WoO, vocal-9/ 2, no,3.
Dans tes beaux yeux. WoO, vocal-9/ 1> no.2.
Das ist alles eins. Op. 99*
Day is dawning (The). Cf. "The Beauties of Nature, or the New Reveilles,
composed by Giuliani. London: Ewer & Johanning, n.d. COPY: B. Hus.
Deh! Calma oh ciel. Op. 101.
Deh! t*arresta, WoO(posth), G-10,
D&Lire (Le), romance. WoO, vocal-9, no.3.
Devine-moi, WoO, vocal-9/ 6, no.2.
Di due ball’anime. Op. 95> no.6.
Di tanti palpiti. Cavatina, Op. 79? and Var. Op. 87.
Di tanti regi e popoli. WoO(posth), G-4.
Donnette innamorate. WoO, G-4, no.3; and WoO, G & F (v )-5 .
Dormi non piangere. Pastorale, Op. 149.
Dove son quei trasporti. WoO, vocal-9/ 1, no.4.
Drey Wanderer. WoO, G acc.-4.
Du mirthe frais, WoO, vocal-3/ IX, no.3*
E nnata 'mmiezo mare. Var., Op. 143*
Ecco di Guido. WoO, vocal-3/ II, no.5.
Enfant chlri, present des Dieux. Op. 27.
Es schmolz der Schnee. WoO, G acc.-4.
Eveleen's bower. Op, 125* no.l.
Fiorenza, Fiorenza. WoO, vocal-7.
Flattre, kleiner Vogel. WoO, vocal-3/ III, no.5» and WoO, vooal-4.
Folies d'Espagne. Var., Op, 45.
Fra quai soavi (terzetto). WoO, vocal-3/ X, no.4.
Fra tutte le pene. Op. 95, no.2.
FrUhling entblUhet (Der), WoO, vocal-8.
Garyowen. Op, 125, no.6.
GeschmUckt mit... See "Vom frUhen Morgen."
(SONG f il e ) 208
Getreu will ich lieben. WoO, vocal-4.

Gia presso al termine. Op. 39, no.6.
Giuri ognuno, Wo0(posth), G-7.
Gott erhalte, WoO, G-4, no.4.
Heureux celui. Op, 13, no.2.
Efdre Schicksal. Op. 89, no.6.
Ich bin ein Kohlbauem Bub, Var,, Op, 49.
Ich bin liederlich. Var., Op. 97.
II est trop tard. WoO, vocal-3/ IV, no.3.
II faut partir. WoO, vocal-3/ VII, no.4.
II ne vient pas. WoO, vocal-3/ VIII, no.2.
In questo amaro istante. WoO, vocal-2.
In si barbara seiagura. Wo0(posth), G-9.
Io ti vidi © t'adorai. Var., Op. 128,
J'arrive ici. WoO, vocal-3/ III, no.2.
Je le saurai, romance. WoO, vocal-9/ 6, no.l.
Je t'aime hllas. WoO, vocal-9/ 3, no.3. 1
Je t ’aime taat. WoO, vocal-3/ IX, no.5.
Je vais en Palestine. WoO, vocal-3/ XI, no.3.
Je vous attends. WoO, vocal-3/ II, no.3.
Je vous £cris. WoO, vocal-3/ VIII, no.l.
Jeune encore. WoO, vocal-3/ II, no.4.
Jeune enfant (Un). WoO, vocal-9/ IV, no.4.
Jeune troubadour (Un). WoO, vocal-3/ VIII, no,4.
Joseph, romance. WoO, vocal-9/ 4, no.3.
Jttngling in der Fremda. WoO, vocal-8.
Kann ich froh die Hof fining nKhren? WoO, G acc.-4.
L& dal Gange. WoO(posth), G-3*
La vostra Pamela. WoO, vocal-3/ III, no.6.
Las, j'^tais en si doux servage. WoO, vocal-11.
Last Rose of Summer (The). Var., Op. 123, no.l.
Le di more amor non ama. Op. 93, no.4.
Lebe wohl, o mtttterliche Erde. Op. 89, no.3.
Letters (La). Op. 16b, no.3*
Lied aus der Feme. Op. 89, no.2.
Lise sens-tu. WoO, vocal-9/ 2, no.2.
Lorsque dans one tour. WoO, vocal-3/ VI, no.l.
Lundi pour une semaine. WoO, vocal-3/ V, no.l.
MHdchen und der Vogel (Das), WoO, G acc.-5.
Mannaggia Pullece. Op. 126, fourth section.
Minna's Augen. WoO, G acc.-3*
Mir leuchtet die Hoffnung. WoO, G acc.-4.
Miss Bailly. Op. 123, no.3.
Mit Glanz erhellt. See "Vom fxtihen Morgen."
Mon coeur soupire. WoO, vocal-3/ II, no.2.
Mondo nuovo (il). WoO, vocal-3/ I, no.5.
Hy lodging is on the cold ground. Var., Op. 125, no.5.
N'a plus pouvoir dormir. WoO, vocal-9/ 2, no.4.
N'avoir jamais q u ’une pensde. WoO, vocal-9/ 3, no.l.
i
R e p ro d u c e d w ith p erm is sio n o f th e co p yrig h t o w n er. F u rth e r re p ro d u ctio n p ro hib ited w ith o u t p erm is sio n .
(song f i l e ) 209
N'avoir sans y songer. WoO, vocal-3/ XI, no.2.

No m ’oubliez pas. Attributed to Mauro Giuliani in Journal des M&iestrels er.
des Trouvferes. 2® annle, No# 44. Paris: Nadermann, n.d., This could
be a false attribution; but see "Oui je vous fuis," Op. 22, no.l: it
is a "r^ponse" to "Ne m'oubliez pas."
Nel cor pifc non mi sento. Air from Paislello *s Molinara, iJee Op. 4, 65,
• and WoO, G-4, no.2.
Nel furor delle tempeste. WoO, G-14.
Nici bedda, nic*ingrata. WoO, vocal-3/ I, no.4.
Nina nor dir di no. WoO, vocal-3/ X, no.2,
Nina, a'h ver che m ’ami. WoO, vocal-3/ V, no.2.
Non sb che mi sento (Un). WoO, vocal-9/ 4, no.l.
Non ti celar con mi. WoO, vocal-9/ 2, no.5.
N'oubliez pas. WoO, vocal-3/ XII, no.l.
Nume perdonami se in tale istante. Var. Op. 102.
Nunzia ognor di dolci incanti. WoO, vocal-13.
6 toi que j*adore. WoO, vocal-11.
Oh! Cara memoria. Var., Op. 114.
Oh dolce concento [contento]. See comments to WoO, G & F(v)-5.
Ombre ame ne amiche piante. Op. 95, no.l.
On n'est heureux que lorsqu'on aime, WoO, vocal-3/ XII, no.3.
On vante toujours la nature. WoO, vocal-3/ I, no.l.
Oui je vous fuis pour courir b la gloire. Op. 22, no.l.
Palesar a fiamma. WoO, G acc.-l.
Par che di giubilo. Op. 39, no.l.
Parle-moi. WoO, vocal-3/ IX, no.4.
Partant pour la Syrie. Var., Op. 104.
Per pietb, bell*Idol. WoO, vocal-3/ X, no.3.
Per valli, Per boschi. WoO, vocal-11. _ .
Piaceri dell’anima. WoO, vocal-3/ VIII, no.4.
Plus leger. WoO, vocal-3/ VII, no.3.
Portugais dont l'fime (Un), WoO, vocal-3/ XI, no.3.
Poschaluite Sudarina. Var., Op. 64.
Pour quoi regretter. WoO, vocal-9/ 3, no.5.
Povero cor perche. WoO, vocal-9/ 5, no.l.
Premier moment (Le). Op. 22, no.3*
Prbs d'un voloan, romance. Op. 151.
Pria che spunta in ciel. WoO, vocal-2.
Pupille tenere del caro bene. WoO, G.acc.-l.
Quand je te vis. Op. 22, no.2.
Quand je voyais. Op. 13, no.l.
Quando sar£ quel di. Op. 95, no.3«
Quando vedo il pastorello, WoO, vocal-1.
Que le jour me dure. See comments to Op. 24a, concerning Artaria pl.nr. 2201,
Quintetto (il), from II Barbiere di Siviglia. Op, 16b, no.l.
Reposez-vous bien, Chevalier. WoO, vocal-3/ IX, no.l.
Ricciolella [Riccioletta], Var., Op, 141.
Ritter muss rum blut'gen Kampf (Der). WoO, vocal-10.
Robin Adair. Var., Op. 125, no.4.
(song p i l e ) 210
Ruh1 ist mir entschwunden (Die). WoO, G acc.-4.

Schatzchen, ach lass mich gehen, See "Vom frUhen Morgen,"
Schb'ne Mink’a, ich muB scheiden. Var., Op. 60,
SchUsserl und a Reindl (a ), Var., Op. 38.
Se a me fido, WoO, G-13.
50 anch’io fossi. WoO, vocal-3/ VI, no.2.
Se d'amor. WoO, G-7.
Se la vita. WoO(posth), G-8.
Se monaca te faje. Var., Op. 144.
Se non lontano, WoO, vocal-3/ VII, no.5.
Se tu nenna m'amave. Also known a3 "Statte bbona e govemate." Var., Op . 142.
Sechs Deutsche Lieder. WoO, vocal-6.
Sempre pifc t ’amo. WoO, vocal-3/ IV, no.4.
Sentinelle - Die Schildwache. WoO, vocal-16; and WoO, vocal-3/ I# no.3»
See also Op. 91, Var.
Sentirsi dire. WoO, vocal-5, no.3; and WoO, vocal-9/ 4, no.5.
Senza parla fra loro. WoO, vocal-5, no.2.
Serbiami ognor. WoO, G-6.
51 cara, si buona. Var., Op. 145*
Si monaca te faje. Var., Op. 144.
Si tu Nenna m ’amave. Var., Op. 142.
Sognc (il). WoO, vocal-15.
Soir (Le), romance. WoO, vocal-9/ 2, no.l.
Soldat qui garde. WoO, vocal-3/ II, no.3«
Son Gelsomino. WoO, vocal-12.
Sono dolce le Catene. WoO, vocal-3/ V, no,5.
Stille mein Klagen. WoO, vocal-4.
Sul margine d'un rio. WoO, G-4; and WoO, vocal-3/ IV, no.2.
Sympathi6 est le lien (La). WoO, vocal-9/ 5, no.3.
Te bien aimer. WoO, vocal-3/ I, no.2.
Te delle Dee Regina. Op. 151bis.
Tengo pixl di trentun’anni. Var., Op. 147b.
Timida dichiarazione (La). WoO, G acc.-l.
Tirana se embarck (La). WoO, vocal-3/ III, no.4.
Toujours, toujours. WoO, vocal-3/ IX, no.l.
Treue Tod (Der). WoO, vocal-10.
Triste accabl£. WoO, vocal-3/ VII, no.l,
Trois couplets sur la sensibilite. WoO, G acc,-2.
Troubadour (Le), romance. See WoO, vocal-9, cahier 4, no.2, and cahier 5 9
no.2. See also Le Troubadour du Nord (oe, n^riodioue). WoO, vocal-3
Tu che aecendi. WoO, vocal-3/ X, no.l.
Tu disois que 1*amour. WoO, vocal-9/ 3, no.4.
Tu le veux done. WoO, vocal-3/ IV, 1.
Tu me dis refrain, menteur, WoO, vocal-9/ 5, no.4.
Tu vedrai la sventurata. WoO, G-10 and G-15.
L'usato ardir. WoO(posth), G-12.
Venez aux champs. WoO, vocal-9/ 3, no.2.
Vieni, Arsace. WoO(posth), G-13.
(index o p n a m e s ) 211
(Conclusion of Song File)

Voci canore, duetto. WoO, vocal-3/ IV, no.5.
Vogel kam geflogen (Ein). WoO, G acc.-5.
Voi che - Mon cpeur soupire. WoO, vocal-3/ VIII, no.3.
Vom frtthen Morgen bis zur Abendrdthe. WoO, unresolved, no.7.
Vuoi per sempre. WoO, vocal-3/ VII, no.2.
Wenn in des Abends. Op. 89, no.2.
Wir giengen beide Hand in Hand, Op. 89, no.4.
Wir wandeln beseligt. WoO, G acc.-4.
Zu lieblich ist’s. Op. 89, no.l.
Zwei Augen sind's. WoO, G acc.-5.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
A P P E N D I X IV
INDEX OF NAMES OF
PERSONS ASSOCIATED
IN ANY WAY WITH
MAURO GIULIANI
I This is a comprehensive index of dedicatees, students, colleagues,

[ composers of themes which Giuliani arranged, and other persons associated
| in some way with Giuliani during his lifetime, A brief note follows each
| name, explaining the nature of the connection.
I Agliati, Luigi (Louis). Dedicatee of Op. 61, Grande Ouverture.

Aichelbourg, Baron Charles d'. Dedicatee of Op. 82, Grande Serenade.
\ Arena, Rocco, Dedicatee of Op. 127, Serenata.
Artaria, Domenico. Friend, and publisher in Vienna of numerous first
I editions of the works of Giuliani.
| Baraux, Mile Anne de. Dedicatee of Op. 2. There are references to a Madame
de Baro (presumably the same person, or related) in letters of Mauro's
:j father, Michele, to Domenico Artaria, WStB, Hss.-Samml. J.N. 69721/ 1&2.
jj Barton, Mile. Anna. Dedicatee of Giuliani’s Op. 104 (Bennann ed.).
i
i
(index op n a m e s ) 212
Beethoven, Ludwig van. Famous composer, and friendly acquaintance of

Giuliani's in Vienna, See Chapter II of Vol. I, especially the year
1814, in regard to the relationship these men had. See also Appendix
I, 21 of Vol. I.
Bellini, Vincenzo. Giuliani arranged several numbers from his opera Pirata
for guitar. See VoO, G-10, G-14, G-15, and 2G-4.
Bermann, Jeremias. Publisher in Vienna of several first editions of
Giuliani’3 music. See, for ex., Op. 97, and poss. Op. 104.
Bernath, Joh. Nep. Dedicatee of WoO, vocal-8, "Der JUngling in der Preside,"
set to music by Beethoven, Giuliani, Moscheles, Reichardt, Karine and
Hummel.
Biasing, Mme Marianne de. Dedicatee of Caprice. Op, 11. Wurzbach lists
a Graf von Biasing (possibly related?) as an "Oberstlieutenant von
Stein Infanterie."
Blangini, Felice. See WoO, vocal-11.
Blasi, Signor Francesco de. Friend, and dedicatee of Op. 128.
Boccasini, M, Antonio (Antoine). Dedicatee of Op. 42, 4feme Pot-pourri. G.
Boieldieu. See the comments to Op. 105. r
Borgondio, Madme. Gentile. Singer, and artistic colleague of Giuliani’s.
See Vol. I, Appendix I, 26(a).
Brentano, Baron Giuseppe de. Student, and dedicatee of Op. 60.
Bridi, Joseph Antoine de. Amateur 3inger, and Viennese banker. He was a
friend of Giuliani’s, and the dedicatee of Op. 79, Cavatina (Pi tanti
nalniti). See Vol. I, Appendix I, 18,
Bruschka, Madamigella Madalena. Dedicatee of Op, 101, Var. (Deh calma). G.
Caetani, Don Enrico, Duke of Sermonetta. Dedicatee of Le Rossiniane. Op.
119 through 124.
Carafa, M. Enrico. Composer of the aria, "OhJ Cara memoria,” on which
Giuliani's Op. 114 is based, -
Castelli, Ignaz Franz, A popular Viennese poet, and author of "Der Abschied
der Troubadours," WoO, vocal-15 and vocal-14.
Catalani, Signora Angelica. Extremely popular soprano, inspired several of
Giuliani's works: WoO, G-5; G-4; WoO, G & F(v)-5; and WoO, vocal-12.
Cherubini. Giuliani's Op,. 110 is a march from Cherubini's Due Giornate
arr, for G,
Coda, Signora. Member of the "Akademie zu Bologna." See the comments to
WoO, G-4.
Coste, Napoleon, Famous French guitarist of mid-19th century, he arranged
a movement of Giuliani's Concerto, Op. 36, for two G,
Courlande, Princesse de. See Hohenzollem Hechingen,
Cressence, Mile., Comtesse de Tannenberg. Dedicatee of Op. 103.
Crucian!, Signora Anna Maria. Dedicatee of Op. 108.
Dellavos, M. Charles. Student, and dedicatee of Op. 34.
Diabelli, Antcn. A lesser rival of Giuliani's on the guitar. He became a
publisher in Vienna of Giuliani'3 later works. He was in business
with Cappi between 1818 and 1824, when he took over the printing firm.
See Op. 99f.
Dietrichstein, Graf Moriz von. Composer of Lieder. See WoO, G acc.-3.
Donizetti, G. Giuliani arranged several pieces from Donizetti's Esule ui
Roma for guitar. See WoO, G-12 and G-13, and Op. 146.
1
(index o f n a m e s ) 213
Echerolles, Mr. de. Author of "Prbs d'un volcan," Op. 151.

Snmerich, Mile, Anna. Dedicatee of the solo guitar version of Op. 104.
Eugene (Eugene Napoleon). Dedicatee of Giuliani’s 1st Concerto, Op. 30,
Falter & Fils. Publisher, in Munich, of the first ed„ of Op. 104,
Flohr, Edoardo. Dedicatee of Op. 126.
Forster. Publisher, in Breslau, of many later editions of Giuliani's works.
Gaetani, Don Enrico, See Caetani.
Galitzin, Princesse de. See Menschikoff.
Gelinek, Abb4. Transcribed Giuliani's Op. 2 for pianoforte,
Generali, Composer of the opera I Baccanali di Noma. Giuliani wrote var,
on a cavatina from this opera.
Gentil, Monsieur. Author of the word3 to MauroGiuliani's Op. 27,"Marie
Louise au Berceau de son Fils."
Ghill&iy, Baron Alexander de. Dedicatee of Giuliani's 3rd Concerto, Op. 70.
Giraud, Jules. Dedicatee of Op, 46, Cholx de mes Fleurs Ch&ries.
Giuliani, Emanuele. Sister of Mauro Giuliani, acc. to his letters of 16
Jan 1824 and 25 Sept 1827 (Location: WStB). She was considered to have
betrayed the family by Mauro (v. letter of 1824), by witholding funds
sent from Nicholas (St. Petersburg) to the father (Michele) via her.
She was then living in Vienna.
Giuliani, Emilia. Daughter of MauroGiuliani, and herself a concert guitarist
she was born in Vienna in 1813.
Giuliani, Michel (b. Barletta 180l[?] - d. Paris 1867). Son of MauroGiuliani
He became "Professeur de Chant" at the Paris conservatoryin 1850. He
was a skilled guitarist.
5 Giuliani, Nicholas. Presumably an older brother of Mauro Giuliani. Nicholas
spent most of his life in St. Petersburg as a voice teacher.
Goethe. Giuliani set one of his Lieder to music. See Op. 89, no.l.
Grossi, Giuditta, Dedicatee of Giuliani's Op. 109, by Ricordi, who calls
her an "egregia sonatrice."
GrUndler, Heinrich. Student, and dedicatee of Op. 16a.
Gyrowetz, Adalbert, Composer of WoO, G acc.-4, Der Augenarzt.
Haendel, G.F, See Op. 107, Tema di Kaendel Variato.
Haslinger, Carlo de. Dedicatee of Op. 67, Grand Potpourri. 2G. He may be
identical with the famous Viennese publisher Haslinger, who took
over the firm of Senefelder (originally Chemische Druckerey, then
Steiner) in 1826.
Haydn, Franz Josef. Author of "Gott Erhalte," famous Austrian national
melody, on which Giuliani and many of his contemporaries wrote
variations. See Giuliani's WoO, G-4, no,4.
HeroId. See the comments to Op, 105.
Himmel. Composer of Fanchon. das Leierm'ddchen. Giuliani's Op. 88 is
var. on a romance from this opera.
Hofmeister. Renowned Leipzig publisher, brought out many later editions of
Giuliani's music, particularly those first published by Ricordi of Milan.
Hohenzollern Hechingen, Princesse de Courlande, La Princesse Regnante de.
Student, and dedicatee of Op. 29.
Hummel, Johann Nepomuk. Famous pianist, and friend of Mauro Giuliani's.
Hummel co-authored Op. 93.
Iaccone, Francesco. Dedicatee of Op. 116.
(IN D E X op names ) 214
Isnardi, Filippo. "Dilettante,” to whom Ricordi dedicated Giuliani's

Op, 149 & 150, Isnardi was Giuliani's first biographer. See his
biographical sketch, Vol. I, Appendix I, 7.
Jager, Signora de. See Riefel, Baronessa de.
Josephine, Edle von Maillard, also written (incorrectly) "Josephnoble de
Dedicatee of Op. 15, Sonata.
Kanne. A contributing composer to WoO, vocal-8.
Kaverinn. See Malicheff, Helene de.
Kenny, G. M. Dedicatee of Op. 125, 6 Airs Irlandais...var,. G.
Kinsky, Princess Caroline de. Student, and dedicatee of Op, 10, Amusement.
Komer, Theodor. Poet, and amateur guitarist. See WoO, vocal-10.
Kuhn. Publisher in Berlin of several later editions of Giuliani's works.
See, for ex., Op. 34.
Langer, Francois. Dedicatee of Op. 14. The Addressenbuch von Tonkttnstlern
(Vienna, 1823) lists a "Herr Franz Langer (Pianoforte, Violin und
Guitarre), wohnt in der Stadt, untere Breunerstrasse Nr. 1127."
Lanza, G. Giuliani transcribed a tarantella of Lanza's for G, See WoO
(posth), 2G-5.
Laviano(?), Mme, la Duchesse de. See Lebrun.
Lebrun, Mme. la Duchesse de Laviano(?), nee. Dedicatee of Op. 25*
Lehmann, Mag. I. T. Arranged several of Giuliani's works for pianoforte.
See Op. 15, and WoO, G & P-2.
Leidesdorf, Max. Participated in a concert with Giuliani, Vienna, 5 Apr
1818, See App, I, 50 of Vol. I. Leidesdorf arranged Op. 67 for P & G.
Leonesi[Lionesi], Matteo Gasparo. Extemporaneous poet with whom Giuliani
appeared in Naples in 1825. See Vol. I, Appendix I, 44. He was also
the dedicatee (via Ricordi) of Giuliani's Op, 62.
Lorenzi, Giuseppe. A publisher in Florence who brought out editions of
Giuliani's works, probably later editions, sometimes with his own opus-
numbering system: Op. 18 (pi.nr. 680), Op. 19, 5 Rondeaux(!). pi.nr.
709, Op. 34 (pl.nr, 673), Op. 1 (pi.nr. 335), etc.
Lubomirski, Prince Frederic. Dedicatee of Op. 76.
Lucca, F. Publisher in Florence of Giuliani's Op, 1 (later ed.).
Mackenzie, Elisabetta. Student, and dedicatee of WoO(posth), G-14, 6 Arie
Nazionali Scozzesi...
Maillard, Mile. Josephine, Noble de. Dedicatee of Op. 15, Sonate.
Malicheff, Mme. Helene de. Dedicatee of Op. 93, Gr. Potpourri. G & P.
Monsieur Francois de Malicheff was the dedicatee of the Meissonnier ed.
of Op. 96.
Marie-Louise, Empress, Archduchess of Parma.Dedicatee of Op. 27. Giuliani
became her "Virtuoso onorario di camera," acc. to the title pages of
Op, 95, 100, 126, and WoO(posth), G-14.
Matthisson. Giuliani set his "Lied aus der Ferne" to music. See Op. 89, no.2.
Mayseder, Joseph. Colleague, friend, and dedicatee of Op, 63. See WoO,
G & F (v )-3 and 4. Giuliani & Mayseder appeared together in concert often,
Mechetti, Pietro. Publisher in Vienna of many first editions of Giuliani's
musio. See, for ex., Op, 24a.
M6hul. A romance by M^hul is related as the source ofGiuliani's guitar
setting, Op. 16b, no.3, "La Lettera." See AmZ. XIl(l810), 887-88.
I
(in d e x op nam es) • 215
I
I
I
Meissonnier, A, (and sometimes J.). Publishers in Paris of numerous later

editions (1820's and 30's) of Giuliani's works.
Menschikoff, Princesse Catherine de. Dedicatee of Op. 100.
Merk[Merck], 'Cellist and artistic colleague of Giulieni's in Vienna. See
Vol. I, Appendix I, 24 and 27.
Mesnil, Barone di. Dedicatee of Op. 66.
Messence, Chevalier de. Wrote the words to Op. 22, Trois Romances.
He is sometimes referred tc as Le Comte Lagarde, de Messence,
Ketasta3io. Giuliani set six of his poems to music - Op. 95.
Monte, Mr. de. Dedicatee of Giuliani's 2nd Concerto, Op. 36.
Moretti, Luigi. Dedicatee, by Ricordi, of Giuliani's Op. 112.
Moretus, M. Constant. Dedicatee of Op. 99, which refers to him as a
"Gentilhorame Belgae."
Morzkowska, Comtesse Josephine, Dedicatee of Op. 22.
Moscheles, Ignaz, Famed pianist and composer, appeared often with Giuliani
in concert. He co-authored WoO, G & P-l.
i Mozart, W. A. Great classic master of composition. WoO, 2G*-2 is Giuliani's
I arrangement of Mozart'sClemenza di Tito. WoO, G & P (v)-5 makes a
| dubious attribution of"Oh dolce concento[contento]" toMozart. The
Artaria ed, of 2 deutsche Arien. 5er Teil (pi.nr. 824), Ktfchel Anhang
C 8.08 and 8.09 are the same songs as found in WoO, G acc.-5, arr.
by Giuliani.
Napoleon, See Eugene. Napoleon Bonaparte had a lyre-guitar built especial
ly for Marie-Louise, his Empress, and patroness of Giuliani. Acc. to
| Isnardi (Vol. I, App. I, 7) she made a gift of this instrument to Mauro
| Giuliani.
; Nass, Frau von. May have been the recipient of an autograph of Giuliani's.
See Vol. I, Ch. II, footnote 72.
| Pacini. Publisher in Paris of many later editions (l820's_and 30‘s) of
| Giuliani's works.
Pacini, Giovanni. Composer of Alessandro nelle Indie. A cavatina from this
opera was arr. for guitar by Giuliani. See WoO, G-7.
Pa*e‘r, Ferdinando. Composer of 3 Ariette (WoO, G acc.-l) for which Giuliani
wrote guitar accompaniment.
Paisiello. Composer of "Nel cor piti," a theme on which Giuliani and many
| others wrote variations. See Giuliani's Op. 4, Op. 65, and WoO, G-4.
\ Palffy, Count Franz von. Student, and dedicatee of Op. 39.
I Pelzer, Ferdinand. A guitarist involved in the publication of the Giulianiad
? (London, 1833-35).
Peters, C. F. Publisher in Leipzig of the first ed, of WoO, G-2, Rondon-
gino brillante.
I Rainer, Mila. Vicenzina de. Dedicatee of 12 Montferrine. Op, 12. She may
have been related to Archduke Rainer (v. Vol. I, App. I, 25.).
Reichardt, A contributing composer of WoO, vocal-8. He may be identical
with J. F. Reichardt, V. Vol. I, App. I, nos. 5 and 18.
Reissig, Louis von. Giuliani set several of his Lieder to music. See
Op. 89, no.6; WoO, vocal-6; and WoO, vocal-8.
Revenaz, Mr, Francois de. Dedicatee of Op, 24a, Var.. V & G.
i Richault. Publisher in Paris of numerous later editions (l820's and 30' s)
5 of Giuliani's works.
( in d e x of names ) 215
Ricordi, Giovanni. Publisher in Milan of most of Giuliani's later works.

See Vol. II, Appendix I for a complete list.
Riedl, J, Publisher in Vienna of many original editions of Giuliani's
works.
Riefel, Signora de JHger, n. Baronessa de. Dedicatee of Op. 69.
Rode, Jacques-Pierre-Joseph. Famous French violinist. See WoO, G-3, no.2.
Rossini, G. Composer of extremely popular operas, certain melodies of which
were arranged by Giuliani and by many other composers of the earlier
19th c. See Giuliani's Rossiniane. Op. 119-124, and many WoO arrange
ments from Semiramide. Cenerentola. etc.
Rudolf, Archduke, Dedicatee of WoO, G & P-l, by Moscheles and Giuliani.
See also WoO, vocal-15, and Appendix I, 25 of Vol. I.
Salieri, Antonio. Teacher of Beethoven. He collaborated with the latter
and with Giuliani, Moscheles, Grossheim and Hummel to produce 6
Deutsche Lieder. WoO, vocal-6.
Sangiuliani, Sigr, Conte Giuseppe. Dedicatee (via Ricordi) of Giuliani's
Op. 65, the version for G, 2V1, Via, & Vc.
Schlesinger, Publisher in Berlin of several later editions of Giuliani's
works. See, for ex., Op. 34.
Schloissnig, Baronne Anne Marie de. Dedicatee of Op. 85.
Scholze, Jakob. A man into whose debt Giuliani fell in 1819 in Vienna,
See Appendix I, 14 of Vol. I.
Schulz, Leonhard, Edited a series of republications of Giuliani's music
in London, His Giuliana attained some twenty fascicles. Schulz was
also involved in the publication of the Giulianiad (London, 1833-35).
S5gur, Marquis de. Author of the romance, "Ne m'oubliez pas," to which
p Chevalier de Messence wrote the reponse. "Oui je vous fuis," See
Mauro Giuliani, Op. 22, no.l.
Sermonetta, Duke. of. See Caetani, Don Enrico.
Simrock. Publisher in Bonn of numerous early editions (not first editions)
of Giuliani'a music. See, for ex., Op. 23 and Op. 41 among others.
Spehr, P. Publisher in Braunschweig of many later editions and arrangements
of Giuliani's works. See, for ex., Op, 15, arr. Pfte., or Op, 41.
Spina, Antonio. Dedicatee of Pot-pourri. Op. 26.
Spontini, Gaspar. Giuliani arranged the overture to his opera La Vestale
for two guitars. See WoO, 2G-1.
Sprenger, D. Publisher in Vienna of several first editions of Giuliani's
music. See, for ex., Op. 100.
Stegmayer, Matthias. Author of the Liederspiel. "Das lebendige-Weinfass,"
to which Giuliani contributed three numbers. See WoO, vocal-4.
Steigentesch, A. Freyherrn von. Giuliani wrote the guitar accompaniment for
10 Lieder.von (idem). WoO, G ace,-3. See also Op, 89, no.4.
Steiner, Publisher in Vienna of many original editions of Giuliani works.
See, for ex., Op. 9f.
Stieler, Joseph. Dedicatee of Op. 83, Preludes. Wurzbach lists a Josef
Stieler, portrait artist, who worked in Vienna between 1816 and 1820.
Tannenberg, Mile. Cressence, Comtesse de. Dedicatee of Op. 103.
Tiedge, von. See Op, 89, no,5, a setting of Tiedge's, "Alles ruht,"
(systematic index ) 217
(Conclusion of Index of Names)

Waldstein, Count George. Student, and dedicatee of 6 Var.. Op. 20. He is
not to be confused with Ferdinand Ernst Graf von Waldstein (1762-1825),
dedicatee of Beethoven’s Sonata, Op. 53. Johann Georg, the present
figure, was of the Durer line of the family, and was a cousin of
Ferdinand Ernst.
Weigl, Thaddeus. Publisher in Vienna of many first editions ofGiuliani's
works. See, for ex., Op, 49, 51, 53» 75, etc.
Weinberger, J. Publisher in Vienna & Leipzig of numerous later editions
(often reprints of original Artaria editions) of Giuliani's works.
Wild, F. Tenor from Vienna, and colleague of Giuliani's. See WoO, vocal-10.
Wieselberger, Nina. A woman with whom Giuliani was associatedin Vienna,
c, 1815-19(?). See Appendix I, 15 of Vol. I.
Willmuth, Maria. Illegitimate daughter of Mauro Giuliani. She travelled
with Emilia Giuliani in 1822 and in 1824 from Vienna to Italy, See
Vol. I, Appendix I, 42.
Wranitaky, Anna. Dedicatee of Op. 102. She appeared often with Giuliani
and his colleagues in Vienna. See Vol. I, App. I, 31, 32, 34 & 55.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
A P P E N D I X V
SYSTEMATIC INDEX OF
GENRES AND COMPOSITIONAL TYPES
"Amusements" for guitar. Op. 10, and Op. 43, 54, & 59 (the latter entitled,
"Les variet6s amusantes.").
Bagatelles. Op. 73.
Bolero. See the comments to Op. 79. See also WoO, vocal-12.
I t f ' r , •> T u»*#' II
u CJw
O aa
v An 1 rVQ
aw J »
Caprice. Op. 11,
Concertos for guitar. Op. 50, 56, and 70.
Deutsche. See WoO, 2G-5.
Divertimenti or Divertissements. Op. 29, 57, 40, 56, 59, 74(G & F [ v ] ) ,
78, 86(G & F[V]), and 106.
Ecossaises. Op. 53 and Op. 58.
Folia.. Variations on idem. Op, 45.
Fughetta for guitar. Op. 115.
Laendler. See Waltzes (Laendler).
Lieder. Op. 89; WoO, vocal-6; WoO, G acc.-3.
( s y s t e m a t ic in d e x ) 218
Marches, See Op. 24h. Marches from Le Due Gi o m a t e . Op, 110; from
Trajan. Coriolan. Vestale. Ricciardo Cordileone. WoO, G-l; from
Semiramide, WoO, G-9; from Die verbUndete Machte. WoO, G & F(v)-2;
from Anniro e Daura. WoO, vocal-2, no,3.
Montferrine, See Op, 12.
Nocturnes. Op. 69, La Lira N o t t u m a : Op. 86, XVIII Divertimenti n o t t u m i :
cf. Matiegka's "Nottumo - G, P & Va,” arr. Schubert. Deutsch No. 96.
Overtures, for guitar. From Semiramide. WoO, G-5; from Clemenza. WoO, G-ll.
Original composition, Op. 61.
Overtures, for two guitars. Prom Vestale. WoO, 2G-1; from Clemenza. WoO,
2G*-2; from Pirata. WoO, 2G-4; from Cenerentola. WoO(posth), 2G-2; from
Elisabetta d'Inghilterra. WoO(posth), 2G-1; from Assedio. WoO(posth),
2G-3? from La Gazza Ladra. WoO(posth), 2G-4,
Polonaises. Giuliani composed polonaise movements to his concertos, Op, 30
and 70. He arranged two of Mayseder’s polonaises for guitar acc't:
WoO, G & F(v)-3 & 4. See also Op. 137.
Potpourri. 'See Op. 18, 26, 28, 31, 42, 53, 67, 76, 93, 108, & 126.
Preludes* See Op, 48 and Op, 83.
Romance (in the title of a work). Op, 13 , 22 , 27, 151, and WoO, G acc.-5.
Rondo (in the title of a work). Op. 3, 5, 8, 14, 17, 66, 68, 109, and WoO,
G & P-2.
Rondongino. See WoO, G-2.
Serenade (Serenata). Op. 19, 82, and 127.
Sonata for guitar. Op. 15, 96, and 150. Op. 61 is in sonata-allegro form.
Sonatinas, Op, 71, 3 Sonatines.
Studies, Op. 1, part IV; Op, 48 (set of 24); Op. 50 (set of 32); Op. 51
(18); Op. 98 (8); Op. 100 (24); Op. Ill (ll); Op. 139 (6).
Tarantella, See WoO(posth), 2G-5.
Variations for guitar. Op. 2, 4, 6, 7, 9, 20, 24a, 32, 34, 38, 41, 45, 49,
60. 62, 64, 72, 87, 88, 97, 101, 102, 103, 104, 105, 107, 110, 112, 114,
118, 128, 140, 141, 142, 143, 144, 145; WoO, G-3, G-4, G-15; WoO(posth).
G-l, G-14 and G-15.
Variations for two guitars. Op, 35 and 130.
Variations for guitar & flute ’or violin). Op. 63, 81 and 84; WoO, G & P
(v)-5.
Variations for voice. Op. 79, and WoO, vocal-13.
Waltzes (Laendler). Op, 16a, 21, 23, 44, 55, 57, 58, 75, 80, 90, 94, 103
(Var, on a "Walz favori"), 116, WoO(posth), G-2. N.B. WoO, 2G-3 is
a set of 12 Deutsche, also in three-quarter- time.
w ith p erm is sio n o f th e co p yrig h t o w n er. F u rth e r re p ro d u ctio n p ro hib ited w ith o u t p erm is sio n .

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The following explanation of techniques is provided to help you understand

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Xerox University Microfilms

Xerox University Microfilms, Ann Arbor, Michigan 48106

THOMAS FITZSIMONS HECK

ALL RIGHTS RESERVED

One of the problems in doing a dissertation under deadline

AND ITS CULTIVATION IN VIENNA, REFLECTED IN

THE CAREER AND COMPOSITIONS OF

MAURO GIULIANI (d. 1829)

Baccalaur6at, Paris, I960

B.A. University of Notre Dame, 1965

M.PKil. Yale University, 1968

A Dissertation Presented to the Faculty of

The Graduate School of Yale University

in Candidacy for the Degree of

New Haven, Connecticut

The thesis begins, after pertinent introductory remarks, with an

Volume II is a thematic catalogue of Giuliani's works, with and with­

support of personal friends and thoughtful colleagues throughout North

able to collect, catalogue, and organize the contributions of a great many

generous, spontaneous, and tireless souls.

acknowledge the financial assistance of Mrs. H. de S. Lehman of California.

Her generosity is a constant inspiration. Mrs. Heloise Mikkelsen of St.

Louis, Missouri, in her capacity as custodian of the Krick Collection of

classic guitar music, was able to provide me with several of Giuliani’s

The music faculty of Yale University did not discourage my research

tar. Rather, Professors Waite, Velimirovi6, and Palisca gave me support

is a tribute to the academic freedom which they have fostered. Special

recognition is due to my thesis advisor, Prof. Leon B. Plantinga, for his

sound criticism of my manuscript in various stages of preparation. The

Graduate School of Yale University contributed to my support during the

final year of preparation and typing, 1969/70.

sions. Most helpful to me were the British Museum, the Biblioth&que

Nationale in Paris, the Biblioth&que Royale in Brussels, the Bayerlsche

Staatsbibliothek in Munich, the Deutsche Staatsbibliothek and Stiftung

Preussischer Kulturbesitz of Berlin, the Oesterreichische Nationalbiblio-

and Dr. RLlmar). Italian libraries (and librarians) were particularly

valuable for my research: the Biblioteca Nazionale Braidense and the

Conservatory Library of Milan, the Municipal Library of Bologna, the Civic

Library of Codogno (Sig. Salvatore Tranquillo), the Liceo Musicals of

Modena, the Centro Nazionale di Informazioni Bibliografiche of Rome, and

the Biblioteca Nazionale of Naples. Across the Adriatic, Yugoslavian

libraries to which I am indebted include that of the Franciscan Cloister

in Dubrovnik (P. Ivo Peran), and the library of the Conservatory in

Zagreb (Algarotti Collection, Prof. Greta Zelis Svrina).

in Europe. Dr. Alexander Weinmann of Vienna, whose friendly advice and

continuing help lias made possible the thematic catalogue in Volume II

(duly dedicated to him), was one of many thoughtful professional music

bibliographers who lightened my research load. Dr. Ernst Hilmar, Music

Division of the Stadtbibliothek, Vienna; Dr. Mariangela Donh of the Ufficio

Bicerca Fondi Musicali, Biblioteca Nazionale Braidense, Milan; Dr. Anna

Mondolfi of the Conservatory Library, Naples; and Mine, Simone Wallon of

the Fonds ancien3 du conservatoire. B. N., Paris, deserve sincerest thanks.

There were numerous guitarists who did their shSrS"to-hasten -the.

tothy-Toth of Montreal, Canada; Mr. Wilfrid M. Appleby, editor of Guitar

News. Cheltenham, England; Prof. Raymond Dussart, Quievrain, Belgium;

Bauml-KLasinc of Graz; Mr. Emil Hladky of Prague; Prof. Djordje Gracin of

Zadar, Yugoslavia; Prof. Jozef Powrozniak of Katowice, Poland; and Prof.

Boris Vol’man of Leningrad, U.S.S.R.

Musical instrument collections which have important holdings of

classic guitars, and very cooperative administrations, include the Musik-

historiska Museet of Stockholm, and the Sammlung alter Musikinstrumente

Volume II is a thematic catalogue of Giuliani's works, with and with

This dissertation has been conceived from the start as a contribu

overall picture of the development of the classic instrument, so as to pro

The morphology postulate states that "the structural form of instru