New Millennium Strings

Mauro Guiliani (1781-1829)

Concerto for Guitar, Strings, and Timpani in A Major, Op. 30

Giuliani was one of the most distinguished guitarists of the first third of the 19th century. During this period the public was in love with opera and showed disinterest towards guitar repertoire. Although Giuliani had this obstacle to battle, he was regarded as the first guitar virtuoso in Italy; however, Giuliani was also surrounded by the great guitar virtuosi Agliati, Carulli, Graghani, and Nava. Following his successful concert tour in 1800 at the age of 20, Guiliani decided to move north to Vienna in 1806. His decision to relocate to Vienna resulted in Guiliani being held in esteem by the musically informed Viennese. His compositions for guitar now were highly praised. As a result of the encouragement, in 1808 Giuliani wrote his Concerto in A, Op. 30 for Guitar, Strings, and Timpani for which he received rave reviews from the critics. He wrote prolifically for the guitar, composing nearly 150 works with the Opus number 7 alone. His works totaled over 300 compositions, plus method books for guitar students. While living in Vienna, Giuliani associated with the most prominent musicians in the city such as Hummel, Moscheles, Diabelli, Mayseder, and Haydn. Giuliani's talent also attracted the attention of Beethoven, Schubert, and Spohr.

The Concerto in A, Op. 30 for Guitar, Strings, and Timpani requires astonishing and flawless solo guitar technique and it also demands from the performer a highly sensitive approach to the music. The first movement begins with a Maestoso introduction with two contrasting themes. The first theme is heard as a martial dotten rhythm and the contrasting theme is lyrical and operatic played by the first violins. After a rather lengthy introduction, the orchestra pauses and the solo guitar proceeds with the first theme. The first theme performed by the guitar is enhanced by chords, large intervallic leaps, scales, and challenging configuration. The second theme ends with a brilliant cadenza. The listener is enticed by the parallel A minor section, in which the soloist performs octaves with a sequence of demanding intervallic leaps. The movement returns to A major and ends triumphantly with chords in the violins.

The second movement is entitled Andante Siciliano and the opening theme is unmistakeably based on a sentimental Italian folksong. This movement is overwhelming in its beauty and gracefulness. The third movement is a spirited Polonaise and concludes the concerto with energy, verve, and bravado. The guitarist who performs this concerto brilliantly is truly the definition of a virtuoso, as is the definition of our soloist Marc Teicholz.

-- program notes by Laurien Jones

October, 2004