“...Something strangely artificial, or even deformed” : Mauro Giuliani's Bold Attempt to Legitimize the Classical Guitar.
While he mainly referred to himself as a violoncellist, Mauro Giuliani (1781-1829) was the leading guitar virtuoso of his time and still stands as one of the leading composers in the repertoire of the instrument. A well respected and well connected musician in early 19th century Italy, Giuliani was regularly seen performing, dining and in the entorages of the likes of Haydn, Hummel, Rossini and Beethoven. While his association with these composers were in large part due to his talents as a cellist, to the general public he was most famous for his virtuosic mastery of the guitar. However, despite his internationally acclaimed …show more content…
While avoided by most serious composers, the guitar was exploding in popularity throughout Europe, especially among middle class women. By the end of the 18th century the lute had all but disappeared and the guitar had quickly begun to rival the popularity of the harpsichord as the parlor instrument of choice . In English speaking countries, the perceived sweet, subtle, harp-like timbres of the guitar became inseparable from ideas of femininity and the romantic. It was not long before the guitar was regarded as a simple, easy, feminine instrument, reserved for pleasant background music . This lead guitarist Simon Molitor (1766-1848) to remark; “although it is already universal, it is still not well understood; indeed a very much misunderstood instrument” . Giuliani had several traits that shielded him from these tropes that plagued anyone in serious pursuit of a career as a guitarist. Primarily, Giuliani’s exceptional virtuosity cannot be understated. While the identity of his teachers remain a mystery, after the debut of his guitar concerti Giuliani had been “...placed in the company of the leading violin virtuosi of his day, as another standard-setter” . Even when compared to guitarists of the present day Giuliani remains exceptional. It is rare to find recordings earlier than 1970 of guitarists performing the concerto without abridging the …show more content…
1 in A major, Op. 30 were mixed. Most critics praised Giuliani’s virtuosity, but questioned how well the guitar fit into an orchestral setting to begin with. One critic wrote “The guitar, as everyone knows, is soft by its nature-an instrument suited only to pleasant treatment. A composition intended for it must conform to this requirement in its character and its overall layout” . Another claimed that he “... 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” . Given Giuliani’s best efforts and extreme talent, it is hard to imagine that a critic could have more or less criticised him for not being a pianist or a violinist, or for treating the guitar, a symbol of the feminine at this point in history, in an ‘ungentlemanly’ manner. These attitudes surrounding the guitar were common in the early 19th century and could be seen as the motivation for Giuliani to undertake such an ambitious endeavour in the first place.
Being the first major work for guitar and orchestra, Giuliani had to overcome the physical limitations guitars had during his lifetime as well as the social biases many serious musicians had against the guitar’s associations with the feminine and folk culture. Giuliani’s Guitar Concerto No. 1 in A major, Op. 30 stands as a remarkable attempt to compose
While he mainly referred to himself as a violoncellist, Mauro Giuliani (1781-1829) was the leading guitar virtuoso of his time and still stands as one of the leading composers in the repertoire of the instrument. A well respected and well connected musician in early 19th century Italy, Giuliani was regularly seen performing, dining and in the entorages of the likes of Haydn, Hummel, Rossini and Beethoven. While his association with these composers were in large part due to his talents as a cellist, to the general public he was most famous for his virtuosic mastery of the guitar. However, despite his internationally acclaimed …show more content…
While avoided by most serious composers, the guitar was exploding in popularity throughout Europe, especially among middle class women. By the end of the 18th century the lute had all but disappeared and the guitar had quickly begun to rival the popularity of the harpsichord as the parlor instrument of choice . In English speaking countries, the perceived sweet, subtle, harp-like timbres of the guitar became inseparable from ideas of femininity and the romantic. It was not long before the guitar was regarded as a simple, easy, feminine instrument, reserved for pleasant background music . This lead guitarist Simon Molitor (1766-1848) to remark; “although it is already universal, it is still not well understood; indeed a very much misunderstood instrument” . Giuliani had several traits that shielded him from these tropes that plagued anyone in serious pursuit of a career as a guitarist. Primarily, Giuliani’s exceptional virtuosity cannot be understated. While the identity of his teachers remain a mystery, after the debut of his guitar concerti Giuliani had been “...placed in the company of the leading violin virtuosi of his day, as another standard-setter” . Even when compared to guitarists of the present day Giuliani remains exceptional. It is rare to find recordings earlier than 1970 of guitarists performing the concerto without abridging the …show more content…
1 in A major, Op. 30 were mixed. Most critics praised Giuliani’s virtuosity, but questioned how well the guitar fit into an orchestral setting to begin with. One critic wrote “The guitar, as everyone knows, is soft by its nature-an instrument suited only to pleasant treatment. A composition intended for it must conform to this requirement in its character and its overall layout” . Another claimed that he “... 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” . Given Giuliani’s best efforts and extreme talent, it is hard to imagine that a critic could have more or less criticised him for not being a pianist or a violinist, or for treating the guitar, a symbol of the feminine at this point in history, in an ‘ungentlemanly’ manner. These attitudes surrounding the guitar were common in the early 19th century and could be seen as the motivation for Giuliani to undertake such an ambitious endeavour in the first place.
Being the first major work for guitar and orchestra, Giuliani had to overcome the physical limitations guitars had during his lifetime as well as the social biases many serious musicians had against the guitar’s associations with the feminine and folk culture. Giuliani’s Guitar Concerto No. 1 in A major, Op. 30 stands as a remarkable attempt to compose