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Mauro Guiliani
In Vienna, Giuliani's prodigious, talents created a tremendous stir of enthusiasm for the guitar, making him a pivotal figure in guitar history. In his day, he became to the guitar roughly what Liszt or Chopin later represented to the piano. When, in April 1808, Giuliani performed the première of his "Grand Concerto" for guitar and orchestra, Op. 30, the Viennese took him to their hearts, and the press even had to admit that the guitar had more possibilities than mere accompaniment. This première was truly an epochal event, for the work was the world's first guitar concerto. Both the guitar and Giuliani gained instant popularity in Vienna, and a great many guitar publications by this composer and others soon followed. Giuliani now could frequently be heard on concert programmes in the company of famous virtuosos of the day, such as Hummel, Moscheles, and Mayseder.
Concerto #3 in F, Op.70

The Concerto in F, Op. 70, was composed in I816 or slightly earlier. Instead of the normal classical guitar, Giuliani chose to write this work for chitarra terzina (terz-guitar), which is pitched three half-steps higher. In order to play the concerto in its original key, the modern guitarist positions a capotasto (movable nut) at the third fret. Giuliani's Third Concerto shows remarkable advancement from his first effort, written eight years earlier. This maturation is easily observed in the opening movement: crisp and varied themes, accomplished orchestration, more advanced harmony, and a mastery of form. Although there are numerous solo passages for the guitar, the cadenzas in this movement are not extensive, lending it greater continuity and finer solo-tutti balance.

Mauro Guiliani
Quintette in A major op.65
Introduction
Thema con variazioni
Polonaise

M. Guiliani composed a great deal of chamber and solo music for the guitar. His reputation as the greatest living guitarist became known internationally, so that between 1820 and 1823 he worked in Rome, and from 1823 until his death in 1829 he was patronised by the royal court of Naples. Even 10 years after his death his fame as a composer and performer was still so widespread that a group of enthusiasts in London founded a guitar periodical in his honour, "The Giulianiad. "

Composer Index
Mauro Guiliani In Vienna, Giuliani's prodigious, talents created a tremendous stir of enthusiasm for the guitar, making him a pivotal figure in guitar history. In his day, he became to the guitar roughly what Liszt or Chopin later represented to the piano. When, in April 1808, Giuliani performed the première of his "Grand Concerto" for guitar and orchestra, Op. 30, the Viennese took him to their hearts, and the press even had to admit that the guitar had more possibilities than mere accompaniment. This première was truly an epochal event, for the work was the world's first guitar concerto. Both the guitar and Giuliani gained instant popularity in Vienna, and a great many guitar publications by this composer and others soon followed. Giuliani now could frequently be heard on concert programmes in the company of famous virtuosos of the day, such as Hummel, Moscheles, and Mayseder. Mauro Guiliani Concerto #3 in F, Op.70 The Concerto in F, Op. 70, was composed in I816 or slightly earlier. Instead of the normal classical guitar, Giuliani chose to write this work for chitarra terzina (terz-guitar), which is pitched three half-steps higher. In order to play the concerto in its original key, the modern guitarist positions a capotasto (movable nut) at the third fret. Giuliani's Third Concerto shows remarkable advancement from his first effort, written eight years earlier. This maturation is easily observed in the opening movement: crisp and varied themes, accomplished orchestration, more advanced harmony, and a mastery of form. Although there are numerous solo passages for the guitar, the cadenzas in this movement are not extensive, lending it greater continuity and finer solo-tutti balance. Mauro Guiliani Quintette in A major op.65 Introduction Thema con variazioni Polonaise M. Guiliani composed a great deal of chamber and solo music for the guitar. His reputation as the greatest living guitarist became known internationally, so that between 1820 and 1823 he worked in Rome, and from 1823 until his death in 1829 he was patronised by the royal court of Naples. Even 10 years after his death his fame as a composer and performer was still so widespread that a group of enthusiasts in London founded a guitar periodical in his honour, "The Giulianiad. "
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