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Ariette, Lieder & Cavatine
Mauro Giuliani

Felix Rienth | Aliéksey Vianna

Ariette, Lieder & Cavatine

Price: € 16.95
Format: CD
Label: Vanitas
UPC: 8436556732850
Catnr: VA 14
Release date: 04 September 2020
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Label
Vanitas
UPC
8436556732850
Catalogue number
VA 14
Release date
04 September 2020
Album
Artist(s)
Composer(s)
EN
DE

About the album

Mauro Giuliani was known throughout the music world as the “Mozart of the guitar”. After completing his studies in his home town in Italy, he lived for a long time in Vienna, where he worked as a successful guitarist, composer and teacher. Not only did he write over 100 works there, he was also a master cellist. It is said that in 1813 Giuliani was one of the cellists at the first performance of Beethoven’s Seventh Symphony, conducted by the composer himself. Other artists contributing to this performance were luminaries such as Giacomo Meyerbeer, Johann Nepomuk Hummel, and Antonio Salieri. Being a highly revered artist in Vienna, Giuliani soon befriended Beethoven, as well as violin virtuosos Louis Spohr and Anton Diabelli. As one of the most brilliant guitar virtuosos of his time, Giuliani’s performances in Vienna and his concert tours throughout Europe were celebrated by the press and his audiences. The regular concerts held in the Viennese Redoute-Hall, for example those with Louis Spohr, were received with boundless enthusiasm. As the official concert soloist, Mauro Giuliani was also invited to play at the famous Viennese Congress. His guitar compositions were published by the most renowned music publishers in Vienna, some of them also as piano versions. One of his many students and admirers was Empress Marie-Louise of Austria, second wife of Napoleon. At the height of Giuliani’s career, she bestowed on him the title of “chamber virtuoso”. His work was also highly respected and admired by Beethoven and Carl Maria von Weber. In 1819, Giuliani left Vienna for Venice and then Rome, apparently for personal and financial reasons. During his stay in Rome he developed a close friendship with the violin virtuoso Paganini and the composer Gioachino Rossini, with whom he regularly performed as a chamber musician. In 1823 he moved to Naples, where he died aged just 47 after a long illness. He was not able to fulfil his wish to return to Vienna. When in 1833 the world’s first guitar magazine was published, it was named in his honour “The Giulianiad or Guitarist’s magazine”.

The vocal works recorded on this recording testify to Giuliani’s preference for Italian songs. Especially in the Sei Ariette or “Little Arias”, a more modest form of the opera aria, the resemblance to the Italian bel canto aria is unmistakable. The selection presented here, published in 1818 in Vienna, is dedicated to the Empress Marie-Louise. The texts were all written by Pietro Metastasio, the undoubtedly most important opera librettist of his time.

In contrast to this, Giuliani’s Sechs Lieder, or “Six Songs”, with their German texts by Goethe, Schiller, Matthisson and others, are clearly more similar to Franz Schubert’s Lieder, or “Songs”. Giuliani also met Schubert during his time in Vienna. Published in 1817 in Vienna, these songs bear witness to the birth of the Viennese Biedermeier period, and have a great impact from a harmonic and melodic standpoint.

Finally, the Sei Cavatine consist of six Italian arias, in which Giuliani contrasts skilfully brilliant pieces with sensitive melancholic ones, and this in a clearly opera-like format. At times, in the style of Rossini, the guitar replaces a virtual orchestra. Whilst Giuliani prefers the extroverted Italian style for the voice, the guitar is mostly the supporting accompaniment, with chords played in arpeggio. The exception to this rule might perhaps be songs 3 and 5, where the highest level of virtuosity is demanded of the instrument. This collection of songs was first published in 1813 by Artaria in Vienna, simultaneously as a piano version. It is dedicated to Count Francesco de Pálffy, one of Giuliani’s student and benefactors, who often invited him to play as a soloist at his palace concerts in Vienna.
Mauro Giuliani, den die Musikwelt den „Mozart der Gitarre“ nannte, hatte sich nach Studien in seiner italienischen Heimat lange Zeit in Wien niedergelassen, wo er erfolgreich als Gitarrist, Komponist und Lehrer amtete. Nicht nur hat er dort über 100 Werke geschrieben, er beherrschte auch hervorragend das Cello- Spiel. So ist überliefert, dass Giuliani 1813 in der Uraufführung von Beethovens Siebenter Sinfonie unter Leitung des Komponisten mitwirkte. In dieser Aufführung spielten überdies auch solche Persönlichkeiten wie Giacomo Meyerbeer, Johann Nepomuk Hummel und Antonio Salieri. In Wien hochgeschätzt, freundete er sich bald mit den erwähnten Komponisten an, sowie mit dem Geigenvirtuosen Louis Spohr und Anton Diabelli.
Als einer der glanzvollsten Gitarren-Virtuosen seiner Zeit wurden Giulianis Solo-Auftritte in Wien und seine Konzertreisen in ganz Europa von Presse und Publikum umjubelt. Die regelmässig im Wiener Redouten-Saal veranstalteten Konzerte, zusammen mit Louis Spohr beispielsweise, wurden mit überschlagender Begeisterung aufgenommen. Als offizieller Konzertsolist durfte Mauro Giuliani auch am berühmten Wiener Kongress spielen.
Ebenso erfolgreich wurden seine Gitarren- Kompositionen von den renommiertesten Musik-Verlage Wiens herausgegeben, teils auch in Klavierfassung. Zu seinen zahlreichen Schülern und Bewunderern zählte zudem die Kaiserin Marie- Louise von Oesterreich, die zweite Frau von Napoleon, die ihm auf dem Höhepunkt seines Wirkens den Titel „Kammervirtuosen“ verlieh. Ebenso fand sein Schaffen bei Beethoven und Carl Maria von Weber grösste Anerkennung und Bewunderung. Nach seinem Weggang 1819 aus Wien (offenbar aus persönlichen und finanziellen Gründen) ging er zunächst nach Venedig, dann nach Rom. Während seiner Römer Zeit unterhielt er eine tiefe Freundschaft mit dem Geigenvirtuosen Paganini und dem Komponisten Gioachino Rossini, mit denen er auch regelmässig als Kammermusiker auftrat.
1823 schliesslich erfolgte sein Umzug nach Neapel, wo er 1829, erst 47-jährig, nach längerer Krankheit starb. Seinen Wunsch, nach Wien zurückzukehren erfüllte sich nicht mehr. 1833 erschien in London die weltweit erste Gitarren- Fachzeitschrift, mit dem Titel „The Giulianiad or Guitarist’s magazine“, die ihm zu Ehren seinen Namen trägt.

Die auf dieser CD eingespielten vokalen Werke, ARIETTE, CAVATINE & LIEDER, bezeugen Giulianis Vorliebe für die italienische Gesangskunst. Besonders in den Sei Ariette, (kleine Arien) eine bescheidenere Form der Opernarie, ist die Nähe zur italienischen Belcanto-Arie unverkennbar. Die hier vorliegende Sammlung wurde 1818 in Wien verlegt und ist der Kaiserin Marie- Louise gewidmet. Die Texte stammen allesamt von Pietro Metastasio, dem zweifellos wichtigsten Opernlibrettisten seiner Zeit.
Im Gegensatz dazu stehen seine Sechs Lieder , mit den deutschen Texten von Goethe, Schiller Matthisson u.a. Franz Schuberts Lieder, den er während seiner Wiener Jahre auch kennengelernt hatte, eindeutig näher. 1817 in Wien herausgegeben, sind sie ein Zeugnis des beginnenden Wiener Biedermeier, die vom harmonischen wie auch melodischen Standpunkt her ihre Wirkung nicht verfehlen.
Die Sei Cavatine schliesslich umfassen wiederum sechs italienische Arien, in denen er geschickt brillante mit zarten und melancholischen Stücken abwechselt, in klar opernhafter Form. Die Gitarre ersetzt bisweilen ein veritables Orchester, ganz im Stile Rossinis. Während er beim Gesang den extrovertierten italienischen Stil bevorzugt, fungiert die Gitarre meist als unterstützende Begleitung, mit im Arpeggio gespielten Akkorden. Als Ausnahme von der Regel mögen vielleicht die Lieder No. 3 und 5 stehen, wo höchste Virtuosität vom Instrument abverlangt wird.
Die im Jahre 1813 publizierte Lieder-Sammlung erschien bei Artaria in Wien, gleichzeitig auch in einer Klavierfassung . Sie ist dem “Sig. Conte Francesco de Pálffy“ gewidmet, einem seiner Schüler und Förderer, der Giuliani häufig als Solisten zu den Schlosskonzerten nach Schönbrunn einlud.

Artist(s)

Felix Rienth (tenor)

The Swiss tenor with Spanish mother performed at major festivals, like Ambronay, Paris, Ghent, Lisbon, Granada and recorded about 20 CDs, to mention specially spanish baroque songs Tonos humanos by José Marín, considered as a 'reference recording' by german magazine 'Klassik heute'. He has sung as a soloist the grand oratorios all over Europe: Requiem by Mozart with the Mozarteum Orchestra in Salzburg, Masses by Schubert with the Suisse Romande Orchestra, Lobgesang by Mendelssohn at Kölner Philharmonie, Elias in Lisbon as well as St. John's Passion by Bach in Holland and Austria with the 'Orchestra of the 18th century', conducted by Frans Brüggen.  
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The Swiss tenor with Spanish mother performed at major festivals, like Ambronay, Paris, Ghent, Lisbon, Granada and recorded about 20 CDs, to mention specially spanish baroque songs Tonos humanos by José Marín, considered as a "reference recording" by german magazine "Klassik heute". He has sung as a soloist the grand oratorios all over Europe: Requiem by Mozart with the Mozarteum Orchestra in Salzburg, Masses by Schubert with the Suisse Romande Orchestra, Lobgesang by Mendelssohn at Kölner Philharmonie, Elias in Lisbon as well as St. John's Passion by Bach in Holland and Austria with the "Orchestra of the 18th century", conducted by Frans Brüggen.

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Composer(s)

Mauro Giuliani

Although born in Bisceglie, Giuliani's center of study was in Barletta where he moved with his brother Nicola in the first years of his life. His first instrumental training was on the cello—an instrument which he never completely abandoned—and he probably also studied the violin. Subsequently, he devoted himself to the guitar, becoming a very skilled performer on it in a short time.  In Vienna he became acquainted with the classical instrumental style. In 1807 Giuliani began to publish compositions in the classical style. His concert tours took him all over Europe. Everywhere he went he was acclaimed for his virtuosity and musical taste. He achieved great success and became a musical celebrity, equal to the best of the many instrumentalists...
more
Although born in Bisceglie, Giuliani's center of study was in Barletta where he moved with his brother Nicola in the first years of his life. His first instrumental training was on the cello—an instrument which he never completely abandoned—and he probably also studied the violin. Subsequently, he devoted himself to the guitar, becoming a very skilled performer on it in a short time. In Vienna he became acquainted with the classical instrumental style. In 1807 Giuliani began to publish compositions in the classical style. His concert tours took him all over Europe. Everywhere he went he was acclaimed for his virtuosity and musical taste. He achieved great success and became a musical celebrity, equal to the best of the many instrumentalists and composers who were active in the Austrian capital city at the beginning of the 19th century.
Giuliani defined a new role for the guitar in the context of European music. He was acquainted with the highest figures of Austrian society and with notable composers such as Rossini and Beethoven, and cooperated with the best active concert musicians in Vienna. In 1815 he appeared with Johann Nepomuk Hummel (followed later by Ignaz Moscheles), the violinist Joseph Mayseder and the cellist Joseph Merk, in a series of chamber concerts in the botanical gardens of Schönbrunn Palace, concerts that were called the "Dukaten Concerte", after the price of the ticket, which was a ducat. This exposure gave Giuliani prominence in the musical environment of the city. Also in 1815, he was the official concert artist for the celebrations of the Congress in Vienna. Two years earlier, on 8 December 1813, he had played (probably cello) in an orchestra for the first performance of Beethoven's Seventh Symphony.
In Vienna, Giuliani had minor success as a composer. He worked mostly with the publisher Artaria, who published many of his works for guitar, but he had dealings with all the other local publishers, who spread his compositions all over Europe. He developed a teaching career here as well; among his numerous students were Bobrowicz and Horetzky.
In 1819 Giuliani left Vienna, mainly for financial reasons: he expected to make financial profit on a concert tour through Bohemia and Bavaria. He returned to Italy, spending time in Trieste and Venice, and finally settled in Rome, where he did not have much success; he published a few compositions and gave only one concert.
In July 1823 he began a series of frequent trips to Naples to be with his father, who was seriously ill. In the Bourbon city of Naples Giuliani would find a better reception to his guitar artistry, and there he was able to publish other works for guitar with local publishers. He eventually died in Naples on 8 May 1829. The news of his death created a great stir in the Neapolitan musical environment.

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Press

Play album Play album
01.
op. 95: Nº 1 Ombre amene: Aria
02:18
(Mauro Giuliani) Felix Rienth, Aliéksey Vianna, Felix Rienth
02.
op. 95: Nº 2 Fra tutte le pene: Aria
02:02
(Mauro Giuliani) Felix Rienth, Aliéksey Vianna, Felix Rienth
03.
op. 95: Nº 3 Quando sarà quel di: Aria
01:59
(Mauro Giuliani) Felix Rienth, Aliéksey Vianna, Felix Rienth
04.
op. 95: Nº 4 Le dimore amor non ama: Aria
03:21
(Mauro Giuliani) Felix Rienth, Aliéksey Vianna, Felix Rienth
05.
op. 95: Nº 5 Ad altro laccio: Aria
02:17
(Mauro Giuliani) Felix Rienth, Aliéksey Vianna, Felix Rienth
06.
op. 95: Nº 6 Di due bell'anime: Aria
02:54
(Mauro Giuliani) Felix Rienth, Aliéksey Vianna, Felix Rienth
07.
op. 89: Nº 1 Abschied: Lieder
02:16
(Mauro Giuliani) Felix Rienth, Aliéksey Vianna, Felix Rienth
08.
op. 89: Nº 2 Lied aus der Ferne: Lieder
03:54
(Mauro Giuliani) Felix Rienth, Aliéksey Vianna, Felix Rienth
09.
op. 89: Nº 3 Abschied: Lieder
04:17
(Mauro Giuliani) Felix Rienth, Aliéksey Vianna, Felix Rienth
10.
op. 89: Nº 4 Lied: Lieder
01:53
(Mauro Giuliani) Felix Rienth, Aliéksey Vianna, Felix Rienth
11.
op. 89: Nº 5 Ständchen: Lieder
02:25
(Mauro Giuliani) Felix Rienth, Aliéksey Vianna, Felix Rienth
12.
op. 89: Nº 6 An das Schicksal: Lieder
02:15
(Mauro Giuliani) Felix Rienth, Aliéksey Vianna, Felix Rienth
13.
op. 39: Nº 1 Par che di giubilo l'alma deliri: Cavatine
01:40
(Mauro Giuliani) Felix Rienth, Aliéksey Vianna, Felix Rienth
14.
op. 39: Nº 2 Confuso, smarrito: Cavatine
01:13
(Mauro Giuliani) Felix Rienth, Aliéksey Vianna, Felix Rienth
15.
op. 39: Nº 3 Alle mie tante lagrime: Cavatine
02:43
(Mauro Giuliani) Felix Rienth, Aliéksey Vianna, Felix Rienth
16.
op. 39: Nº 4 Ah! Non dir che non t'adoro: Cavatine
02:10
(Mauro Giuliani) Felix Rienth, Aliéksey Vianna, Felix Rienth
17.
op. 39: Nº 5 Ch'io sent'amor per femine: Cavatine
02:17
(Mauro Giuliani) Felix Rienth, Aliéksey Vianna, Felix Rienth
18.
op. 39: Nº 6 Già presso al termine: Cavatine
02:42
(Mauro Giuliani) Felix Rienth, Aliéksey Vianna, Felix Rienth
show all tracks

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