From Quotation to Creation: Giuliani’s Compositional Vision in Rossiniana No. 1

Introduction

The 19th century witnessed the golden age of the classical guitar, marked by the emergence of an incredible repertoire composed of figures such as Fernando Sor, Mauro Giuliani, Dionisio Aguado, and numerous other prolific artists. This era also saw the transformation of the guitar into a romantic instrument, expanding its creative possibilities in terms of range and sonority. Mauro Giuliani, an Italian guitarist, cellist, and composer, stands out as a prominent figure in this period. He composed approximately 220 works for the guitar, including 150 with opus numbers and 70 without. Moreover, Giuliani's musical talents extended beyond the guitar, as he played a significant role as a cellist, notably participating in the premiere of Ludwig van Beethoven's Seventh Symphony. Giuliani's catalogue comprises studies, concertos, solo pieces, methods, and chamber music. Another notable composer of the 19th century was Gioachino Rossini, renowned for his operatic compositions. Rossini's fame was widespread throughout Europe, and his music was well-received by the public. In fact, Giuliani was inspired to create six compositions known as the Rossiniana series in homage to Rossini. This essay will explore how Giuliani utilized the themes provided by Rossini to create something new and coherent by analyzing his compositional approach in Rossiniana No. 1, Op. 119.

Life of Giuliani

Mauro Giuliani was born in Bisceglie, Italy, in 1781 and exhibited a keen interest in both the cello and the guitar from an early age. In 1806, he relocated to Vienna to pursue a career as a performer and composer. His Guitar Concerto, Op.30, premiered in April 1808, receiving a warm reception from the audience. Giuliani's presence in the musical circles of Vienna earned recognition from the likes of Ludwig van Beethoven, who invited him to perform the cello part in the premiere of the Seventh Symphony in 1813. Giuliani's involvement extended further as he was appointed to the court of Empress Marie-Louise, Napoleon's second wife. Afterward, he resided in Rome and later Naples until his passing.[1]Giuliani's virtuosic compositions and performances elevated the guitar to new heights, affirming its potential for solo expression beyond its traditional role as an accompaniment instrument. His fame even led to the creation of the first guitar magazine, "Guilianidad," dedicated to his honour.

The Rebirth of Giuliani

Giuliani's music gradually faded from the spotlight during the 20th century. It was not until Andrés Segovia reintroduced Giuliani's work to the public that his compositions regained prominence. Julian Bream's 1960 performance and recording of the Guitar Concerto, Op. 30, in London, marked a significant step in Giuliani's revival. In 1968, Bream incorporated the Grand Ouverture, Op.61, into his repertoire. By 1975, he was performing Rossini's Rossiniana No. 1, Op. 119, potentially the first time it had been heard since the 19th century.[2] Since this rediscovery, Giuliani's compositions have become essential elements of the classical guitarist's repertoire, with his technique and studies serving as foundational resources for aspiring guitarists.

Rossiniana's History

Giuliani's catalogue includes a series of six pieces titled Rossiniana, reflecting his inspiration drawn from the renowned opera composer Giacomo Rossini, infused with his creative genius. These compositions follow a style reminiscent of fantasia or medley. The first Rossiniana was published in 1821 by Atria in Vienna, with subsequent pieces published in 1822 and 1823. The final installment appeared around 1827-1828.

Thomas Heck notes that "from a formal and procedural standpoint, Giuliani's Rossiniana is not groundbreaking but rather aligns with numerous operatic fantasies composed for piano and other instruments throughout the 19th century" [3]. However, within the realm of classical guitar, the Rossiniana series stands as a unique contribution to the period. To my knowledge, the Rossiniana's are the first major potpourri of this magnitude, with only Fernando Sor's Themes and Variations, Op. 9, published in 1821, being a close second.

Themes used in the Rossiniana no.1 op.119

Rossiniana No.1, Op. 119

We will explore Rossini's No. 1, Op. 119, examining its technique, compositional approach, and influence. The piece incorporates themes from various Rossini operas:

-  Introduction (Andantino): Otello, Act III, Scene e Romanza: "Assisa a piè d’un salice"

(Desdemona)

-  Andante grazioso: L’Italiana in Algeri, Act I, Scene 3, Cavatina: "Languir per una bella" (Lindoro)

-  Maestoso: L’Italiana in Algeri, Act I, Scene 5, Duetto: "Ai capricci della sorte" (Isabella, Taddeo)

-  Moderato: L’Italiana in Algeri, Act II, Rondo: "Pensa alla patria – Caro, caro ti parlo in petto" (Isabella)

-  Allegro Vivace: Armida, Act I, Duetto: "Amor! Possente nome – Cara! per te quest’anima" (Armida, Rinaldo) [4]

Giuliani cleverly weaves these themes into his composition, adding his own creative touches.

Introduction (Otello, Act III, Scene e Romanza: "Assisa a piè d’un salice")

Figure 1 Giuliani Rossininana no.1 Introduction

Giuliani wrote the first section of the introduction, which leads beautifully into this Rossini melody. Giuliani changed the key from G minor to E minor, which makes it more comfortable for the guitar to play. The melody is accompanied by the arpeggiation of chords, which, in contrast, in the opera, is played on the harp. He took a small section of Rossini Aria and exploited the material in a guitaristic fashion.

Giuliani demarks the variation by adding a double bar, followed by the central theme but with a more virtuosic accompaniment. He uses the same idea again but with even more movement from the accompaniment. We can see that he asks for the upper voice to be well-marked. However, Rossini's direction is quite the opposite (while being challenging for the voice in terms of control and ornamentation) compared to Giuliani's virtuosic approach and livelier take. The guitarist's creativity brings a new perspective to this well-known theme.

To summarize this first use of Rossini's themes, he presents the main idea in its basic form. He then proceeds to variate the accompaniment by adding textural density created by rhythmic augmentation. Furthermore, we can clearly distinguish the turning point of this section from Giuliani's transition to the other theme.

Figure 2 Giuliani Rossiniana op. 119 Introduction turning point leading onto the next section

While maintaining the same virtuosic ideas, he leads the listener to the dominant of the following key, which is C major. 

This analysis demonstrates one way Giuliani can elaborate on the main idea and connect it to another by using Rossini's music as a template, offering variations, adding textural density, and composing transitional material that connects eloquently to the next theme. 

Andante Grazioso (L'Italiana in Algeri, Act I, Scene 3, Cavatina: "Languir per una bella")

At first glance, we can notice the change of key. Giuliani decided to compose in the key of C major rather than Eb major for simplicity reasons. Since the guitarist was familiar with the instrument, he chose to emphasize the essentials, resulting in a melody, harmony, and bass. Giuliani had to change the melody since the vocal parts are heavily ornamented and added a short cadenza, which is not found in the original opera. However, it fits the operatic style of writing of the time and gives Giuliani the chance to add his expressive touch.

Figure 3 Giuliani , Rossiniana no.1 ,Andante Grozioso

He proceeds by developing the theme by increasing rhythmic activity. Giuliani opted for another direction than merely recreating Rossini. We can still hear the quota>on, and the informed listener can still associate the opera with the Rossiniana.

Figure 4 Giuliani, Rossiniana no.1 Giuliani, Andante Grazioso , development

He continues the development of this section by varying the theme with implied polyphony inside the arpeggio, with the top note not of the arpeggio. On the other hand, we can observe the use of chromaticism, which is not typically found in the opera. Giuliani's creative inputs are strategically placed to enhance the main idea without hindering it.

Figure 5 Giuliani, Rossiniana no.1 , Giuliani, Andante Grazioso, variation

Giuliani opted to transition in a similar fashion found in the introduction. In the fast arpeggios, set the key for the next section by modulating briefly to the key of D minor. It is unclear where he will lead us next, according to the listener's interpretation, as the theme takes a darker turn than it had before. He proceeds by repeating the E dominant chord, which would be the V chord in the key of A, through various acrobatic stunts familiar in Giuliani's writing. However, it is still unclear to the listener if we are going on the major or minor mode of the ambiguity of the emotion displayed in this transition, which

makes it exciting for the listener.

Maestoso (L’Italiana in Algeri, Act I, Scene 5, DueHo: "Ai capricci della sorte")

Figure 6 Giuliani, Rossiniana no.1 , Maestoso

We can see the key signature change that went from G major to A major. This opera section is in a duo, so Giuliani brilliantly harmonizes in thirds for the two voices. Contrary to the other uses of the themes, he chose a specific section to quote Rossini, which demonstrates that his choices were thoughtful in achieving a coherent narrative. With the distinctive rhythm and melody of this duet, Giuliani clearly states its origin. The contrast between the previous sections highlights another direction in the piece, particularly through the musical texture and rhythm employed. As the listener, we can sense that he is bringing us somewhere. He manages to stay faithful to Rossini for most of this section. However, Giuliani chose the most memorable parts of this Duetto, found in L'Italiana in Algeri. He organized the whole coherently to clarify where he took this theme. Initially, the Duetto lasts over seven minutes, and Giuliani quotes this piece for approximately one minute and thirty seconds. To represent the theme cohesively, he had to choose wisely what to select from the opera, keeping coherence in mind. 

To transition out of this section, he employs a dominant pedal to move us to the new key of D major. By the indication, to conclude this section, he opted to lower the intensity previously displayed by a descending pattern. This transition brings us to a calmer atmosphere, shown in the continuation of this piece.

Moderato (L'Italiana in Algeri, Act II, Rondo: "Pensa alla patria – Caro, caro C parlour in peHo")

Figure 7 Giuliani, Rossiniana no.1 , Moderato

Giuliani opted for the D major instead of E major. From observation, he changed the key to keep tonalitic coherence. Having started in E minor, A minor, C major, A major and now to the key of D major. D major can easily transition to G major, which would be the initial key signature of one sharp, assuming he is bringing us there. 

Giuliani adapted this theme with the Alberti bass in the accompaniment. In the opera, Rossini opted for an accompaniment that alternates between thirds and sixths. At the piu mosso, we can see it starts mostly by being in two voices. At the forte, we see chords that represent the choir section found in this opera sec>on in L'Italiana in Algeri, Act II, Rondo: "Pensa alla patria – Caro, caro ti parlo in petto." The ingenuity in Giuliani's writing demonstrates his intention to remain faithful to the opera while incorporating his creative input effectively. 

To conclude this section, he proceeds to develop the virtuosic style found throughout this piece, bringing us to the final section.

Allegro Vivace (Armida, Act I, DueHo: "Amor! Possente nome – Cara! per te quest’anima")

Figure 8 Giuliani, Rossiniana no.1, Allegro Vivace

Starting in a relatively simple way to showcase the theme allows him to build off and finish robustly. This whole section intends to climax in the most virtuosic form that Giuliani can display. We can see him reiterate those virtuosic techniques found throughout the piece in their most complex configuration. The last page clearly represents this objective.

Figure 9 Giuliani, Rossiniana no.1, Allegro Vivace, last page

We see that Giuliani goes all in virtuosity on this last page. The use of arpeggios, fast scales, and octave runs is scattered throughout this piece to develop simple ideas. We can find all those virtuosic techniques inside this finale in their most complex form. However, the purpose of the virtuosity in the finale differs from that utilized throughout this piece. The virtuosic technique inside the piece served as a developmental tool to pave the way for something else. In the finale, through observation, the purpose of virtuosity becomes apparent as it concludes the piece in a memorable way for the listener. As a listener, I tend to remember the final section of a piece more than the developmental part. This previous section builds up brilliantly to catch the listener's attention one last time, finishing convincingly.

The creative genius of Giuliani

From this analysis, I do not consider the Rossiniana's as transcriptions since Giuliani still had much work to do in connecting the themes, choosing the direction he wanted to take, determining the order of the themes, ensuring the coherence of the text, and incorporating his music into the mix. We can devise the piece by its themes, but that approach makes it sequential and less connected. On the other hand, if we can observe the piece as being in constant evolution, one extensive musical work, we can have a better understanding of the music as being Giuliani's music with Rossini's quotation.

As we discussed in class, we can see that Giuliani's approach is less melody-oriented. However, in the approach of the Rossiniana, we can see his lyricism glow.

The context in which those pieces were written was an optimal structure to introduce the classical guitar to a new public as a concert instrument rather than an accompanying instrument.

Rossiniana's place in the classical guitar repertoire

To conclude, Giuliani's compositional work is even more critical than the themed use to display his creativity and virtuosity as a composer. He should view the themes like a composer would view a basic musical formula to expand upon rather than merely recreating Rossini.

The Rossiniana's part in the classical guitar repertoire can be beneficial for composers to study how to connect contras>ng sections, develop principal ideas and stay coherent for an extended musical work. For the performer, this piece is challenging due to its virtuosic requirements, the memory needed, and the stamina required. However, having a better understanding of the work will make the performance easier, which will benefit the music of Giuliani and other composers of this era.  

Bibliography

Bampenyou, Ra-anai. "University of Miami." 27 11 2012. scholarship.miami.edu.

<h-ps://scholarship.miami.edu/esploro/outputs/doctoral/A-Performance-Guide-to-theMulG-Movement/991031447102902976>.

Graham Wade, Dr. Brian Jeffrey,Dr Thomas F. Heck’s. Naxos. n.d.

<h-ps://www.naxos.com/MainSite/BlurbsReviews/?itemcode=8.574272&catnum=5742 72&filetype=AboutThisRecording&language=English>.

Heck, Thomas. "Mauro Giuliani Virtuoso Guitarist and Composer." Heck, Thomas. Mauro Giuliani Virtuoso Guitarist and Composer. Colombus: EdiGons Orphee, 1995. 189. "IMLSP." n.d. ILMSP. 29 October 2023.

[1] Brian Jeffery, “Mauro Giuliani (1781–1829): Life and Music,” Tecla Editions, accessed May 28, 2025, https://tecla.com/mauro-giuliani/mauro-giuliani-1781-1829-life-music/.

[2] Wade, Graham. “Classical Music: Naxos - About This Recording - Mauro Giuliani - Le

Rossiniane.” hBps://www.naxos.com/MainSite/BlurbsReviews/?itemcode=8.574272&catnum=574272&filetype=Ab outThisRecording&language=English/. Accessed 29 Oct. 2023. 

[3] Heck, Thomas F. “Page 189.” Mauro Giuliani: Virtuoso Guitarist and Composer, Ed. Orphée, Columbus, OH, 1997. 

[4] Wade, Graham. “Classical Music: Naxos - About This Recording - Mauro Giuliani - Le Rossiniane.” https://www.naxos.com/MainSite/BlurbsReviews/?itemcode=8.574272&catn um=574272&filetype=AboutThisRecording&language=English/. Accessed 29 Oct. 2023.