Mauro Giuliani

Today’s concept of bel canto is founded primarily on the beautiful melodies of the brilliant virtuoso opera arias of La sonnambula, L’elisir d’amore etc; this recording aims to challenge the listener’s understanding of this term by introducing another, much lesser-known facet: that of chamber bel canto, or bel canto da camera. Ariettas by two Italian 19th-century composers Mauro Giuliani and Girolamo Crescentini are thus included, and while neither of these names are normally counted among the ‘bel canto’ greats, such as the opera-centric Bellini and Donizetti, both composers’ chamber works in fact reveals the “subtlety of the human soul much more deeply,” argue the artists, “than in the brightest operas arias.”

Popular folk songs and dances by an early-Romantic guitar pioneer, performed on a notable instrument from the era.
A series of Brilliant Classics albums has uncovered the beguiling output of Mauro Giuliani (1781-1829) and revealed his importance to a modern audience. Concerto (BC92621), duos (BC93381), songs (BC94479) and arrangements of Rossini, Cimarosa and others demonstrate Giuliani’s verve and versatility in marrying Spanish guitar traditions to the emerging Italian bel canto style.

This album contains songs in French, Italian and German including the “Romances op. 13 and 22”, “Cavatine op.39”, “Lieder op.89” and the first world recording of the “Romance op.151” and the “Ode di Anacreonte op.151bis” as well as one of the “Ariette op.95”.

The composer and musician Giovanni Francesco Giuliani (c.1760-1818) lived and worked in Florence during an immense flourishing of creativity during the late 18th and early 19th centuries; this era witnessed, among other events, the founding of Pietro Nardini’s prestigious music school, premiere performances of important new works, and a choir and new instrumental ensembles, all influenced by the creation of a small state court with close links to Vienna. Within this climate, Giuliani worked as an orchestral and operatic violinist and music teacher, and was known for his instrumental compositions. Not only is this recording of interest because of its focus on a composer whose work is rarely performed, yet who lived within a time of great musical creativity, harp sonatas were rare during Giuliani’s era, and the repertoire heard here is part of just a few examples of this type of work. While the early sonatas tend to feature the standard instrumental sonata form, later pieces often contain prelude or interlude movements of a freer or improvisatory nature. All, however, are similar in their use of the Galant style, with predictable harmonic and tonal structures, chordal accompaniments, and simple, flowing melodies. The repertoire featured in this recording is complemented by the use of an Erard harp from 1818, performed by Lisetta Rossi.