The work was published by the “Imprimerie Chimique” in July 1808. To claim this capability for the guitar was almost unprecedented yet, Giuliani managed to show, clearly and unmistakably, that the guitar could do this in an artistically complete fashion. It could also sustain the complex narrative of the Sonata form: based on the opposition of contrasting themes, this genre requires (from both the instrument and its player) the ability to characterize efficaciously some markedly different musical profiles. The guitar could no more be considered as an instrument on which serenades and accompaniments had to be played, but rather as a complete instrument, capable of interpreting the most lyrical tunes and the most effective virtuoso passages. But, even more importantly, he also claimed for his instrument a standing on the same footing as the piano or the violin. By issuing this masterpiece, Giuliani publicly demonstrated his value as a “serious” composer, rooted in the classical tradition, as well as his innovative skill and technique as a guitar player. It is not an overstatement to say that this publication proved to be revolutionary both for Giuliani himself and for the world of the guitar.
15 very soon after his arrival in Vienna from Italy, in 1808. The three composers recorded here are among the best-known musicians who wrote for the guitar, and they represent three distinct viewpoints on the instrument, on its capabilities and on its resources.
#Worth of goya classical guitar full#
This Da Vinci Classics album offers a complex and multifaceted perspective on the potential of the guitar as a solo instrument, displaying its full palette ranging from virtuosity to expressivity, from compelling storytelling to the clean lines of classical forms.
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