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Booklet 2527-07.Ps, Page 1-16 @ Normalize COMPLETE 32 bit recording Giulio Tampalini, chitarra Mauro GIULIANI Rossiniane opp. 119-124 Variazioni op. 45 e 107, Grand Ouverture op.61 Mauro Giuliani (1781-1829) CD 1 [1] Rossiniana n. 1 op. 119 [15:19] T.T.: 62:37 Introduzione – Andantino, [Tema] (Otello, atto III – Desdemona, scena I: “Assisa a piè d’un salice”), [Variazione I], [Variazione II], Andante grazioso (L’Italiana in Algeri, atto I – Lindoro, scena III: “Languir per una bella”), [Variazione] Più mosso, Maestoso (L’Italiana in Algeri, atto I – Duetto Taddeo e Isabella, scena V: “Ai capricci della sorte”), Moderato (L’Italiana in Algeri, atto II – Isabella a Lindoro, scena I: “Pensa alla patria”), Più mosso, Tempo I, Allegro vivace (Armida, atto I – Rinaldo ad Armida, scena VII: “Cara per te quest’anima”). [2] Rossiniana n. 2 op. 120 [14:03] Introduzione - Sostenuto, Andantino sostenuto (Otello, atto III - Desdemona, scena II: “Deh calma ciel”), [Variazione] Più mosso, Allegretto innocente (Pietro Generali, I Baccanali di Roma: “Nume perdonami”), Più mosso, Maestoso (La Cenerentola, atto II – Cenerentola, scena ultima: “Non più mesta”), Variazione, Moderato (La Gazza ladra, atto I – Ninetta, scena II: “Di piacer mi balza il cor”), Allegretto (La Cenerentola, atto I – Orchestra nella cavatina di Don Magnifico, scena II: “Miei rampolli femminini”), Più mosso. [3] Rossiniana n. 3 op. 121 [18:06] Introduzione – Maestoso sostenuto, Andantino (La Donna del Lago, atto I – Elena, scena II: “Oh mattutini albori!”), Variazione, Allegro vivace, Thema (Il Turco in Italia, atto III – Quintetto Fiorilla, Zaida, Narciso, Selim, Geronimo, III quadro: “Questo vecchio maledetto”), Variazione, Più lento, [Tema] (non identificato), Allegro (Zelmira, atto I – Antenore, scena I: “Sorte seconda mi!”), Variazione, Maestoso (Ricciardo e Zoraide, atto I – scena I: Marcia), Variazione I, Variazione II. [4] Rossiniana n. 4 op. 122 [15:09] Sostenuto, Allegro maestoso, Andante (La Gazza ladra, atto II – Duetto Ninetta e Giannetto: “Forse un dì conoscerete”), [Tema - frammento] (La Gazza ladra, atto II – Duetto Ninetta e Pippo: “E ben, per mia memoria”), Allegro spiritoso, Allegro maestoso (Mosè in Egitto, atto I – Osiride, Elcia: “Ah se puoi così lasciarmi), Variazione I, Variazione II, Maestoso (Matilde di Shabram, Sinfonia e Finale I), Più mosso. Rossiniane CD 2 [1] Rossiniana n. 5 op. 123 [13:34] T.T.: 47:47 Allegro con brio, Maestoso (Il Barbiere di Siviglia, atto I – Finale), Variazione, Andantino mosso (Tancredi, atto I – Amenaide, Cavatina: “Come dolce all’alma mia”), [Tema] (Il Barbiere di Siviglia, atto I – Rosina, Cavatina: “Una voce poco fa”), Andante sostenuto (La Cenerentola, atto II – Sestetto Clorinda, Tisbe, Cenerentola, don Ramiro, Dandini, don Magnifico: “Siete voi?”), Allegro (La Gazza ladra, atto I – Introduzione), Maestoso, Allegro (Il Barbiere di Siviglia, atto II – Terzetto Rosina, Conte, Figaro: “Ah! qual colpo”) [2] Rossiniana n. 6 op. 124 [12:33] Maestoso - GIULIANI, Larghetto - ROSSINI (Semiramide, Finale I – Semiramide: “Qual mesto gemito”), Variazione I - GIULIANI, Variazione II, Maestoso - ROSSINI (La Donna del Lago, atto I – Malcom, Cavatina: “Elena! Oh tu che chiamo!”), GIULIANI, Allegro Brillante - ROSSINI (L’assedio di Corinto, atto III – Scena e aria di Jero “Nube di sangue intrisa”), GIULIANI. [3] Grande Ouverture op. 61 [08:00] Thema – Andantino, Variazione I, Variazione II, Variazione III, Variazione IV, Variazione V – Un poco più adagio, Variazione VI – Allegro vivace [4] Variations sur les folies d’Espagne op. 45 [04:55] Tema – Andantino, Variazione 1, Variazione 2, Variazione 3, Variazione 4, Variazione 5 – Minore sostenuto, Variazione 6, Finale [5] Variations sur un thême de G. F. Haendel op.107 [08:45] Andante sostenuto, Allegro maestoso *Tra parentesi quadra le indicazioni aggiunte dal revisore * [editor’s note] Mauro Giuliani “Il signor Mauro Giuliani, virtuoso onorario di camera di S.M. la Principessa Imperiale Maria Luisa Arciduchessa d'Austria, proveniente da Vienna e diretto a Parigi, trovasi di passaggio in questa città. Egli è celebre per aver scritto 117 opere istrumentali e perchè a niuno è secondo nel suonare la chitarra”. Così uno dei periodici ufficiali del Vaticano salutò l’apparizione di Giuliani in città nell’aprile del 1820. Era un compositore già affermato, quello che transitava per la città Il eterna, non ancora capitale del Regno (L’Italia unita sarebbe arrivata cinquantunanni dopo, con i suoi bersaglieri e le sue questioni mai del tutto risolte). Nato a Bisceglie, in Puglia, nel 1781, ed “emigrato” ben presto nella capitale dell’Impero Austroungarico in una delle sue stagioni di maggior splendore, colui che fu definito l’ “Orfeo di Puglia” giungeva a Roma tutto sommato carico di gloria. Non si era ancora spenta l’ eco dei suoi trionfi viennesi come virtuoso, compositore e didatta di quello strumento, la chitarra, che proprio lui soprattutto contribuì a “sdoganare” da un destino oscuro, o comunque minore, dando inzio anzi alla sua breve ma intensa fortuna. Una fortuna certo sui generis, di andamento vagamente carsico, se è vero che, dopo la grande popolarità di cui aveva goduto la chitarra barocca e dopo questo primo, grande successo di quella “classica” o moderna, l’importanza e la presenza di questo strumento tenderanno di nuovo quasi a scomparire nella seconda metà dell’Ottocento - impari, forse, a reggere il confronto con il pianoforte da un lato e con il prevalere del sinfonismo dall’altro. Ma la revanche - e che rivincita! - sarà solo rimandata di un secolo circa: la chitarra “classica” diventerà infatti, con Segovia prima e la musica leggera subito dopo, lo strumento di gran lunga più popolare. É comunque indubbio che, in questi primi cinquantanni dell’Ottocento, la chitarra parli per lo più italiano: con Boccherini, che completa i suoi celeberrimi Quintetti per quartetto d’archi e chitarra proprio allo scadere del Settecento; con il napoletano Ferdinando Carulli (1770- 1841) che, a Parigi (dove condivide però la gloria con lo spagnolo Fernando Sor) riveste un po’ il ruolo del Nostro a Vienna; e con quella schiera di concertisti, forse poco noti ai non addetti ai lavori, che rispondono ai nomi di Francesco Molino, Luigi Legnani, Matteo Carcassi. Abbiamo taciuto, di proposito, il nome di Paganini, che pur è autore di un notevole corpus di composizioni per chitarra, perchè questa figura si intreccerà fra poco a quella di Giuliani; intreccio che è quasi un bisticcio se si pensa a quante volte il compositore di Bisceglie è stato definito il Paganini della chitarra. A Vienna Giuliani, oltre ad incantare il pubblico con i suoi Concerti (ricordiamo qui almeno la prima esecuzione del suo Concerto per chitarra e orchestra op.30 dell’aprile del 1808, che fu il primo concerto al mondo che vide la chitarra strumento protagonista e dialogante con un’orchestra), grazie sia al suo talento prodigioso che all’eccellenza della sua indole, strinse amicizia con alcuni protagonisti del suo tempo: tra la nobiltà, la stessa Maria Luisa Arciduchessa d'Austria, e almeno un Hohenzoller e un Waldstein; tra i musicisti, per rimanere ai più celebri: Hummel, Moscheles, e “naturalmente” il sommo Beethoven. Qualità di temperamento musicale ed umano che favoriranno, anche durante la breve parentesi romana, il fiorire di due altre amicizie, ugualmente se non addirittura più feconde: quelle con Rossini e, appunto, con Nicolò Paganini. In una parola, con due vere e proprie star - per usare il linguaggio di oggi - del panorama musicale europeo di quel tempo. La Rossinimania spopolava infatti per tutta Europa, di Paganini la folta anedottica è giunta sino ai nostri giorni. Giuliani intuì magistralmente che proprio questo strumento, che intorno al 1800 aveva assunto la fisionomia che ha poi sostanzialmente mantenuto sino ad oggi (semplificando: a sei corde semplici, con una cassa armonica più grande rispetto alla sua antenata barocca), potesse risultare un mezzo efficacissimo per riprodurre, in ambito privato, le Arie rossiniane più di moda, fondendo insieme la cantabilità propria della lirica con il linguaggio peculiare dello strumento. Ed è proprio a questa intuizione che si deve il successo, che non conosce tramonto, delle Rossiniane, ormai un classico della chitarra. Alla conoscenza più intima con questo capolavoro, come degli altri brani incisi, ci guiderà, com’è giusto, direttamente uno dei suoi più giovani interpreti: Giulio Tampalini. Ci congediamo perciò da Giuliani, la cui vicenda umana termina a Napoli nel mese di maggio del 1829. L’annuncio della sua scomparsa - e così concludiamo queste note con l’eco di un altro giornale dell’epoca , quello del Regno delle due Sicilie - fu riportata con queste parole: “La mattina del giorno 8 di questo mese Don Mauro Giuliani famoso chitarrista morì in questa capitale. La chitarra fu trasformata nelle sue mani in un'arpa che molciva i cuori degli uomini.” Ottone Maria Bosisio L’interpretazione della musica per chitarra di Mauro Giuliani non può prescindere da quello che rappresenta lo strumento a corde pizzicate nel tessuto musicale e sociale di inizio Ottocento. In un periodo in cui i modelli predominanti sono quelli dell’Opera italiana e della musica polistrumentale per archi e fiati, in attesa che il pianoforte divenga padrone assoluto della scena concertistica, la chitarra si rivolge con attenzione ai riferimenti sopra citati per riprodurli nel limite L’ delle sue possibilità, in chiave fondamentalmente imitativa, attraverso una suggestiva e brillante resa strumentale. Ciò che la chitarra offre all’ascolto
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