Mauro Giuliani (27 July 1781 – 8 May 1829) stands as one of the most esteemed Italian guitarists, often regarded as one of the greatest guitar virtuosos in history. Born in Bologna, Italy, he was not only a remarkable guitarist but also a talented cellist and a gifted singer and composer.
Giuliani emerged as a leading figure in the world of guitar during the early 19th century, a time when the instrument began to gain recognition as a serious concert medium. His early years were spent in Barletta, where he moved with his brother, Nicola. It was here that Giuliani cultivated his musical talents and laid the foundation for his illustrious career.

Study
In his early life, Mauro Giuliani devoted his musical education primarily to the study of the violin and guitar. However, after a few years of inconsistent instruction, he found himself increasingly drawn to the guitar, which soon became his instrument of choice, demanding his full attention. Giuliani was born with an extraordinary natural talent and aptitude for music, and by his teenage years, he had developed a distinctive playing style that diverged significantly from the prevalent techniques in Italy.
Though his first instrumental training was on the cello—an instrument he never entirely set aside—Giuliani’s comprehensive understanding of the guitar’s capabilities was largely self-taught. The identities of his instructors remain unknown, but his relentless pursuit of musical excellence resulted in a remarkable technique characterized by precision and a powerful, resonant tone. Giuliani transcended the achievements of earlier guitar masters, establishing himself as a pioneer in both practical performance and theoretical comprehension of the instrument. His contributions laid the groundwork for a sophisticated and refined school of guitar playing, while his compositions surpassed those of many of his predecessors, securing his legacy as a musical innovator.
As a young artist, Giuliani garnered considerable attention throughout Italy, and by the age of twenty, he had already earned a reputation as the leading virtuoso of his generation. His talent quickly led him to Paris, where, at eighteen, he published his Op. 8. This early collection featured original themes with variations, where the first seventeen pieces, with few exceptions, are relatively accessible to performers. Notably, Op. 10 is dedicated to Princess Caroline de Kinsley.
Giuliani’s wanderlust took him across Europe, and by late 1807, he settled in Vienna, where he thrived as a virtuoso, composer, and educator. During his time in the city, he offered instruction in guitar-playing to numerous royals and distinguished individuals, further solidifying his status. His later compositions, including the first Potpourris (Op. 18 and Op. 20), showcased greater technical demands and required an in-depth knowledge of the guitar’s fingerboard.
Significant works such as the Second Potpourri, Op. 28—a substantial piece spanning eight pages—and the Grand Sonata Eroica, along with the Third Potpourri, Op. 31, reveal his mastery of the instrument. These compositions not only highlight the guitar’s expressive capabilities but also reflect Giuliani’s own performance preferences, as he frequently featured them in his concerts. Characterized by an arpeggio style reminiscent of later composers like Regondi, these works contain several effective cadenzas, showcasing his innovative approach to composition.
Through his dedication to the guitar and his remarkable artistry, Mauro Giuliani not only made substantial contributions to the instrument’s repertoire but also inspired future generations of musicians, ensuring his place in the pantheon of classical music history. Mauro Giuliani’s illustrious career sees him interacting with the highest echelons of Austrian society and forming connections with notable composers such as Gioachino Rossini and Ludwig van Beethoven. He collaborated with some of the leading concert musicians in Vienna, solidifying his position within the city’s vibrant musical landscape.
In 1815, Giuliani participated in a series of chamber concerts held in the picturesque botanical gardens of Schönbrunn Palace. These performances, known as the “Dukaten Concerts” due to the price of admission being a ducat, featured esteemed artists like Johann Nepomuk Hummel, the violinist Joseph Mayseder, and cellist Joseph Merk. This exposure significantly enhanced Giuliani’s reputation as a prominent figure in Vienna’s musical community. That same year, he was appointed the official concert artist for the celebrations of the Congress of Vienna, further elevating his status.
On December 8, 1813, Giuliani also made his mark in orchestral music, likely performing on the cello in the inaugural performance of Beethoven’s Seventh Symphony. His contributions to music education were equally notable; among his most celebrated pupils were the Polish virtuosi J.N. Bobrowicz and F. Horetzky, as well as the Archduchess of Austria, to whom Giuliani was appointed Chamber Musician. He also taught the Princess Hohenzollern, the Duke of Sermonetta, and Count George of Waldstein.
From 1807 to 1821, the period of Giuliani’s residence in Vienna, German musical journals praised his successful concerts and extraordinary talent, consistently recognizing him as the leading guitar virtuoso of his time. His remarkable skill and powerful execution on the guitar earned him the admiration of fellow musicians, including Beethoven and Louis Spohr, who held him in high esteem.
During his time in Vienna, Giuliani began composing duets for guitar and piano, a venture that contributed to his burgeoning popularity. These compositions were frequently performed in public alongside his esteemed colleagues, which only heightened his acclaim and visibility within the musical community.

Mauro Giuliani: A Prolific Composer
It is truly remarkable to consider that, alongside his numerous public performances, teaching commitments, and concert tours, Mauro Giuliani managed to compose and publish nearly three hundred works. His extensive output includes a practical method for guitar, several concertos, diverse studies, and a variety of quartets, quintets, solos, and songs.
Giuliani’s repertoire is categorized into several main areas:
1. **Concertos for Guitar**
2. **Compositions for Guitar with Orchestral Instruments**
3. **Duets for Two Guitars**
4. **Duets for Guitar and Piano**
5. **Guitar Solos and Studies**
6. **Songs with Guitar Accompaniment**
Among his significant contributions, the Grand Concertos for guitar, accompanied by either a full orchestra or instrumental quartet—specifically, Op. 30, Op. 36, Op. 70, and Op. 103—stand out as masterpieces in the guitar repertoire. These works, published by prominent music houses such as Artaria and Diabelli in Vienna and Johanning in London, are unmatched in their scope and musicality.
Notably, the Concerto Op. 36 for terz guitar and orchestra, published by Diabelli in Vienna and Richault in Paris, has the honor of having been transcribed for piano by the renowned composer Johann Nepomuk Hummel. The Third Concerto, Op. 70, dedicated to Baron de Ghill’any and published by subscription in 1833, received high praise from influential figures like Czerny and Hummel in “The Giulianiad,” highlighting the widespread acclaim for Giuliani’s work.
Giuliani also adeptly transcribed selections from his concertos for two guitars. For instance, he created duos for the polonaise and rondo from Op. 30 and Op. 70. His Op. 103 is a Concerto for terz guitar accompanied by a string quartet, further showcasing his versatility.
In addition to his concertos, Giuliani composed a National Potpourri, Op. 43, in collaboration with Hummel, which is a grand duo for guitar and piano. He also wrote a Second Duo, Op. 93, both published by Artaria. His partnership with Ignaz Moscheles led to the creation of the Grand Duo Concertante, Op. 20, dedicated to Archduke Rodolphe of Austria, published by Richault in Paris.
Giuliani’s body of work also includes numerous quartets, quintets, and sextets for guitar and strings. Significant pieces include his Polonaise for piano, guitar, two violins, viola, and bass (Op. 65), as well as Op. 101, Op. 102, and Op. 203, alongside a Serenade Concertante for guitar, violin, and cello (Op. 19), published by Artaria.
His duets for violin or flute and guitar are among the most exquisite compositions ever written for these instruments, artfully showcasing the characteristics and beauty of both. Giuliani’s earliest compositions began to appear while he was still a teenager, and he composed his method for guitar at the remarkably young age of seventeen.
While his fourth Potpourri, Op. 42, does not quite reach the same level of excellence as his earlier works or the esteemed Rossiniane, Op. 119 and Op. 120—dedicated to His Excellency the Duke of Sermonetta—Giuliani’s contributions to the guitar repertoire are significant nonetheless.
Throughout his career, Giuliani published numerous works of varied difficulty, specifically tailored for students and amateur players. These compositions were well-received within the community and were made available by prominent publishers across Europe. Among these works, **Papillon, Op. 30** stands out as a particularly valuable series comprising three books, each containing approximately ten melodies that progress in difficulty. Additionally, **Op. 43**, a collection of easy solos, and **Bouquet Emblematique, Op. 46**, published by Clementi & Co. in London, are ideal for students looking to expand their repertoire.
A noteworthy work is **Op. 83**, which features six preludes for guitar. In this collection, Giuliani demonstrates considerable skill in the art of modulation, creating pieces that are both intriguing and instructive. His **Practical Method for the Guitar, Op. 1**, published by Ricordi in Milan and Peters in Leipzig, includes four parts and is notable for being multilingual, with texts available in French, Italian, and German, along with a Swedish edition. However, while this method serves as a valuable resource for advanced students, it has not gained widespread popularity due to its lack of extensive textual explanations, which are necessary for successful instructional materials. This brevity contrasts sharply with the methods of his contemporary, Fernando Sor, whose instructional works feature extensive text alongside studies.
In addition to his instrumental compositions, Giuliani wrote several songs, typically accompanied by guitar. Many of these works include optional accompaniments for piano, flute, and violin, showcasing his versatility. Notable pieces include six cavatinas, Op. 39; three nocturnes for soprano and tenor duets; and **Le Troubadour**, a collection of French romances published by Simrock in Bonn. Other songs include three cavatinas with guitar published by Steiner in Vienna, as well as **Flatter kleiner Vogel** and **Der treue Tod** from Schott in Mainz. His works also encompass **Pres d’un volcan** for contralto or baritone, Op. 151; **Ode of Anacreonte** for soprano, Op. 151b; **Three airettes** for tenor; and **Pastorale for three voices with flute, guitar, or piano**, Op. 149, published by Ricordi in Milan.
Furthermore, **Ad altro laccio**, **The Beauties of Nature**, and other compositions were published by Johanning in London. One particularly notable collaboration was **Der Abschied der Troubadours**, a romantic piece for voices with French and Italian lyrics and guitar, piano, and violin accompaniments, co-written with composers Moscheles and Mayseder, which was published by Diabelli in Vienna.
In conclusion, Mauro Giuliani’s extensive and diverse body of work remains a testament to his genius as a composer and educator. His compositions not only enriched the guitar repertoire but also contributed significantly to the world of vocal music. Giuliani’s legacy continues to inspire musicians and composers today, affirming his vital role in the development of classical music.