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Outsiders: review of GIULIANI, M.: Vocal and Guitar Music – Grande Ouverture /
Variations on a Theme from Handel’s Harmonious Blacksmith / Cavatina (R.
Bertini, Ficco), Naxos, 2018
Posted by ANDREA AGUZZI on 27 AUGUST 2018
Outsiders: #review ofGIULIANI, M.: Vocal andGuitar Music – GrandeOuverture / Variations on aTheme from Handel’sHarmonious Blacksmith /Cavatina (R. Bertini, Ficco),Naxos, 2018 on #neuguitars#blog
DAVIDE FICCO , NAXOS , REVIEW
NeuGuitars
http://www.davideficco.com/
https://www.naxos.com/catalogue/item.asp?item_code=TC780703
From contemporary music to romantic music. The Italian Maestro Davide Ficco
returns to romantic music with this repertoire dedicated to solo works for voice and
guitar by the great guitarist Mauro Giuliani. Even those who have a superficial
knowledge of the world of classical guitar shall appreciate the work of this great
virtuoso, a vast, heterogeneous work characterized by an idiomatic and easily
recognizable writing. In this CD, produced by the Italian record company Tactus, we
find, for voice and guitar, “6 Ariette, Op. 95”, “Romance, à Marie Louise d’Austrie, au
Berceau de son Fils in Op. 27”, “6 Cavatine, Op. 39 “,” Cavatina, Op. 79: Theme and
Variations: Alla bolero “and for solo guitar the” Grande Ouverture, Op. 61 “, “Variations
on a Theme from Handel’s Harmonious Blacksmith, Op. 107 “and “Grand Sonata
Eroica in A Major, Op. 150”. All very interesting music and performed with
considerable skill and expertise.
To draw more my attention are the following thoughts, written by Maestro Ficco in
the booklet accompanying the CD: “Following this path, the recordings in this disc
contain some variants in the reprises; here they are particularly evident in the solo
pieces. The variants have been conceived allowing for the general composition
context, and venturing – rather boldly – to revise the reprise of the statement in the
Gran Sonata eroica op. 150 and in the Variazioni su un tema di Haendel op. 107, with a
return to a more specifically Baroque style, almost a homage to the great Saxon
composer, that gradually leads to classical aesthetics (the variations present a slow
transition through two successive styles). The vocal part, on the contrary, contains
embellishments that belong to a performance practice that by then was well-
established in the performers’ customary repertoire. The choice of varying the
reprises tends to free these pieces from an excessive, rigid fidelity to the text and
from the effort (albeit a justified one) of achieving an “objective” reading. This had
determined, with time, the loss of a free, flexible interpretation, both in the listener’s
ear and in the taste and capability of the performers. Improvisation, in other words:
in Giuliani’s times the need to vary what had just been stated was still felt, although
the seriousness and completeness of many authorial works severely limited the
performer’s contribution. So we decided, this way, to imagine that the generous
Mauro Giuliani was indulging in some fanciful passages in order, once again, to
astonish his devoted public.”
Personally I found these words very interesting, they deserve to be thorough. They
offer new ideas and new light for the interpretation of Giuliani’s pieces. A really good
job.
Davide Ficco Naxos Review
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