Giuliani’s celebrated Studio per la Chitarra is his famous work for guitar students, in four parts, presented here as a complete facsimile reprint of the first edition of 1812, with a new introduction. This Tecla edition includes all four parts, that is the well-known studies for the right and left hands, ornaments, and twelve short pieces. This edition is particularly valuable for anyone who wishes to have Giuliani’s complete and original text (some other editions give only parts of this op. 1). It is fully legible for performance, and while it is clearly an early nineteenth century edition, it is easy to perform from and presents no problems to the modern player. Anyone who wishes to examine this major work of Giuliani will do well to consult this edition.
72 pages. First published by Tecla in 1984, reprinted 1989. This is Volume 1 of the Tecla facsimile edition of Giuliani’s Complete Works. Paperbound. ISBN 978-0-906953-61-7.
If you prefer the music re-engraved, the new Tecla edition of op. 1 in Giuliani’s Complete Studies (Tecla 105) gives the complete text re-engraved but keeps strictly to the original. (Some of the modern editions of Giuliani’s op. 1 on the market depart greatly from the original, often without saying so, and many of them are incomplete, giving only parts of the original). The Tecla edition on this present page is a facsimile of the original 1812 edition, while the new edition in the Giuliani Complete Studies (Tecla 105) gives all four parts, re-engraved.
The book has four parts: 120 arpeggios for the right hand; sixteen pieces designed especially for left hand practice; twelve examples on style and ornaments; and twelve lessons. As well as the music, it has text in Italian, French, and German, to which we have added a modern English translation. It was considered so important in its own time that the original publisher, Artaria, paid Giuliani 600 florins for it, which was a very large sum indeed for that time. Despite the opus number 1, it was not in fact Giuliani’s first work; rather, the opus number was probably reserved for it by the composer because of its perceived importance.