MAURO GIULIANI

Studi dilettevoli, op. 98

for guitar solo

Edited by Brian Jeffery

TECLA EDITIONS
 COPYRIGHT
This edition is copyright © by Brian Jeffery 2020.
This is a new re-engraved edition and as such it is protected by
copyright.
You are welcome to use and print this document for your own
personal use and for use in classes and performances in which you are
yourself a participant.
But no other copying for anyone else is allowed! either as
photocopying or in electronic form. This is a new re-engraved edition
and it is copyright and protected by the law. This edition has cost a lot
in terms of research costs and materials and engraving charges. Don’t
steal from Tecla!

Preface for Giuliani’s Studi Dilettevoli

(Delightful Studies) op. 98
This is a modern urtext re-engraved edition of Giuliani’s Studi Dilettevoli
(Delightful Studies) op. 98. They are eight easy pieces which he published in
Vienna in 1817 with the title Studi Dilettevoli ossia Raccolta di vari Pezzi
Originali (Delightful studies, or, Collection of various original pieces). The
pieces are not much different from very many other easy pieces published by
Giuliani in his lifetime, and they are included here not so much because of their
musical nature as studies, but rather for the sake of completeness because they
bear on their title-page the word “Studi".
No. 2 bar 27: the first note after the chord is A in the original, apparently an
error and altered here to G
No. 7: the original from bar 36 writes out the first part again (complete with
repeats).
No. 8: as in op. 48, here also in this much more modest collection, in the last
piece, the final bars are long drawn out, perhaps to bring this collection to an
end as a whole.
At the end of this file, after the music, will be found a note about Giuliani’s
fingering and his use of dynamics.
 119

STUDI DILETTEVOLI
DELIGHTFUL STUDIES
Opus 98

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Copyright © 2002 by Tecla Editions, www.tecla.com.

NO PHOTOCOPYING. For copies, go to www.hebesweb.com.
120 GIULIANI: THE COMPLETE STUDIES

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TECLA 105
 A note on Giuliani’s fingering and dynamics
Fingering
In this edition, no changes whatsoever have been introduced to the fingering,
and none has been added, so that if you observe exactly the fingering that is
here, you can get a good idea of what Giuliani intended, or if you wish to
change it, you can easily do so. Much of the interest lies in the detail, and you
can study that detail here if you wish because no changes have been made here.
Of the works in this edition, Giuliani gave detailed left hand fingering in the
modern sense only in op. 1 parts 1, 2, and 3. In op. 48 and op. 100 he didn't give
left hand finger numbers, but he did give position numbers, which are often
subtle and very precise indications of how a passage is to be fingered. In op. 1
part 4, and also in opp. 51 and 98, he gave no fingering at all. (Op. 139 gives
detailed fingering, but it is a late edition and I suspect that the fingering may not
be Giuliani’s but rather the publisher’s.)
It could be argued that I could have added new and modern fingering to this
edition, as some modem editions do. However, there are a number of problems
with adding new fingering. True, it makes things easier for players of modest
accomplishments in the short term. But in the longer term it doesn’t help you to
become fluent, indeed it may even stand in your way. I think it is much better to
have the actual music without having to look at it through the misty glass of
someone else’s view of how it ought to be fingered.
Also, Giuliani composed the particular works in this book with his own
brilliant technique in mind, to which fingering was central. After all, he was the
greatest guitar virtuoso of the Vienna of Beethoven and Schubert, and he wrote
most of the pieces in this book not merely with his own fingering in mind but
specifically to give exercise in his own system of fingering. It therefore seems
perverse to add new fingering, or even to replace Giuliani’s own fingering with
modern fingering.
The Roman figures I, II, etc. indicate positions, that is to say they show at
which position on the neck the left hand is to be placed; they do not necessarily
mean that a bane is to be used, as they might in a modern piece. They have been
left as in the original.
The position figures are not always placed with precision in the original
editions as we would probably expect them to be today. For example, if a
position figure refers to a group of four notes, then in the original editions
usually the figure will appear above the first of the four notes but often it will be
found above say the second or third note, where any player can immediately see
that it applies to the whole group. In such cases in this edition I have followed
modern practice and placed them usually above the first note. (Anyone
interested can compare the Tecla facsimile edition with this present edition; see
for example op. 100.)
An asterisk on a bass note means that the note is to be stopped with the left
hand thumb, a technique which today is often used by popular guitarists but
practically never by classical ones. Here it has been left as in the original.
Anyone who wishes to change it can easily do so, for example in op. 1 Part One
nos. 113 and 114, or in Part Two no. 3 bar 5 or no. 4 bar 1. Sometimes
Giuliani’s use of this can be deduced even though it is not indicated, as in op. 1
Part Four no. 9.

Dynamics
In Giuliani’s music, dynamics are important because he liked to use dynamic
contrast a lot. Often, his dynamic indications as well as his fingering are very
precise and interesting, even in the simplest pieces. For example, in op. 100 no.
13 the diminuendo signs on the last two notes of each bar at the beginning help
to show precisely how Giuliani intended them to be played; yet they are omitted
in at least one modern edition. At the same time, one should be aware that such
signs at that time might not have had precisely the same meaning as they might
today, so play with care!
A dot on a note immediately following a group of notes joined by a slur
probably does not mean that the note is to be played staccato, only that it is not
to be slurred.
Obvious errors are corrected without note. Some extra accidentals have been
added editorially (but only to make the notation clearer, never to alter the
music). The duration of the final chords of some pieces has been regularized.

Brian Jeffery