Good morning, I think you put it just right. A similar influence effected Mozart when he first arrived in Vienna and immersed himself in the music of Bach and Handel at the weekly concerts in the home of Baron van Swieten. The Baron opened his ears, so to speak. He began composing so many works in the baroque style, the c-minor fugue, the canonic minuets in the c-minor serenade, a chorale prelude in the duet of the Two Armed Men in Magic Flute. Even the minuet in the Symphony No. 40 is baroque (baroque dance steps are reflected in the hemiola measures and there's that constant beat-marking rhythm.) But the influence is seen in less obvious ways in his music. It's his craftsmanship. It bring a contrapuntal richness to his musical textures. If you wear baroque ears, you'll hear the c-minor piano concerto as being more baroque than it is proto-romantic. The main theme in the first movement might have been used as a chaconne a few years earlier. And it really has a ritornello structure ! within the sonata-allegro outlines.
The complete Giuliani edition publ. by Brian Jeffery is available right down the street at Boston U., and I'm going to spend some time with it. I must say that you have not been beyond exerting some influence yourself. I was just listening to your New Dance CD (Bridge 9084). What impresses me is the very high quality of the pieces written for you. It's really music that opened my ears. ajn <[EMAIL PROTECTED]> wrote in message news:[EMAIL PROTECTED] Thank you very much for your post, Mr. Ness, and your clarifications and added context. My speculation about the relationship between the two has more to do with the influence that Beethoven's musical personality exerted upon Giuliani and his contemporaries, than the (meager) available evidence of their personal relationship, be it casual or more than that. The amount of collaborative performance that Giuliani was involved in is reflected in some of his most ambitiously detailed compositions--the duos (24a, 25), and the op. 30 concerto. These, and the collaboratively composed serenades and duos with piano, exhibit Giuliani's immersion in the Viennese musical style at the most personal level. It is fascinating to discover these influences in Giuliani's music- to find the places where he broadened his naturally Italianate language in order to appeal to a Vienna in love with waltzes, German song, and the divertimento. It would be difficult to imagine a more fertile musical environment than the one that took place during this period. Sitting at the back of the cello section and hearing the finale of Beethoven 7th, unveiled to the world for the first time, must have been an incredibly exhilarating experience! How could a sensitive musician walk away from such an experience unchanged? I don't think Giuliani did. David Starobin -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
