1. Allegro maestoso - 9:14min.
2. Andantino siciliano - 6:20min.
3. Alla polacca (Allegretto) - 7:34min.
Mauro Giuseppe Sergio Pantaleo Giuliani (27 July 1781 - 8 May 1829) was an Italian guitarist, cellist, singer, and composer. He was a leading guitar virtuoso of the early 19th century. His first instrumental training was on the cello-an instrument which he never completely abandoned-and he probably also studied the violin. Subsequently, he devoted himself to the guitar, becoming a very skilled performer on it in a short time.
Giuliani defined a new role for the guitar in the context of European music. He was acquainted with the highest figures of Austrian society and with notable composers such as Rossini and Beethoven, and cooperated with the best active concert musicians in Vienna. In 1815 he appeared with Johann Nepomuk Hummel (followed later by Ignaz Moscheles), the violinist Joseph Mayseder and the cellist Joseph Merk, in a series of chamber concerts. Also in 1815, he was the official concert artist for the celebrations of the Congress in Vienna. Two years earlier, on 8 December 1813, he had played (probably cello) in an orchestra for the first performance of Beethoven's Seventh Symphony.
Giuliani's achievements as a composer were numerous. Giuliani's 150 compositions for guitar with opus number constitute the nucleus of the nineteenth-century guitar repertory. He composed extremely challenging pieces for solo guitar as well as works for orchestra and Guitar-Violin and Guitar-Flute duos.
Giuliani's expression and tone in guitar playing were astonishing, and a competent critic said of him: "He vocalized his adagios to a degree impossible to be imagined by those who never heard him; his melody in slow movements was no longer like the short, unavoidable staccato of the piano, requiring profusion of harmony to cover the deficient sustension of notes, but it was invested with a character, not only sustained and penetrating, but of so earnest and pathetic a description as to make it appear the natural characteristic of the instrument. In a word, he made the instrument sing." ”