Works for Flute and Guitar

Dream Couple
For the second time Andrea Lieberknecht (flute) and Frank Bungarten (guitar) are presenting the ideal combination of their two instruments on SACD. After dedicating their Serenade of the Dawn to modern pieces from the twentieth century, these two outstanding musicians now turn to compositions by Mauro Giuliani.

Orphic Enchantment
In his native Italy he is known as "the Apulian Orpheus." At twenty-five the perfect cellist Mauro Giuliani made his way to Vienna and performed there at the premiere of Beethoven's Seventh Symphony. He was soon creating a sensation with his guitar playing of the highest virtuosity. His guitar course published in 1812 even today is regarded as a valuable guide. He celebrated triumphs with his concertos for guitar and orchestra, and his works for ensemble performance were so greatly valued in all the European salons that he created rich stores of demanding music for private presentation.

Poetic Flirtation
Giuliani composed music inspired by life's impressions. His Notturni op. 86, for example, are imbued with poetry. The flirting of flute and guitar calls for a postlude after the final chord. And even the collection of Original Marches (in conjunction with the Congress of Vienna) is characterful rather than martial in sound. His Serenata op. 127 shows that he also had a command of large forms.

Popular Quotations
When Giuliani returned to Italy in 1819, all of Europe was in Rossini fever. His late works did not remain uninfluenced by the bel canto. The Grand Potpourri for flute and guitar, the Quintet from Semiramide, and the Serenade are full of quotations from famous opera arias and canzonettas. It is astonishing how nimbly and precisely the famous melodies so rich in tone colors shimmer forth from the loudspeakers in the form of outstandingly heard-out variations.