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150
In contrast to Sor, Giulianis Gran Sonata Eroica, Op. 150 seems to fare
significantly better under aural and technical scrutiny, if still falling
somewhat short of
the bar set by Beethoven. While clearly in sonata form, and in a key of
great resonance
for the guitar A major Giuliani finds interesting ways, both subtle and
bold, to
make the harmonic form more malleable. In light of the fact that the first
theme enters in
the dominant of E major in mm. 50, a modulation to the key of B in mm.
37 is not in
itself so surprising. What is interesting, however, is how Giuliani then
employs the use of
a G natural in the following bars. The effect is one of some harmonic
ambiguity while
proceeding dominant chords are strongly resolved to an implied tonic of
B major,
thereby suggesting this sonority, the persistent use of the flatted 6th scale
degree and the
appearance of an E minor chord in mm. 42 seem to contradict this
assessment and
suggest we are actually in E minor. Although hovering ambiguously
between the major
and minor modes of a shared tonic is not uncommon in other music of the
time, the
effectiveness of this harmonic device on the guitar in creating a sense of
tonal variety and
suspense throughout Giulianis Op. 150 cannot be overlooked.
Example 2.5: Giuliani, Gran Sonata Eroica, Op. 150; mm. 3748
The
Example 2.6: Giuliani, Gran Sonata Eroica, Op. 150; mm. 102105
The development section of Op. 150 begins in E major, briefly flirting with
both
G major and G minor, before establishing a full resolution on G major in
mm. 133. From
this point forward, it once again serves as a dominant to C major, and in
mm. 144, a wide
section in this new key begins to develop. A welcome textural and
rhythmic change is
initiated in mm. 169, as rising and falling triplet-figure arpeggios create a
somewhat
relaxed mood that truly does seem to echo Berliozs sentiment regarding
the guitars
dreamy, melancholy characteristics.
Example 2.7: Giuliani, Gran Sonata Eroica, Op. 150; Development,
mm. 168170