Giulio Tampalini Concert Review

Posted: August 12th, 2013

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Giulio Tampalini Concert Review

            Giulio Tampalini performs the “Concerto opus 30” by Mauro Giuliani. With him is the Polish Symphony Orchestra conducted by Krzyztof Klima. Giulio Tampalini and the Orchestra have taken advantage of the unique and exceptional timbres of their respective instruments to come up with a strong and rich sound and each instrument complementing the other. The two, Tampalini and the Orchestra, have made the concerto of Mauro Giuliani the Italian composer their main concern for their collaboration. In this regard, they have managed to portray Giuliani as a great composer.

Mauro Giuliani (1781-1829) is believed to be one of the most important guitar virtuosi during his time in early 19^th century. Beethoven and Rossini who were also accomplished musicians of their time were considered among Giuliani’s friends. Beethoven referred to Mauro Giuliani as “the divine Giuliani” which was also one way of describing Giuliani’s music. His music was simply divine. Giuliani in his time composed over 150 guitar works that are now considered the foundation of 19^th century guitar collection. In addition, he wrote guitar concerti numbering three and several duos for the Guitar-Flute and the Guitar-Violin. In the presentation by Giulio Tampalini and the Polish Symphony Orchestra, the guitar concerto by Mauro Giuliani was utilized. The Orchestra accompanying the guitar played by Giulio Tampalini did a wonderful job in presenting this work

The Concert Hall provided the perfect ambiance for this genre of music thus making it the ideal venue. The warm setting looked and created the feeling of a 19^th century musical concert. The setting has Giulio Tampalini sitting in front, while the Polish Symphony Orchestra sat behind him with various accompanying instruments including the violin, cellos, and flutes among others. The atmosphere felt like one had been transported back in time and were listening to the intricate compositions of Mauro Giuliani. In Beethoven’s words, the divinity of Giuliani’s works was revealed when the duo started the performance.

From the onset, it was apparent that the two, Giulio Tampalini and the Polish Symphony Orchestra, had a special bond. The opening notes in serenaded the hall into amazement, and the special bond was immediately realized. The composition was drawn from Giuliani’s concerto opus 30 where he presents three movements as is customary with compositions regarding concertos. These movements include Allegro, Siciliana and Polonaise. The opus is a numbering system used by composers to label their work. However, its use is rather inconsistent and cannot be used as a chronological tool to describe a composition.

The Allegro was the first to begin in which the orchestra began displaying exquisite harmony that points to the fact that the orchestra is well versed with the works of Mauro Giuliani. Giulio Tampalini listens as he waits for the moment in which he will employ the use of the guitar. The moment he does this, the sound is distinct from that of the orchestra. However, the quality of the music remains the same if not better. The quality of music remains exquisite when Giulio Tampalini plays alone and when the orchestra plays alone. It is mind blowing to understand listening to the guitar blending in with the orchestra. This attests to the great inventive technique of Giuliani Mauro that transcends the test of time.

In the same fashion, the second part referred to as Siciliana begins with the orchestra. The only difference is that Siciliana has a distinct aspect of Italian melody and harmony. The tenor of the music is more melancholic as compared to the light heartedness of the Allegro. Nonetheless, the music is as pleasant. Giulio Tampalini continues to utilize the Polish Symphony Orchestra in his rendition. Siciliana was shorter than the Allegro, and one only wishes that the music continued. It is refreshing to hear the Polonaise sound as good. The essence of the concerto is to establish a harmony between two conflicting elements. The soloist, Giulio Tampalini, with his guitar performs along side the orchestra to bring out a unity of two different elements of musicality.

This unity in performance is something that is absent in most performance. The Guitar is not a traditional instrument used in the Orchestra; however, the guitar has blended in with the orchestra all the while maintaining its distinct sound. The orchestra and Tampalini play with a great sense of delicacy and balance. The interaction of the melodic elements is projected flawlessly and with perfect clarity. It requires considerable talent to make what is inherently intricate sound easy and organic at the same time. Giulio Tampalini and the Polish Orchestra have proven to have this ability in plenty. This is evident throughout the whole concert.

The end of the concert ends, and the audience gives the two a well-deserved applause for a well-performed concert. Giulio Tampalini presented the concerto opus 30 by Giuliani Mauro in three parts each executed with a consistent display of mastery of the material in an original and reserved manner. Mr. Tampalini and the Polish Symphony Orchestra have honored the musical icon in Giuliani Mauro with their first-rate presentations of the Allegro, Siciliana and the Polonaise of the concerto opus 30.