Twelve Waltzes, op. 21

These twelve waltzes by Giuliani are full of lively details, for example the octaves in no. 3, or no. 4 with its inspired low passage at the beginning (especially if you observe the repeat), then contrasting with the snatches of higher notes in the second section. Or no. 5 with its weird bars 5-7, or the glissandos in no. 11. All these things add up to interest and fun for the performer and for the listener. The grand ending of no. 12 seems to tell us that these twelve waltzes were designed as a set of twelve to be played together. All the pieces are in the form AABB (plus the coda in the case of no. 12). No. 4: make sure to hold the A singing throughout bars 1-7. No. 11 bar 4: the slur might be understood as phrasing, in which case it is in order. But as an indication of right hand fingering, it can apply only to the first two notes. No. 11 bar 9: the B is well played on the fourth string, and so on in the other similar passages (bars 11 and 13). For more about these and other dances by Giuliani, including more about performance practice, see the book Dances of 1810 by Giuliani which is in nkoda.