Luigi Boccherini

from Wikipedia, the free encyclopedia
Portrait of Luigi Boccherini, playing the cello ( Pompeo Batoni , c. 1764–1767)

Luigi Rodolfo Boccherini (born February 19, 1743 in Lucca , † May 28, 1805 in Madrid ) was an Italian composer and cellist of the pre-classical and classical epoch.

Life

1743–1767: Italy and Vienna

Luigi was the fourth of six children of Francesco Leopoldo Boccherini and Maria Santa Prosperi (since the first son of Francesco Leopoldo died early, Boccherini is often counted as the third child). His father was a double bass player and cellist, and his siblings also made careers as artists: the sisters Maria Ester (* 1740) and Anna Matilde (* 1744) as dancers in Vienna, the brother Giovanni Gastone (* 1742) as a dancer and librettist (among others for Haydn's Il ritorno di Tobia ) in Vienna and the youngest sister Riccarda (* 1747) as a dancer and soprano.

Boccherini received his first music lessons in the Seminario di San Giovanni in Lucca, where he was a student from 1749 to 1753. At the age of ten he was evidently so advanced that his father sent him to Rome for further studies at the end of 1753 , where he was probably a student of the well-known cellist and composer Giovanni Battista Costanzi (born September 3, 1704, † March 5, 1778 , also called Giovannino da Roma and Giovannino del Violoncello ) and possibly remained until 1756.

In 1756 Boccherini performed a cello concerto in the church of S. Domenico in Lucca. The next few years were determined by busy travel and concert activities, often together with other family members. At the beginning of 1758 Boccherini appeared for the first time in Vienna at the Burgtheater (under the direction of Christoph Willibald Gluck ), and in the same year he was employed as a cellist at the Theater am Kärntnertor from the end of March to October . A second stay in Vienna followed from April 1760 to March 1761 (again at the Theater am Kärntnertor). 1760–61 he also wrote the first chamber music works, which Boccherini later included in his catalog raisonné: the string trios op. 1, the string quartets op. 2 and the violin duos op. 3. In 1761 he applied for a permanent position at the “Cappella Palatina” in Lucca, which was only approved in 1764. In 1761 Boccherini performed several times in Lucches churches with cello concerts. A third and final stay in Vienna followed from 1763-64, where he got to know Gluck's first ballet Don Juan , which he was first performed in 1761 (in Boccherini's absence) and which he later imitated in his Symphony op. 12 No. 4.

In 1765 he met Giovanni Battista Sammartini at concerts in Pavia and Cremona , which led some to assume a more important stylistic influence Sammartini on Boccherini's chamber music. In the same year Boccherini composed the cantata La confederazione dei Sabini con Roma, which was performed on the occasion of the municipal elections on behalf of the state of Lucca . The formation of a string quartet with Pietro Nardini and Filippo Manfredi (violin), Giuseppe Maria Cambini (viola) and Luigi Boccherini (violoncello), reported by Giuseppe Maria Cambini , could belong to the first half of 1766 or the end of 1766 – beginning of 1767 , which is often the first fixed string quartet formation in music history. After the death of Boccherini's father Leopoldo on August 30, 1766, Manfredi became Boccherini's most important companion on his concert tours. At the end of 1767, the two friends set out from Genoa for Paris, initially probably with the plan to continue to London (a letter of recommendation to the Italian composer Felice Giardini , who works in London, has been received ).

1767–1768: Paris

His stay in Paris , which lasted only a few months, was a decisive turning point in Boccherini's career, as a result of which he changed from a cello virtuoso to one of the most important instrumental composers of the late 18th century. Before his arrival in Paris in 1767, Boccherini's first instrumental works had appeared in print, the string quartets op. 2 (with Venier as op. 1) and the string trios op. 1 (with Bailleux as op. 2), perhaps through the mediation of the French cellist and composer Jean-Baptiste Janson . At that time Paris was the undisputed capital of European sheet music printing, and most of Boccherini's works, which were later composed in Spain, were first printed in Paris and thus known throughout Europe. During Boccherini's and Manfredi's stay, which lasted from about the end of 1767 to April 1768, the two virtuosos probably met a few. a. in the salons of Baron Charles-Ernest de Bagge and Madame Brillon de Jouy (for whom Boccherini composed the sonatas for piano and violin accompaniment op. 5 during his stay), and Boccherini presumably made further contacts with Parisian music publishers. During this time Boccherini's string trios op. 4, composed in 1766, appeared in print (in Venier's case, by chance under the same opus number that Boccherini himself later assigned to the work). A public appearance by Boccherini with a cello sonata is attested for March 20, 1768. For reasons not yet fully understood, Boccherini gave up his original plan to continue to London and moved to Madrid in the spring of 1768 with Manfredi .

1768-1805: Spain

While Manfredi was back in Lucca by 1772 at the latest, where he died in 1777, Boccherini remained in Spain until his death in 1805. First, Boccherini joined the Compagnia dell'Opera Italiana dei Sitios Reales , which performed in Aranjuez and San Ildefonso. In his memoir " Histoire de ma vie ", Giacomo Casanova mentions an encounter with Boccherini and Clementina Pelliccia, whom Boccherini married on August 17, 1769, in Valencia at the end of 1768. In the first years after Boccherini's arrival in Spain, in 1769 he composed the String Trios op.6 , dedicated to Prince Charles of Asturias, later King Charles IV , and the Sinfonia Concertante op.7, performed in July 1769 at the Teatro al Canos del Peral in Madrid, the string quartets op. 8, dedicated to Boccherini's later employer, the Infante Don Luis, and in 1770 the string quartets op. 9 with a dedication “Ai Signori Dilettanti di Madrid”.

In November 1770, the Spanish infant Don Luís Antonio de Borbón y Farnesio , brother of King Charles III. , Luís Boccherini, as Luigi Boccherini was often called in Spain, with royal permission as compositore e virtuoso di camera (Spanish compositor y virtuoso de cámara ; German chamber composer and virtuoso ). From 1771, with interruptions from 1776 to 1777 and from 1782 to 1784, Boccherini fulfilled a regular quota of three series of six compositions each year, which was slightly reduced from 1772 onwards that each series consisted of two-movement pieces. Since then, Boccherini has made a clear distinction between Opera grande , a series of six longer, usually three to four-movement works, and Opera piccola , a series of six shorter, mostly two-movement works, for which he charged his publishers half the price. The first years of activity for Don Luis (1770–1776) meant for Boccherini numerous changes of location in the area of ​​Madrid every year: Don Luis held alternately a. a. in Madrid, Pardo, Aranjuez, San Ildefonso, Escorial and Boadilla del Monte. During this time, Boccherini composed for a wide variety of smaller and larger ensembles (string trios, string quartets, string sextets, quintets and sextets with flute and symphonies), but the string quintet with two cellos, whose invention by Boccherini probably followed, plays a central role in his work is due to the fact that Boccherini himself was added to an already existing string quartet at the court of Don Luis. In 1776, Boccherini's mother died at Aranjuez's mother, who had followed him to Spain at an unknown date.

In the same year, Don Luis had to leave the area of ​​Madrid after a morganatic marriage . After stops in Olías del Rey, Talavera de la Reina, Torrijos, Velada and Cadalso de los Vidrios, Don Luis finally settled in Arenas de San Pedro at the end of 1777 . From 1778 to 1781, Boccherini, who followed Don Luis to Arenas, composed exclusively works in smaller string ensembles (string trios, string quartets and above all string quintets), and the fact that Boccherini had to adapt to the circumstances is particularly evident in the unusual cast of the first version of Stabat Mater from 1781 (for soprano and string quintet). One of the best-known works from the period of exile in Arenas is the String Quintet, Op. 30 No. 6 ( Musica Notturna delle Strade di Madrid ), which imitates the music that can be heard in the streets of Madrid at night. While the earlier works up to op. 24 were regularly printed in Paris, Boccherini contacted the Viennese publishing house Artaria in 1780 . There the string quartets op. 26 and op. 32, the string quintets op. 25 nos. 1–3 and the string trios op. 34 were finally published. Most of the other works composed in Arenas were initially unpublished. In 1782 there was a possible interruption of work for Don Luis. In 1783 Boccherini contacted the Prussian Crown Prince Friedrich Wilhelm and sent him his own compositions. In 1784, however, Boccherini was again, on improved terms, in the service of Don Luis.

After the death of his first wife, Clementina Pelicha, a singer , on April 2, 1785 and the death of the Infante Don Luis on August 7, 1785, Boccherini returned to Madrid. On September 28, 1785, he addressed a request to the Spanish King Charles III. and then received a pension. At the same time he was offered the prospect of the first vacant position as a cellist in the Real Capilla . Boccherini was thus considered a Músico agregado de la Real Capilla , even if he was perhaps never used there.

On January 21, 1786, Crown Prince Friedrich Wilhelm of Prussia , who was crowned King Friedrich Wilhelm II on August 17, 1786, appointed Boccherini compositeur de notre chambre ("composer of our chamber") and granted him an annual salary of 1,000 thalers . Boccherini's composition workload was reduced again compared to his work for Don Luis and now comprised twelve compositions per year, i.e. H. an opera grande and an opera piccola , each with six individual pieces, which he sent to the Prussian king from Spain. Whether Boccherini himself stayed in Prussia for some time in 1786 is controversial. As the king himself played the violoncello excellently and the cellists Jean-Pierre and Jean-Louis Duport were also at his court , Boccherini composed again mainly string quintets with two cellos until the death of Friedrich Wilhelm II in 1797. Other prominent composers of the time also sought the favor of the Prussian king, including Joseph Haydn , Wolfgang Amadeus Mozart and Ludwig van Beethoven . From March 1786 until at least the end of 1787, Boccherini also conducted the orchestra of María Josefa Alfonsa Pimentel, Condesa de Benavente y Duquesa de Osuna (Countess of Benavente and Duchess of Osuna). In 1787 Boccherini married his second wife María Joaquina, the daughter of a cellist of the Real Capilla, Domingo Porretti, who died in 1783.

After the publication of Boccherini's works came to a standstill around 1785, Boccherini took up more contact with Parisian musical life from around 1790. Around 1790 he sold an "M. Boulogne ”110 of his compositions, which were played in Boulognes Salons with Giovanni Battista Viotti as the first violinist. From 1796, Ignaz Pleyel published numerous instrumental works by Boccherini in Paris. It was upset when Pleyel noticed that some of the works offered to him by Boccherini were already in circulation in Paris. The received letters from Boccherini to Pleyel are among the composer's most important personal testimonies.

The early death of the Prussian king in 1797 brought Boccherini into financial difficulties because the king's donations were no longer available. In 1800 he met Lucien Bonaparte , Napoléon Bonaparte's brother . He was the French ambassador at the Madrid court and became Boccherini's new patron until 1802. His last years of life were overshadowed by family losses: first his eldest daughter María Joaquina (1796) died, later two other daughters (1802) and his second wife Joaquina Porreti (1804 ). Despite support from wealthy patrons, Boccherini lived in more than modest circumstances and died on May 28, 1805 in Madrid of an abdominal cavity tuberculosis . It has not been proven that he died in utter poverty. Two of his sons, Luís Marcos, a clergyman, and José Mariano, an archivist, survived him.

Afterlife

In the years after Boccherini's death, further first prints, especially of his string quintets, appeared in Paris, and the publishing house Janet & Cotelle published a complete edition of all 93 string quintets published up to then in 1818–1822 and a complete edition of the 52 string trios previously published under Boccherini's name in 1824. Boccherini's music was regularly on the program in the chamber concerts organized by Pierre Baillot in Paris from 1814. In 1851, the Notice sur la vie et les ouvrages de Luigi Boccherini by L. Picquot appeared in Paris, who had collected all available sources including the manuscripts of unpublished works and also had access to a version of Boccherini's own catalog raisonné. In the late 19th and early 20th centuries, knowledge of Boccherini's works was increasingly limited to a few, hardly representative compositions, such as the minuet from the string quintet op. 11 No. 5 and the cello concerto in B flat major, arranged by Friedrich Grützmacher , a.

In 1927, Boccherini's remains were transferred from Spain to Lucca and buried in the Church of San Francesco .

An increased interest in Boccherini's music began in 1949 with the founding of the Quintetto Boccherini , which was dedicated to the performance and recording of Boccherini's string quintets. In 1969 Yves Gérard's catalog raisonné, which is still relevant today, was published. Musicians who have dealt with Boccherini's work time and again since the 1970s include Anner Bylsma , Chiara Banchini's Ensemble 415, Fabio Biondi's Europa Galante and the Piccolo Concerto Wien with its director Roberto Sensi.

In the new millennium, a clear intensification of preoccupation with Boccherini can be seen: the Asociación Luigi Boccherini, founded in Madrid in 2003, and the Centro Studi Luigi Boccherini in Lucca, founded in 2005, are dedicated to researching, performing and disseminating Boccherini's work . Since 2005 a new critical complete edition of the works of Boccherini ( Luigi Boccherini Opera Omnia ) has been produced, accompanied by the scientific journal Boccherini Studies . Since 2004, the La Magnifica Comunità ensemble has been recording a complete recording of Boccherini's string quintets, which has since reached Op. 28 (as of March 2011).

In 2008, in Lucca on the Piazza del Suffragio, a bronze portrait created by the Dutch artist Daphné Du Barry was erected, which shows Boccherini playing the cello. The Boccherini Inlet , a bay in the Antarctic, has been named after him since 1961 .

Contemporary and Later Judgments on Boccherini

According to the judgment of Carl Ludwig Junker (1776), Boccherini's music is "too shady, too dark, too sullen". At the same time he misses “sketch, drawing and orderly”, Boccherini seems too much “to work according to his every time special feeling”.

In two letters to Charles Burney (1783), Thomas Twining emphasizes Boccherini's tragic pathos, which he contrasts with Haydn's more comical style; he thereby encounters Burney's decided contradiction. Charles Burney himself counts in his General History of Music (1789) Boccherini “among the greatest masters who have ever written for the violin or violoncello”. His style is “at once bold, masterly, and elegant”. He particularly emphasizes the string quintets, “in which invention, grace, modulation, and good taste, conspire to render them, when well executed, a treat for the most refined hearers and critical judges of musical composition”.

Ernst Ludwig Gerber emphasizes in his Historisch-Biographisches Lexikon der Tonkünstler (1790) Boccherini's freedom in modulation, the intimacy of his singing and his almost inexhaustible creativity.

In an obituary in the Allgemeine Musikischen Zeitung of August 21, 1805, Boccherini is certified that he has moved with the times and has also absorbed as much of the advances in German music, especially Haydn, as “could have happened without denying his individuality”. In Germany, with “his current preference for the more difficult, the more artificial, the more learned”, Boccherini is still too little known.

The Parisian violinist Jean-Baptiste Cartier is said to have said: "Si Dieu voulait parler à l'homme en musique, il le ferait avec les œuvres de Haydn, mais s'Il desirait Lui-même écouter de la musique, Il choisirait Boccherini." ("If God wanted to speak to people in music, He would do it with the works of Haydn; but if He wanted to hear music himself, He would choose Boccherini.").

François-Joseph Fétis noted in his biography universelle des musiciens (1835) that no other composer had deserved originality more than Boccherini. His ideas are all individual and his works are so remarkable in this regard that one is tempted to believe that Boccherini had known no other music but his own. In particular, he emphasizes the graceful, often melancholy thoughts, the naive charm, the sometimes vehement passion in the quintets, the surprising harmonic effects and the masterful use of unison in Boccherini's works. At the same time, he complains that Boccherini is hardly known outside of France.

plant

Musical genres

The focus of Boccherini's work is chamber music for string instruments (42 string trios , 91 string quartets , 110 string quintets with two cellos, three string quintets with cello and double bass, twelve string quintets with two violas, six string sextets ).

Boccherini is the most important composer of string trios before Beethoven . He wrote both for the instrumentation with two violins and cello, which ultimately went back to the trio sonata , and for the classical instrumentation with violin, viola and cello. In both of them, the cello is usually treated as completely equal to the upper parts.

The previously controversial question of whether Haydn or Boccherini invented the string quartet no longer plays a role today, since both composers developed a distinctly different quartet style independently of one another. The String Quartets Op. 2, published in Paris in 1767, are among the earliest printed quartet and made a decisive contribution to the genre's popularity in Paris.

The string quintet with two cellos invented Boccherini in 1771 simultaneously with the working in Madrid Gaetano Brunetti . However, while Brunetti soon switched to the classical instrumentation with two violas, but his works remained unpublished, Boccherini's string quintets became known throughout Europe through his Parisian publishers. Until the end of the 18th century, the tradition of the genre consisted almost exclusively of Boccherini's quintets, as the more than 100 string quintets by Giuseppe Maria Cambinis, composed after 1790, also remained unprinted. In the 19th century it was continued by George Onslow and Franz Schubert , among others . It was only in the last years of his life that Boccherini composed string quintets in the classical instrumentation with two violas.

Another pioneering achievement is the six string sextets, Op. 23, perhaps the first works in the classical sextet line-up with two violins, two violas and two cellos.

In addition to the strings, other instruments were added in some cases. B. in the Divertimenti mit Flöte op.16, the flute quintets op.17 and op.19 , the oboe quintets op.55 , the piano quintets op.56 and op.57 as well as the arrangements of own works for guitar quintet (G. 445–453) .

In addition, Boccherini wrote 27 symphonies , several notturni with alternating combinations of wind instruments and strings, and numerous vocal works that are only partially preserved. These include the important Stabat mater , the oratorio Gioas re di Giuda performed in Lucca in 1998 after the rediscovery of the missing second part , the Zarzuela La Clementina (G. 540) premiered in Madrid under Boccherini's direction in 1786 , the lost drama Dorval e Virginia (world premiere Turin 1799) as well as 15 concert arias (G. 544–558) and a duet (G. 559) based on texts by Pietro Metastasio .

Most of the twelve cello concertos and around forty cello sonatas are technically, in some cases extremely demanding, early works (up to around 1770) that Boccherini composed for his own concert activities as a cello virtuoso.

Famous works

For a long time since the late 19th century, only the minuet from the quintet op. 11 No. 5, G. 275 and - in the very free arrangement by Friedrich Grützmacher - the Cello Concerto in B flat major, G. 482 were in cultural memory present. Today, the works in which Boccherini picks up on Spanish folk music, such as the Musica Notturna delle Strade di Madrid (String Quintet, Op. 30 No. 6, G. 324) and the Fandango in String Quintet, Op. 40 No. 2, G. 341 and, like other guitar works, composed for the sake of his patron from the Benavente-Osuna family, the guitar quintet G. 448, more popular.

Boccherini's style

Boccherini's music combines influences from Italy, Vienna, Paris and Spain into an unmistakable individual style. The search for specific role models and influences has not yet led to completely reliable results. In this context, u. a. Italian composers such as Giovanni Battista Sammartini and Pietro Nardini , Viennese ballet music, Parisian composers such as Johann Schobert and François-Joseph Gossec as well as representatives of the Mannheim School .

Characteristic elements of Boccherini's music are a sanglicher, focused on vocal music style, finely crafted and highly variable texture, precise and dynamic game technical instructions and special sound effects like Armonici , Ponticello - and sul tasto include game, melodic elegance, intense, Often borrowed from dance music, rhythms, an intimate, often melancholy character, which does not exclude noisy, extroverted passages and gloomy drama, an increasingly greater freedom in the form of the individual sentences and in the sequence of sentences and in comparison in later works greater involvement of the violoncello in musical events than other composers of the time.

In some works elements of Spanish folk music are taken up directly, e.g. B. in the string quintet op.30 no.6 ( Musica Notturna delle Strade di Madrid ), in the string quintet op.40 no.2 (with the famous fandango, which Boccherini also arranged in the punteado-accentuated guitar quintet G. 448) and in the minuet of the string quintet op 50 No. 5 ( Minuetto a modo di sighidiglia spagnola ).

In a letter to Marie-Joseph Chénier dated July 8, 1799, Boccherini explains:

“So bene che la musica è fatta per parlare al cuore dell'huomo, ed a questo m'ingegno di arrivare se posso: la musica senza affetti, e passioni, è insignificante. da qui nasce, che nulla ottiene il compositore senza gli esecutori: questi è necessario che siano bene affetti all'autore, poi devono sentire nel cuore tutto ciò che questi à notato; unirsi, provare, indagare, studiar finalmente la mente dell'autore, poi eseguirne le opere. Allora sì che arriveranno quasi a togliere l'applauso al compositore, o almeno a partir la gloria con lui, mentre se è pregio sentire dire ' che bell'opera è questa! 'parmi che sia di più sentir dire' oh, che angelicamente l'hanno eseguita '”

“I know well that music serves to speak to the human heart and I try to achieve that when I can. Music without affects and passions is meaningless. It follows that the composer achieves nothing without the performing musicians. It is necessary that these are weighed by the author, and then they must feel in their hearts all that he has noted; come together, rehearse, examine, finally study the author's mind, then execute his works. If they then almost overshadow the composer, or at least share the fame with him, then I consider it an honor to hear: 'How beautiful is this work!', But it means even more to me when you say ' How heavenly they played it! '"

Opus numbers and catalog numbers

Originally, Boccherini did not use opus numbers for his works. In the manuscripts from the time he worked for Don Luis, the three works (each with six individual pieces) of a year are numbered consecutively (e.g. the three series from 1779 as "Opera 1a. 1779"; "Opera 2da. 1779 ";" Opera 3a. 1779 "). On the other hand, while working for Friedrich Wilhelm II. When Boccherini composed only two series of six pieces each per year (i.e. exactly one composition per month), the twelve compositions of a year are assigned to the individual months in the manuscripts (e.g. "Mese di Gennaro 1793", "Mese di Febraro 1793" etc.).

The opus numbers of the first prints were chosen by the publishers and are not based on the date of composition, but on the date of publication of the individual works. Around 1797, during negotiations with his publisher Ignaz Josef Pleyel , Boccherini himself retrospectively compiled a catalog of his works with his own opus numbers. This catalog, which has not been preserved in the original, but can be largely reconstructed from copies, forms (together with the dates of the manuscripts) the basis for the chronology of Boccherini's works. However, the catalog is not complete. For example, the vocal works written before 1797 are excluded, as are all cello sonatas and concertos. The differences between the composer's own opus numbers and those of the first editions have caused a lot of confusion.

An indispensable aid for reliable identification of the individual works is Yves Gérard's catalog raisonné, which lists the incipits of the individual movements for each piece . Today, Boccherini's compositions are usually identified by the composer's opus numbers (not, as with other composers of the late 18th century, those of the first editions!) In connection with the number in Gérard's catalog (e.g. “String Quintet op. 45 No. 4 , G. 358 ").

List of compositions by Boccherini in his catalog raisonné

  • op. 1: 6 string trios for 2 violins and violoncello, G. 77–82 (1760).
  • op. 2: 6 string quartets, G. 159–164 (1761).
  • op. 3: 6 violin duos, G. 56-61 (1761).
  • op. 4: 6 string trios for 2 violins and violoncello, G. 83–88 (1766).
  • op. 5: 6 sonatas for piano and violin, G. 25–30 (1768).
  • op. 6: 6 string trios for 2 violins and violoncello, G. 89–94 (1769).
  • op.7: Concerto a piu stromenti obligati , G. 491 (1769).
  • op. 8: 6 string quartets, G. 165–170 (1769).
  • op. 9: 6 string quartets, G. 171–176 (1770).
  • op. 10: 6 string quintets for 2 violins, viola and 2 violoncellos, G. 265–270 (1771).
  • op. 11: 6 string quintets for 2 violins, viola and 2 violoncellos, G. 271–276 (1771).
  • op. 12: 6 symphonies, G. 503–508 (1771).
  • op. 13: 6 string quintets for 2 violins, viola and 2 violoncellos, G. 277–282 (1772).
  • op. 14: 6 string trios for violin, viola and violoncello, G. 95–100 (1772).
  • Op. 15: 6 string quartets ( Opera piccola ), G. 177–182 (1772).
  • op. 16: 6 divertimenti for flute, 2 violins, viola, 2 violoncellos and double bass ad lib. , G. 461-466 (1773).
  • Op. 17: 6 quintets for flute, 2 violins, viola and violoncello ( Opera piccola ), G. 419–424 (1773).
  • op. 18: 6 string quintets for 2 violins, viola and 2 violoncellos, G. 283–288 (1774).
  • op. 19: 6 quintets for flute, 2 violins, viola and violoncello ( Opera piccola ), G. 425–430 (1774).
  • op. 20: 6 string quintets for 2 violins, viola and 2 violoncellos, G. 289–294 (1775).
  • op. 21: 6 symphonies, G. 493–498 (1775).
  • op. 22: 6 string quartets ( Opera piccola ), G. 183–188 (1775).
  • op. 23: 6 string sextets, G. 454–459 (1776).
  • op. 24: 6 string quartets, G. 189–194 (1776–1778).
  • op. 25: 6 string quintets for 2 violins, viola and 2 violoncellos, G. 295–300 (1778).
  • op. 26: 6 string quartets ( Opera piccola ), G. 195-200 (1778).
  • op. 27: 6 string quintets for 2 violins, viola and 2 violoncellos ( Opera piccola ), G. 301–306 (1779).
  • op. 28: 6 string quintets for 2 violins, viola and 2 violoncellos, G. 307–312 (1779).
  • op. 29: 6 string quintets for 2 violins, viola and 2 violoncellos, G. 313–318 (1779).
  • op. 30: 6 string quintets for 2 violins, viola and 2 violoncellos ( Opera piccola ), G. 319–324 (1780).
  • op. 31: 6 string quintets for 2 violins, viola and 2 violoncellos, G. 325–330 (1780).
  • op. 32: 6 string quartets, G. 201–206 (1780).
  • op. 33: 6 string quartets ( Opera piccola ), G. 207–212 (1781).
  • op. 34: 6 string trios for 2 violins and violoncello, G. 101–106 (1781).
  • op. 35: 6 symphonies, G. 509-514 (1782).
  • op. 36: 6 string quintets for 2 violins, viola and 2 violoncellos ( Opera piccola ), G. 331–336 (1784/1786).
  • op. 37: 4 symphonies, G. 515-518 (1786-1787). No. 2 missing.
  • op. 38: 6 Notturni (sextets and octets) for strings and wind instruments ( Opera piccola ), G. 467–472 (1787). No. 2 and 3 missing.
  • op. 39: 3 string quintets for 2 violins, viola, violoncello and double bass, G. 337–339; 1 string quartet, G. 213 (1787).
  • op. 40: 6 string quintets for 2 violins, viola and 2 violoncellos ( Opera piccola ), G. 340–345 (1788).
  • op. 41: 2 string quintets for 2 violins, viola and 2 violoncellos, G. 346–347; 2 string quartets, G. 214-215; Un gioco di Minuetti ballabili , G. 525; 1 Symphony, G. 516 (1788).
  • op. 42: 1 symphony (G. 520); 4 string quintets for 2 violins, viola and 2 violoncellos (including 1 Opera piccola ), G. 348–351; 2 string quartets ( Opera piccola ), G. 216-217; 1 octet ( Opera piccola ), G. 473 (1789). The octet is lost.
  • op. 43: 1 symphony, G. 521; 3 string quintets for 2 violins, viola and 2 violoncellos (including 1 Opera piccola ), G. 352–354; 2 string quartets ( Opera piccola ), G. 218-219 (1790).
  • op. 44: 6 string quartets ( Opera piccola ), G. 220–225 (1792).
  • op. 45: 1 symphony, G. 522; 4 string quintets for 2 violins, viola and 2 violoncellos, G. 355–358 (1792).
  • op. 46: 6 string quintets for 2 violins, viola and 2 violoncellos, G. 359–364 (1793).
  • op. 47: 6 string trios for violin, viola and violoncello ( Opera piccola ), G. 107–112 (1793).
  • op. 48: 6 string quartets ( Opera piccola ), G. 226–231 (1794).
  • op. 49: 5 string quintets for 2 violins, viola and 2 violoncellos, G. 365–369 (1794).
  • op. 50: 6 string quintets for 2 violins, viola and 2 violoncellos ( Opera piccola ), G. 370–375 (1795).
  • op. 51: 2 string quintets for 2 violins, viola and 2 violoncellos, G. 376–377 (1795).
  • op. 52: 4 string quartets, G. 232-235 (1795).
  • op. 53: 6 string quartets ( Opera piccola ), G. 236–241 (1796).
  • op. 54: 6 string trios for 2 violins and violoncello, G. 113–118 (1796).
  • op. 55: 6 quintets for oboe (or flute), 2 violins, viola and violoncello ( Opera piccola ), G. 431–436 (1797).
  • op. 56: 6 piano quintets, G. 407-412 (1797).
  • op. 57: 6 piano quintets, G. 413-418 (1799).
  • op. 58: 6 string quartets, G. 242–247 (1799).
  • Op. 59: Messa a quatro con tutti stromenti obligati , G. 528 (1800). Lost.
  • op. 60: 6 string quintets for 2 violins, 2 violas and violoncello, G. 391–396 (1801). No. 4 missing.
  • op.61: Stabat mater , G. 532 (1800, first version as early as 1781).
  • op. 62: 6 string quintets for 2 violins, 2 violas and violoncello, G. 397–402 (1802).
  • op. 63: Cantata al Santo Natale di Nostro Signor Jesu-Cristo a quatro voci obligati, coro e stromenti dedicata all'Imperatore di Russia , G. 535 (1802). Lost.
  • op. 64: 2 string quartets (the second unfinished), G. 248–249 (1804).

Prepared on the basis of Yves Gérard, Thematic, Bibliographical and Critical Catalog of the Works of Luigi Boccherini, transl. by A. Mayor, Oxford University Press: London 1969.

Other works

Works for violoncello

  • approx. 40 cello sonatas G. 1–17, 19, 563–566, 568–569, 580 and others without Gérard number
  • 12 cello concertos G. 474-483, 573, G deest

The term “deest” ( Latin for “missing”) describes works that are not listed in the list of works.

Vocal works

  • Oratorios : Gioas re di Giuda G. 537, Il Giuseppe riconosciuto G. 538 (both c. 1764–1766)
  • Cantata La confederazione dei Sabini con Roma G. 543 (1765)
  • Masses and parts of masses: Kyrie G. 529, Gloria G. 530, Credo G. 531
  • Psalms: Dixit Dominus G. 533, Domine ad adjuvandum G. 534
  • Villancicos al Nacimiento de Ntro Senor Jesu-Christo G. 539 (1783)
  • Zarzuela La Clementina G. 540 (1786)
  • 15 concert arias G. 544–558 (undated), a duet for soprano and tenor G. 559 (1792)
  • Scena dell'Ines di Castro G. 541 (1798)

Edits

  • 8 extant quintets for guitar, 2 violins, viola and violoncello G. 445–451 and 453 (1798–1799)

literature

  • Christian Speck (Ed.): Luigi Boccherini Opera Omnia . 45 volumes. Ut Orpheus Edizioni, Bologna, 2005–
  • Christian Speck (General Editor): Boccherini Studies . Ut Orpheus Edizioni, Bologna 2007–
  • Remigio Coli: Luigi Boccherini. La vita e le opere , Maria Pacini Fazzi Editore: Lucca 2005, ISBN 88-7246-679-2 .
  • Ludwig Finscher: Studies on the history of the string quartet . Volume 1: The Origin of the Classical String Quartet. From the preliminary forms to the foundation by Joseph Haydn . Bärenreiter, Kassel 1974, ISBN 3-7618-0419-9 .
  • Yves Gérard: Thematic, Bibliographical and Critical Catalog of the Works of Luigi Boccherini , transl. by A. Mayor. Oxford University Press, London 1969
  • Babette Kaiserkern: Luigi Boccherini. Life and work. Musica amorosa. Weimarer Verlagsgesellschaft, Wiesbaden 2014. Review
  • Elisabeth Le Guin: Boccherini's Body. An Essay in Carnal Musicology . University of California Press, Berkeley 2006, ISBN 0-520-24017-0 .
  • Marco Mangani: Luigi Boccherini . L'epos, Palermo 2005, ISBN 88-8302-289-0 .
  • L. Picquot: Notice sur la vie et les ouvrages de Luigi Boccherini, suivi du catalog raisonné de toutes ses oeuvres, tant publiées qu'inédits . Philipp, Paris 1851
  • Christian Speck:  Boccherini, (Ridolfo) Luigi. In: Ludwig Finscher (Hrsg.): The music in past and present . Second edition, personal section, volume 3 (Bjelinski - Calzabigi). Bärenreiter / Metzler, Kassel et al. 2000, ISBN 3-7618-1113-6 , Sp. 147–166 ( online edition , subscription required for full access)

Web links

Commons : Luigi Boccherini  - album with pictures, videos and audio files

research

Individual evidence

  1. ^ Remigio Coli: Luigi Boccherini. La vita e le opere , Maria Pacini Fazzi Editore: Lucca 2005, ISBN 88-7246-679-2 , pp. 15-16.
  2. ↑ a b c d e f g h i j k l m n Christian Speck:  Boccherini, (Ridolfo) Luigi. In: Ludwig Finscher (Hrsg.): The music in past and present . Second edition, personal section, volume 3 (Bjelinski - Calzabigi). Bärenreiter / Metzler, Kassel et al. 2000, ISBN 3-7618-1113-6 , Sp. 147–166 ( online edition , subscription required for full access)
  3. ^ Remigio Coli: Luigi Boccherini. La vita e le opere , Maria Pacini Fazzi Editore: Lucca 2005, ISBN 88-7246-679-2 , pp. 40, 106 and 109
  4. ^ Remigio Coli: Luigi Boccherini. La vita e le opere , Maria Pacini Fazzi Editore: Lucca 2005, ISBN 88-7246-679-2 , p. 21.
  5. ^ Remigio Coli: Luigi Boccherini. La vita e le opere , Maria Pacini Fazzi Editore: Lucca 2005, ISBN 88-7246-679-2 , pp. 21-24
  6. ^ Remigio Coli: Luigi Boccherini. La vita e le opere , Maria Pacini Fazzi Editore: Lucca 2005, ISBN 88-7246-679-2 , pp. 26-27
  7. ^ Remigio Coli: Luigi Boccherini. La vita e le opere , Maria Pacini Fazzi Editore: Lucca 2005, ISBN 88-7246-679-2 , pp. 30-31
  8. ^ Remigio Coli: Luigi Boccherini. La vita e le opere , Maria Pacini Fazzi Editore: Lucca 2005, ISBN 88-7246-679-2 , pp. 30–31 and 39–40.
  9. ^ Remigio Coli: Luigi Boccherini. La vita e le opere , Maria Pacini Fazzi Editore: Lucca 2005, ISBN 88-7246-679-2 , pp. 35-36 and 44-45
  10. ^ Remigio Coli: Luigi Boccherini. La vita e le opere , Maria Pacini Fazzi Editore: Lucca 2005, ISBN 88-7246-679-2 , pp. 35-39
  11. ^ Remigio Coli: Luigi Boccherini. La vita e le opere , Maria Pacini Fazzi Editore: Lucca 2005, ISBN 88-7246-679-2 , pp. 40-44
  12. ^ Remigio Coli: Luigi Boccherini. La vita e le opere , Maria Pacini Fazzi Editore: Lucca 2005, ISBN 88-7246-679-2 , p. 50
  13. ^ Remigio Coli: Luigi Boccherini. La vita e le opere , Maria Pacini Fazzi Editore: Lucca 2005, ISBN 88-7246-679-2 , pp. 53-54.
  14. ^ Remigio Coli: Luigi Boccherini. La vita e le opere , Maria Pacini Fazzi Editore: Lucca 2005, ISBN 88-7246-679-2 , p. 65
  15. ^ Remigio Coli: Luigi Boccherini. La vita e le opere , Maria Pacini Fazzi Editore: Lucca 2005, ISBN 88-7246-679-2 , pp. 53-54
  16. ^ Remigio Coli: Luigi Boccherini. La vita e le opere , Maria Pacini Fazzi Editore: Lucca 2005, ISBN 88-7246-679-2 , p. 68
  17. ^ Remigio Coli: Luigi Boccherini. La vita e le opere , Maria Pacini Fazzi Editore: Lucca 2005, ISBN 88-7246-679-2 , p. 65.
  18. ^ Remigio Coli: Luigi Boccherini. La vita e le opere , Maria Pacini Fazzi Editore: Lucca 2005, ISBN 88-7246-679-2 , p. 70.
  19. ↑ Marco Mangani: Luigi Boccherini . L'epos, Palermo 2005, ISBN 88-8302-289-0 , pp. 63-67.
  20. ↑ Marco Mangani: Luigi Boccherini . L'epos, Palermo 2005, ISBN 88-8302-289-0 , p. 65.
  21. ^ Remigio Coli: Luigi Boccherini. La vita e le opere , Maria Pacini Fazzi Editore: Lucca 2005, ISBN 88-7246-679-2 , pp. 79-80
  22. ↑ Marco Mangani: Luigi Boccherini . L'epos, Palermo 2005, ISBN 88-8302-289-0 , pp. 65-67.
  23. ↑ Jaime Tortella: Luigi Boccherini. Diccionario de Términos, Lugares y Personas . Asociación Luigi Boccherini, Madrid 2008, ISBN 978-84-612-6846-7 , p. 321.
  24. ^ Remigio Coli: Luigi Boccherini. La vita e le opere , Maria Pacini Fazzi Editore: Lucca 2005, ISBN 88-7246-679-2 , pp. 91-92
  25. ↑ Jaime Tortella: Luigi Boccherini. Diccionario de Términos, Lugares y Personas . Asociación Luigi Boccherini, Madrid 2008, ISBN 978-84-612-6846-7 , pp. 84-85.
  26. ↑ Marco Mangani: Luigi Boccherini . L'epos, Palermo 2005, ISBN 88-8302-289-0 , p. 67.
  27. ^ Remigio Coli: Luigi Boccherini. La vita e le opere , Maria Pacini Fazzi Editore: Lucca 2005, ISBN 88-7246-679-2 , pp. 116 and 120
  28. ^ Remigio Coli: Luigi Boccherini. La vita e le opere , Maria Pacini Fazzi Editore: Lucca 2005, ISBN 88-7246-679-2 , pp. 147-149.
  29. ^ Remigio Coli: Luigi Boccherini. La vita e le opere , Maria Pacini Fazzi Editore: Lucca 2005, ISBN 88-7246-679-2 , p. 159
  30. ^ Christian Speck: Boccherini's string quartets . Munich 1987, pp. 184-185
  31. ^ Charles Burney, Thomas Twining: correspondence . In: The Letters of Charles Burney , ed. S. J. Alvaro Ribeiro. Vol. 1: 1751-1784. Oxford 1991, 376-400 (quoted from: ucla.edu ).
  32. ^ Christian Speck: Boccherini's string quartets . Munich 1987, p. 187
  33. ^ Christian Speck: Boccherini's string quartets . Munich 1987, pp. 187-188
  34. ^ Christian Speck: Boccherini's string quartets . Munich 1987, pp. 189-190
  35. ^ A. Choron, F. Fayolle: Dictionnaire Historique des musiciens . Paris 1810, 86.
  36. ↑ Quoted from the 2nd edition of 1866, Volume 1, pp. 454–455, which is available in the International Music Score Library Project .
  37. ↑ Ludwig Finscher. In: Reclam's chamber music guide . 13th edition. 2005, p. 119
  38. ↑ Luigi Boccherini - Minuet - String Quintet on YouTube
  39. ^ Hannes Fricke: Myth guitar: history, interpreters, great hours. Reclam, Stuttgart 2013, ISBN 978-3-15-020279-1 , p. 187.
  40. ↑ quoted from Remigio Coli: Luigi Boccherini. La vita e le opere . Maria Pacini Fazzi Editore, Lucca 2005, ISBN 88-7246-679-2 , p. 204.
  41. ↑ See the entries on the individual pieces in Yves Gérard: Thematic, Bibliographical and Critical Catalog of the Works of Luigi Boccherini , transl. by A. Mayor. Oxford University Press: London 1969.
  42. ↑ Marco Mangani: Luigi Boccherini . L'epos, Palermo 2005, ISBN 88-8302-289-0 , p. 195
  43. ↑ Cf. for example Ruggero Chiesa (ed.): Sei quintetti per quartetto d'archi e chitarre. Edizioni Suvini Zerboni, Milan.
  44. ↑ Peter Sühring : info-network-music. July 29, 2014; accessed on September 14, 2014
personal data
SURNAME Boccherini, Luigi
ALTERNATIVE NAMES Boccherini, Luigi Rodolfo (full name)
BRIEF DESCRIPTION Italian composer and cellist
DATE OF BIRTH February 19, 1743
PLACE OF BIRTH Lucca
DATE OF DEATH May 28, 1805
Place of death Madrid