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In this elegant study of the works of the undeservedly neglected composer Luigi Boccherini, Elisabeth Le Guin uses knowledge gleaned from her own playing of the cello as the keystone of her original approach to the relationship between music and embodiment. In analyzing the striking qualities of Boccherini's music--its virtuosity, repetitiveness, obsessively nuanced dynamics, delicate sonorities, and rich palette of melancholy affects--Le Guin develops a historicized critical method based on the embodied experience of the performer. In the process, she redefines the temperament of the musical Enlightenment as one characterized by urgent, volatile inquiries into the nature of the self. A CD of sound examples, performed by the author and her string quartet, is included with the book. ... Read more

Customer Reviews (1)

Who Let the Cat [Gut] Out of the Bag?
Elizabeth LeGuin is the third in a dynasty of brilliant women writers. Her mother is the popular science fiction novelist Ursula LeGuin, and her grandmother was Theodora Kroeber, author of "Ishi". In this complex study of the music of Luigi Boccherini (1743-1805), LeGuin discloses a "secret" that every skilled musician already knows:

Composers write music for performers, not audiences. More cautiously, one might say that composers necessarily write with performers in mind. It's the composer's ability to sense the performer empathically, to imagine her hands as his on the instrument or his voice resonating in her larynx, which enables him to write in a musical idiom that she can also `speak', even if he is long dead. This notion of composer and performer occupying the same physical space is a central thesis of cellist Elizabeth LeGuin's musicological biography of cellist/composer Luigi Boccherini.

Here's another way to express it: Performers, even if they perform only for their cat or their begonias, experience music on several levels not accessible to passive listeners. Ergo, performers comprise the composer's most satisfying audience, in that only the performers can "get" the whole experience that the composer conceives. I realize that this might be an invidious distinction, and an offensive one, for non-performers who are passionately moved by music. And can it possibly be true or apt for ALL composers? Perhaps we can ignore that question, since we (i.e. Dr. LeGuin) are concentrating our thoughts on one specific composer, Boccherini, who indisputably wrote the bulk of his music for the pleasure of --and purchase by-- performers. But Boccherini lived and composed in a milieu where a major percentage of "the better classes" were somewhat competent at music; they sang and/or played for recreation, among their own families and friends. I could get into troubled waters here by speculating that the paucity of active performers, professional or amateur, in the later 20th C, and the nexus of all cash with passive concert-hall listeners, have fatally disrupted the social bonds of composer and performer. Be that as it may, author LeGuin calls attention to some of the ways that only a performer necessarily experiences music like Boccherini's.

First, there is a visual experience. The performer looks at the score, reads the notes. The `Early Music' movement of our era has made a considerable point about the value of seeing the music as the composer saw it, in original notation. When the music is 15th C polyphony, with its neumes and colorations and total absence of barlines, the point seems indisputable. But even music of the later 18th C, the era of Haydn and Mozart as well as Boccherini, often `looked' quite different from modern editions. In a modern edition, nearly all the music is notated in the treble G clef, the G clef indicated as sounding an octave lower, or the bass F clef. A cellist in Pomerania who purchased a print of a Boccherini sonata published in Paris would have confronted, and would have needed to comprehend, a plethora of G, C, and F clefs with various conventions governing the choice of register. And those clefs woould have changed plunk in the middle of a line of music! LeGuin reveals what those vagrant clefs would have meant to a contemporary of Boccherini's in terms of the `voice' elicited from the cello, that is, the `role' the cello was required to play in the rhetoric of the music. Now then, would a listener perceive such shifts of voice/role? Yes, if the cellist were any good, but only indirectly. The cellist `sees' the music as well as hears herself playing it.

Even a more critically difference in the performer's experience is that she "feels" the music with her entire body. Specifically, a cellist performing a work by Boccherini will feel stress, perhaps even pain, in the positions of her fingers and thumb required from certain passages, and then sequentially feel `release', recovery, pleasure. Or the converse, of course. Boccherini's characteristic repetitive figures surely `mean' something to the physical body of the performer, a meaning which the skilled performer must attempt to convey to the listener. LeGuin continues to examine the culturally framed physical responses of a listener qua performer in the last decades of the 18th Century; she hypothesizes that such a listener `heard' music according to the conventions of dance, theater, and "tableaux vivants". The latter art, so cherished during Boccherini's lifetime, is particularly unintelligible -non-experiential- for a modern audience, as are the ideals of upright posture and carriage enforced on the bodies of men and especially of women by the costumes of the times. LeGuin finds that contemporaries of Boccherini, as they expressed their impressions in letters or published comments, often related Boccherini's music to opera seria. In other words, what a modern listener might hear as `charming' and `light-hearted', an 18th C listener might have felt in his body as grave, perhaps even tragic. There's a hint of the method of the French historian Michel Foucault in this discourse; the whole `grid' of perceptions of a given society in a given era is only abstractly and academically accessible to observers caught in the `grid' of their own times.

A warning to the reader might be in order now: if you can't read music, this book will be unfathomable for you. Going further: if you don't usually listen to music with complete concentration, not only in the concert hall but in your home on your electronics, I fear this book will be dry and unprofitable reading for you. Going even further: much of the discussion in this book relates quite specifically to the physical experience of playing a bowed-string instrument. That discussion presents a challenge even to a musician like me, one who doesn't wield a bow. I'm a wind player -- cornetto, bassoon, recorder, shawm, and modern saxophone are my daily companions -- and at a certain point, I simply have to take LeGuin's word for experiences I don't share. I have, fortunately, played in lots of ensembles with bow-wielders; I've had to hold them movements in the corner of my eye. That gives me some hope that I "know where she's coming from."

But wait! Here's a fresh thought! Music historians have struggled to explain the transformation of the typical early baroque instrumental ensemble, in which winds were equal partners with strings, into the string-dominated `classical' ensembles, the symphonic orchestra and the string quartet/quintet. More vexing to explain is the rather precipitous disappearance of the cornetto, which in the early 17tth C had rivaled the violin in prominence as the virtuosic `front' voice of the ensemble. LeGuin's text does not address this evolution, but it suggests to me an answer, a plausible explanation for the triumph of the violins and cellos. That answer is physical, the visible movement of the bow, a kinesthetic communication to the passive listener from the performer. LeGuin does examine this concept of the bow-movement as an expressive device; she admits that their is no direct correspondence of bowing arm movement to musical affect, and she finds evidence that string players of the 18th and early 19th Centuries were explcitly coached to `reveal' such correspondence by gesture and stage presence. We wind players, cornettists especially, have no recourse to such communicative gesture. `Watching' a cornettist is comparable to watching ice harden; the ideal of cornetto technique is minimum movement, the stillest possible posture and the shortest possible finger stroke on the holes. No wonder we cornettists went extinct! Our audiences couldn't `feel' our vistuosity.

Forgive me now for another independent reflection on the implications of LeGuin's concept of the Musical Body: Feeling a mite defensive toward her descriptions of fingers curling on the neck of her cello and bow arms gesturing to an empathic audience, I had to ask myself how and if wind players (and to some extent, singers) experience music bodily. After some hesitation and doubt, an answer flashed on me. We breathe! We hear music in the rhythm of breathing, in phrases constructed and delimited by breath. The stress and release that LeGuin discovers in the hand positions of the cellist are tantamount to the stress and release of breath control. How obvious, now that I think of it! But I'd never noticed that I tend to breathe in synch with music, especially vocal music, when I sit in the audience. Of course, violinists and cellists will say, "we" also play in phrases that have evolved in the musical vocabulary of winging words; "we" also breathe. Excellent, I answer, but in this YOU are the necessarily empathetic recipient of the singer's or bassoonist's physical enactment of music.

"Boccherini's Body" does incorporate a biography of the composer in the course of its examination of the changes in the cultural nexus of composer/performer/listener that made Boccherini's music less appealing to the next several generations. But Boccherini was an elusive figure who lived in provincial isolation; it would take a sensational imagination to craft a popular film based on his life. Much more interesting is LeGuin's "biography' of the culture of "sensibilities" within which Boccherini thrived -- `sensibilities', that is, as the word was understood by the writers Richardson and Smollett, or by the French painters of the 18th C, whom we now tend to dismiss as sentimental and affected. If, as Michel Foucault hypothesizes, the worldview of one era is unintelligible to another, better evidence could not be found than in our disdain for rococo Sentiment. Hence the change in meaning of that word `sensible', from receptivity to practicality!

There's much more to Elizabeth LeGuin's book than I've extracted here. She also addresses the role of Spanish culture in Boccherini's music -- the tension that prevailed during his years of residence in Spain between internationalism/Frenchification and resistance thereto, in the form of `majismo' or preference for indigenous `popular' manners. Spain indeed started on its long withdrawal, its isolation from European norms, during the years of Boccherini's presence there. LeGuin's text continues through a discussion of the inner, intrinsic signifiers of virtuosity as virtue, and a consideration of the philosophical issue of melancholy as it prevailed in pre-romantic music.

This long, dense, thoughtful and thought-demanding book comes with a CD of Boccherini's music, performed by LeGuin herself, to which the author refers frequently. LeGuin's playing of her beloved composer/master is significantly 'softer', more attentive to Boccherini's own dynamic markings, than most performances on CD today. ... Read more

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This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words.This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ... Read more

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For two violins, viola, cello, and guitar. ... Read more

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Piano part, 13 pp; cello part, 6 pp. ... Read more

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Chapters: Arturo Toscanini, Luigi Boccherini, Carlo Alfredo Piatti, Francesco Zappa, Andrés Rodrigo López, Giovanni Battista Bononcini, Antonio Janigro, Giovanni Sollima, Giovanni Battista Cirri, Enrico Mainardi, Giovanni Lorenzo Lulier, Jean-Baptiste Stuck, Guglielmo Quarenghi, Gaetano Braga, Giacobbe Cervetto, Giovanni Ricciardi, Antonio Guarnieri, Vito Paternoster. Source: Wikipedia. Pages: 76. Not illustrated. Free updates online. Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Excerpt: Arturo Toscanini (Italian pronunciation: ; March 25, 1867 January 16, 1957) was an Italian conductor. One of the most acclaimed musicians of the late 19th century and 20th century, he was renowned for his brilliant intensity, his restless perfectionism, his phenomenal ear for orchestral detail and sonority, and his photographic memory. As music director of the NBC Symphony Orchestra he became a household name through his radio and television broadcasts and many recordings of the operatic and symphonic repertoire. He is widely considered to have been one of the greatest conductors of the 20th century. Toscanini was born in Parma, Emilia-Romagna, and won a scholarship to the local music conservatory, where he studied the cello. He joined the orchestra of an opera company, with which he toured South America in 1886. While presenting Aida in Rio de Janeiro, Leopoldo Miguez, the locally hired conductor, reached the summit of a two-month escalating conflict with the performers due to his rather poor command of the work, to the point that the singers went on strike and forced the company's impresario to seek a substitute conductor. But on the evening of June 30, 1886 maestro Carlo Superti found himself booed by the audience, now prompted by the disgruntled Miguez. Yet another last-minute substitute conductor, Aristide Venturi, could not overcome a hostile,...More: http://booksllc.net/?id=153560 ... Read more

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Les achats comprennent une adhésion à l'essai gratuite au club de livres de l'éditeur, dans lequel vous pouvez choisir parmi plus d'un million d'ouvrages, sans frais. Le livre consiste d'articles Wikipedia sur : Antonio Vivaldi, Luigi Boccherini, Giacomo Antonio Perti, Alessandro Scarlatti, Pirro Albergati, Bernardo Pasquini, Pietro Guglielmi, Giuseppe Maria Cambini, Antonio Veracini, Pasquale Cafaro, Antonio Maria Bononcini, Carlo Grua, Ferdinando Bertoni. Non illustré. Mises à jour gratuites en ligne. Extrait : Antonio Lucio Vivaldi, né le 4 mars 1678 à Venise et mort le 28 juillet 1741 à Vienne, était un violoniste et compositeur italien. Vivaldi a été l'un des virtuoses du violon les plus admirés de son temps (« incomparable virtuose du violon » selon un témoignage contemporain) ; il est également reconnu comme l'un des plus importants compositeurs de la période baroque, en tant qu'initiateur principal du concerto de soliste, genre dérivé du concerto grosso. Son influence, en Italie comme dans toute l'Europe, a été considérable, et peut se mesurer au fait que Bach ait adapté et transcrit plus d'œuvres de Vivaldi que de n'importe quel autre musicien. Son activité s'est exercée dans les domaines de la musique instrumentale, particulièrement au violon, et de celui de la musique lyrique, et elle a donné lieu à la création d'un nombre considérable de concertos, sonates, opéras, pièces religieuses: il se targuait de pouvoir composer un concerto plus vite que le copiste ne pouvait le transcrire. Prêtre catholique, sa chevelure rousse le fit surnommer il Prete rosso, « Le Prêtre roux », sobriquet peut-être plus connu à Venise, que son véritable nom ainsi que le rapporte Goldoni dans ses Mémoires. Comme ce fut le cas pour de nombreux compositeurs du siècle, sa musique, de même que son nom, fut vite oubliée après sa mort. Elle ne devait retrouver un certain intérêt auprès des érudits qu'au siècle, à la faveur de la redécouverte de Je...http://booksllc.net/?l=fr ... Read more

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Chapters: Giacomo Puccini, Pope Lucius Iii, Luigi Boccherini, Mario Cipollini, Simone Bianchi, Charles Iii, Duke of Parma, Princess Margherita of Bourbon-Parma, Pompeo Batoni, Castruccio Castracani, Marcello Pera, Giovanni Arnolfini, Girolamo Lucchesini, Francesco Geminiani, Arrigo Benedetti, Mazzino Montinari, Gioseffo Guami, Carlo Passaglia, Leo Nomellini, Giovanni Domenico Mansi, Ivan Della Mea, Andrea Ammonio, Alfredo Catalani, Pietro Perna, Matteo Civitali, Gusmano Cesaretti, Pietro Paolini, Domenico Martinelli, Felice Matteucci, Elisa Napoléone Baciocchi, Stefano Tofanelli, Gradimir Smudja, Benedetto Brandimarte, Michele Ridolfi, Michela Fanini, Bonaventura Berlinghieri, Filippo Gherardi, Ermete Novelli, Barone Berlinghieri, Pietro Ricchi, Paolo Zacchia the Elder, Stefano Conti, Giovanni Coli, Domenico Puccini, Giovanni Marracci, Giovanni Guidiccioni, Giovanni Domenico Lombardi. Source: Wikipedia. Pages: 154. Not illustrated. Free updates online. Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Excerpt: Giacomo Antonio Domenico Michele Secondo Maria Puccini (22 December 1858 29 November 1924) was an Italian composer whose operas, including La bohème, Tosca, Madama Butterfly and Turandot, are among the most frequently performed in the standard repertoire. Some of his arias, such as "O mio babbino caro" from Gianni Schicchi, "Che gelida manina" from La bohème, and "Nessun dorma" from Turandot, have become part of popular culture. Puccini's birthplace, seen in 1984Puccini was born in Lucca in Tuscany, into a family with five generations of musical history behind them, including composer Domenico Puccini. His father died when Giacomo was five years old, and he was sent to study with his uncle Fortunato Magi, who considered him to be a poor and undisciplined student. Later, Puccini took the position of church organist and choir master i...More: http://booksllc.net/?id=12750 ... Read more

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Les achats comprennent une adhésion à l'essai gratuite au club de livres de l'éditeur, dans lequel vous pouvez choisir parmi plus d'un million d'ouvrages, sans frais. Le livre consiste d'articles Wikipedia sur : Luigi Boccherini, Domenico Cimarosa, Valentino Fioravanti, Andrea Luchesi, Muzio Clementi, Domenico Dragonetti, Luigi Cherubini, Giovanni Paisiello, Giuseppe Sarti, Antonio Salieri, Gaetano Brunetti, Gaspare Spontini, Ferdinando Carulli, Giuseppe Scolari, Ferdinando Paër, Giuseppe Scarlatti, Francesco Antonio Uttini, Tommaso Traetta, Baldassare Galuppi, Niccolò Vito Piccinni, Niccolò Jommelli, Antonio Sacchini, Niccolò Antonio Zingarelli, Felice Alessandri, Giovanni Battista Viotti, Domenico Alberti, Pietro Domenico Paradisi, Felice Giardini, Pietro Guglielmi, Antonio Bartolomeo Bruni, Giovanni Battista Martini, Pasquale Anfossi, Ferdinando Orlandi, Giuseppe Maria Cambini, Bartolomeo Campagnoli, Alessandro Besozzi, Gaetano Pugnani, Pietro Nardini, Domenico Gallo, Ferdinando Bertoni, Antonio Tozzi, Gioacchino Cocchi, Ferdinando Provesi, Gian Francesco de Majo, Filippo Finazzi, Giacomo Tritto, Giacomo Insanguine, Francesco Zappa. Non illustré. Mises à jour gratuites en ligne. Extrait : Luigi Boccherini est un violoncelliste et compositeur italien né à Lucques, près de Pise, en Toscane, le 19 février 1743, mort à Madrid le 28 mai 1805. Boccherini est le plus grand violoncelliste de son temps, il égale en virtuosité ses plus grands contemporains violonistes, tel Giuseppe Tartini. Luigi Ridolfo, troisième enfant d'une fratrie de sept, provient d'une famille d'artistes. Son père, Leopoldo (1712-1766), chanteur, violoncelliste et surtout excellent contrebassiste, est employé dans l'orchestre municipal. Son frère Giovanni Gastone (1742-circa 1800) est le librettiste de plusieurs opéras d'Antonio Salieri, Florian Gassmann et de Joseph Haydn et devint le poète de la cour ; sa sœur, Maria Ester (1740-circa 1800), ballerine épousa ...http://booksllc.net/?l=fr ... Read more

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Les achats comprennent une adhésion à l'essai gratuite au club de livres de l'éditeur, dans lequel vous pouvez choisir parmi plus d'un million d'ouvrages, sans frais. Le livre consiste d'articles Wikipedia sur : Pablo Casals, Luigi Boccherini, Jacques Offenbach, Mstislav Rostropovitch, Victor de Mirecki, František Sláma, Bernhard Romberg, Paul Tortelier, Pierre Fournier, Jean-Baptiste Stuck, Jacqueline Du Pré, Nikolaus Harnoncourt, Louis Abbiate, Auguste-Joseph Franchomme, Byron Fidetzis, André Navarra, Maja Bogdanović, Marie Hallynck, Jean-Baptiste Barrière, Frédéric Lodéon, Gregor Piatigorsky, Maurice Maréchal, Jean-Guihen Queyras, Carlo Alfredo Piatti, Lionel Bringuier, Mischa Maisky, Maurice Gendron, Anne Gastinel, Lluis Claret, John Barbirolli, Franz Schmidt, Henri Demarquette, Lynn Harrell, Anatoli Brandoukov, Daniil Chafran, Karl Davidov, Natalia Gutman, Yo-Yo Ma, Dominique de Williencourt, Clara Zaoui, Jean-Louis Duport, Ophélie Gaillard, Karel Pravoslav Sádlo, Anja Lechner, Jean Zewalt Triemer, Louis Fourestier, Jules Marmier, Gautier Capuçon, Giuseppe Maria Cambini, Emmanuelle Bertrand, Reine Flachot, Pierre Saint-Sevin, Louis Norblin, Ofra Harnoy, Christophe Beau, David Popper, Georg Schnéevoigt, Alexandre Kniazev, Paul Bazelaire, Miklós Perényi, Boris Pergamenchtchikov, János Starker, Evaristo Felice Dall'abaco, Christophe Coin, Giovanni Battista Cirri, Gaspar Cassadó, Leonard Rose, Olsi Leka, Michel Strauss, Annie Balmayer, Anssi Karttunen, Suzanne Ramon, Pierre-Louis Hus-Desforges, Sonia Wieder-Atherton, Roland Pidoux, Anton Fils, Christophe Béguin, Xavier Phillips, Étienne Péclard, Siegfried Palm, Chrystia Kolessa, Yuli Turovsky, Jean Witkowski, Vedran Smailović, Emanuel Feuermann, Pieter Wispelwey, Sergueï Istomin, Jan Páleníček, Anner Bylsma, Adrien-François Servais, Jean-Pierre Duport, Louis-Charles-Joseph Rey, Raphaël Pidoux, Carlos Prieto, Truls Mørk, Lucienne Radisse, Guy Fallot, François Guye, Heinrich Sch...http://booksllc.net/?l=fr ... Read more

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Chapters: Joseph Haydn, Antonio Vivaldi, Johann Sebastian Bach, Heitor Villa-Lobos, Luigi Boccherini, Leopold Hofmann, Jean-Baptiste Bréval, Luka Sorkočević, Friedrich Grützmacher, Domenico Gabrielli, Friedrich Dotzauer, Christoph Theinert, Hans Bottermund. Source: Wikipedia. Pages: 109. Not illustrated. Free updates online. Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Excerpt: Johann Sebastian Bach (German pronunciation: or ) (31 March 1685 28 July 1750) (often referred to simply as Bach) was a German composer, organist, harpsichordist, violist, and violinist whose ecclesiastical and secular works for choir, orchestra, and solo instruments drew together the strands of the Baroque period and brought it to its ultimate maturity. Although he did not introduce new forms, he enriched the prevailing German style with a robust contrapuntal technique, an unrivalled control of harmonic and motivic organisation, and the adaptation of rhythms, forms and textures from abroad, particularly from Italy and France. Revered for their intellectual depth, technical command and artistic beauty, Bach's works include the Brandenburg concertos, the Goldberg Variations, the Partitas, The Well-Tempered Clavier, the Mass in B Minor, the St Matthew Passion, the St John Passion, the Magnificat, The Musical Offering, The Art of Fugue, the English and French Suites, the Sonatas and Partitas for solo violin, the Cello Suites, more than 200 surviving cantatas, and a similar number of organ works, including the celebrated Toccata and Fugue in D minor and Passacaglia and Fugue in C minor. Bach's abilities as an organist were highly respected throughout Europe during his lifetime, although he was not widely recognised as a great composer until a revival of interest and performances of his music in the first half of the 19th century. He is now regarded as the suprem...More: http://booksllc.net/?id=9906294 ... Read more

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Chapters: List of Compositions by Luigi Boccherini, Musica Notturna Delle Strade Di Madrid, String Quintet in E, Cello Concerto No. 9, Cello Concerto No. 2. Source: Wikipedia. Pages: 34. Not illustrated. Free updates online. Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Excerpt: The following is a complete list of compositions of classical composer Luigi Boccherini. Boccherini's works have been catalogued by the French musicologist Yves Gérard (born 1932) in the Gérard catalog, published in London (1969), hence the "G" numbers for his output. ...More: http://booksllc.net/?id=17365658 ... Read more

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Les achats comprennent une adhésion à l'essai gratuite au club de livres de l'éditeur, dans lequel vous pouvez choisir parmi plus d'un million d'ouvrages, sans frais. Le livre consiste d'articles Wikipedia sur : Luigi Boccherini, Scipion Sardini, Mario Cipollini, Giacomo Puccini, Dino Rapondi, Francesco Burlamacchi, Pompeo Batoni, François-Xavier de Bourbon-Parme, Michelangelo Anselmi, Pietro Testa, Castruccio Buonamici, Francesco Geminiani, Alfredo Catalani, Giovanni Domenico Mansi, Sébastien Zamet, Carlo Ludovico Ragghianti, Castruccio Castracani, Élisa Napoléone Baciocchi, Stefano Tofanelli, Filippo Buonamici, Santes Pagnino, Michela Fanini, Giovanni Marracci, Bonaventura Berlinghieri, Tommaso Maria Martinelli, Stefano Della Santa, Sebastino Martinelli, Pietro Paolini, Stefano Cassiani, Lucius Iii, Alfredo Volpi, Domenico Del Frate, Zacchia Lorenzo Il Giovane, Zita de Lucques, Urbano Lucchesi, Pietro Ricchi, Barone Berlinghieri, Ippolito Marracci, Zacchia Di Antonio Da Vezzano, Raffaele Pierotti, Lorenzo Prospero Bottini, Girolamo Scaglia, Giovanni Domenico Lombardi, Filippo Gherardi, Giovanni Coli, Simone Del Tintore, Francesco Del Tintore, Rolando Ugolini, Baldassare Cittadella. Non illustré. Mises à jour gratuites en ligne. Extrait : Luigi Boccherini est un violoncelliste et compositeur italien né à Lucques, près de Pise, en Toscane, le 19 février 1743, mort à Madrid le 28 mai 1805. Boccherini est le plus grand violoncelliste de son temps, il égale en virtuosité ses plus grands contemporains violonistes, tel Giuseppe Tartini. Luigi Ridolfo, troisième enfant d'une fratrie de sept, provient d'une famille d'artistes. Son père, Leopoldo (1712-1766), chanteur, violoncelliste et surtout excellent contrebassiste, est employé dans l'orchestre municipal. Son frère Giovanni Gastone (1742-circa 1800) est le librettiste de plusieurs opéras d'Antonio Salieri, Florian Gassmann et de Joseph Haydn et devint le poète de la cour ; sa sœur,...http://booksllc.net/?l=fr ... Read more