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Boccherini"s Body

Boccherini"s Body

An Essay in Carnal Musicology

Elisabeth Le Guin

UNIVERSITY OF CALIFORNIA PRESS

Berkeley Los Angeles London

University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu.

University of California Press

Berkeley and Los Angeles, California

University of California Press, Ltd.

London, England

© 2006 by Elisabeth Le Guin

Library of Congress Cataloging-in-Publication Data

Le Guin, Elisabeth, 1957-

Boccherini"s body : an essay in carnal musicology / Elisabeth

Le Guin.

p. cm.

Includes bibliographical references and index.

isbn0-520-24017-0 (cloth : alk. paper)

1. Boccherini, Luigi, 1743-1805-Criticism and interpretation.

2. Music-Interpretation (Phrasing, dynamics, etc.) I. Title.

ml410.b66l4 2006

780".92-dc22

2005023224

Manufactured in the United States of America

13 12 11 10 09 08 07 06

10987654321

This book is printed on Natures Book, which contains 50% post-consumer waste and meets the minimum requirements of ansi/niso z39.48-1992 (r1997) (Permanence of Paper).8 But what do my cold and exaggerated expressions mean, my lines without character and without life, these lines that I have just traced, one on top of the other? Nothing, nothing at all; one must see the thing. Mais que signifient mes expressions exagérées et froides, mes lignes sans caractères et sans vie, ces lignes que je viens de tracer les unes au-dessus des autres? Rien, mais rien du tout; il faut voir la chose. denis diderot,"Vernet,"

Salon of 1767

carnal Latin carnalis,fleshly; med. Latin, blood-relationship

1. Of or pertaining to the flesh; fleshly, bodily, corporeal

2. Related by blood

3. a. Pertaining to the body as the seat of passions or

appetites; fleshly, sensual b. Sexual

4. Not spiritual, in a negative sense: material, temporal,

secular

5. Not spiritual, in a privative sense: unregenerate

6. Carnivorous, bloody, murderous

Oxford English Dictionary

contents list of figuresxi list of music examplesxiii cd playlistxv acknowledgmentsxxi

Introduction1

The origins of this project-Boccherini"s generally acknowledged mer- its-some less generally acknowledged qualities-"carnal musicology" as based in the performer"s viewpoint-brief digests of each chapter to come-excursus: historicizing the terms of embodiment-kinesthesia-

Condillac-fact and fiction

1. "Cello-and-Bow Thinking": The First Movement

of Boccherini"s Cello Sonata in EbMajor,

Fuori Catalogo

14 Reciprocity of relationship between performer and dead composer- framing the cellist-body-a carnal reading of the first half of the move- ment in question- thumb-position-pleasure in repetition-cellistic bel canto-the predominance of reflective and pathetic affects- communicability and reciprocality-Rousseau on the role of the performer-subjectivity as a necessity-the second half of the move- ment-relationships between musical form and carnal experience-Boc- cherini"s "celestial" topos-carnality and compositional process-the importance of the visual-in conclusion: the necessary ambivalence of my descriptions and analyses

2. "As My Works Show Me to Be": Biographical38

Boccherini"s self-representation in his letters-the lack of solid first- hand biographical evidence-the divergence of his performer and com- poser identities-period anxieties over those identities-early years in Lucca-familial emphasis on dance-travels to Vienna, 1757-63- possibilities of further touring-possible Viennese influences on Boc- cherini-Paris, 1768: the musical and cultural climate-Parisian virtuoso cellists-circumstantial evidence of meetings between Boc- cherini and Jean-Pierre Duport-Boccherini"s especial success with Parisian publishers-Spain, 1769-Boccherini"s first court post,

1770-the Spanish musical and cultural climate-Boccherini"s adept-

ness at finding a place within it

3. Gestures and Tableaux65

The importance of visuality to period reception-its subsequent de- cline-the effect of this decline on Boccherini"s posthumous reputa- tion-Spohr: "This does not deserve to be called music!"-a passage that might have provoked such a reaction-Boccherinian stasis and repetitiousness-Boccherinian sensibilité-the paintings of Luis Paret-the predominance of soft dynamics-hyper-precision in perfor- mance directions-the lacuna as sensiblestrategy-Boccherinian abandonment of melody in favor of texture-the influence of acoustics- tableaux in period theater and painting-their relations to sensibi- lité-absorption-suppressed eroticism-tragedy and the tableau- the reform body: Angiolini"s classifications of motion styles-Spanish dance and gesture-seguidillas, boleros,andfandangos-Bocche- rini"s complex relations to Spanish style-"Instrumentalist, what do you want of me?": problems in the relation of performance to text

4. Virtuosity, Virtuality, Virtue105

A theatricalized reading of the Cello Sonata in C Major, G. 17- cyclicity in Boccherini"s works-inter-generic recycling of themes and movements-unconscious recycling of subsidiary passages-the influ- ence of tactile experience on this level of composition-etymologies of the word idiom-the sonatas within Boccherini"s oeuvre-virtuosi- philosophical problems posed by virtuosity-virtuosity contra sensi- bilité-the grotesque-actorly virtuosity-the automatic and me- chanical-bodily training toward perfection-the paradox of the actor

5. A Melancholy Anatomy160

Reports of the 1993 exhumation and autopsy of Boccherini"s body- TB, the "white death"-musical melancholies-Boccherinian melan- choly-Edward Young"s Night Thoughts-a melancholic reading of the String Quartet in C Minor, op. 9, no. 1, G. 171, Allegro-melan- cholic labyrinths-from Galen to Descartes-sympathetic vibration as a cause of or cure for melancholy-various consumptions-life and art: some animadversions-satiric melancholy-the performance di- rection con smorfia-other consumptions-Enlightenment anxieties about nocturnal pollution and consumption-the Marquis de Sade- a melancholic reading of the String Quartet in G Minor, op. 8, no. 4, G. 168, Grave-hypochondria as an aspect of musical hermeneutics

6. "It Is All Cloth of the Same Piece":

The Early String Quartets

207
An overview of Boccherini"s work in this genre-style periodization: Boccherini"s relatively unchanging style-woven music: his penchant for texture over melody-recycling the idea of recycling-the problem of "repetition" in ensemble contexts-sublimated caresses-the ro- coco-address to a sforzando-two analyses of the String Quartet in E Major, op. 15, no. 3, G. 179-peculiarities of the work-the first analysis (relatively conventional)-readerly relationships to analysis- the second analysis (experimental)

7. The Perfect Listener: A Recreation254

Boccherini and Haydn"s attempt at correspondence-period compar- ison of the two composers-using carnal musicology on composers other than Boccherini-the Perfect Listener: re-creating "listener per- formance practice"-the Perfect Listener attends a performance of Haydn"s G-major keyboard sonata, Hob. XVI:39-cadential remarks appendix: chronological table of string quartets271 notes273 bibliography331 index345 list of figures

1. Lyra Howell, Left Hand in Thumb-Position20

2. Italian school, eighteenth century, Portrait of Luigi

Boccherini

40

3. Jean-Étienne Liotard, Portrait of Luigi Boccherini41

4. Eighteenth-century map of Castilla y León56

5. Francisco de Goya, Baile a orillas del rio Manzanares63

6. Luis Paret y Alcázar, Ensayo de una comedia72

7. Jean-Baptiste Greuze, La Mère bien-aimée84

8. Francisco de Goya, El entierro de la sardina140

9. Francisco de Goya, "Incómoda elegancia"142

10. Anon., Night the Third: Narcissa164

xi list of music examples

1. Cello Sonata in EbMajor, fuori catalogo, i (Allegro),

first half of movement 15

2. Cello Sonata in EbMajor, fuori catalogo, i (Allegro),

second half of movement 28

3. Transcription of music sketches in Liotard"s Portrait

of Luigi Boccherini 42

4a. Cello Concerto in C Major, G. 573, ii (Largo

cantabile), bars 13-20 54

4b. Jean-Pierre Duport, Étude in D Major, opening

bars 54

5. String Quartet in A Major, op. 8, no. 6, G. 170, i

(Allegro brillante), bars 11-17 67

6. String Quartet in F Major, op. 15, no. 2, G. 178, i

(Allegretto con grazia), bars 104-12 73

7. String Quartet in A Major, op. 8, no. 6, G. 170, iii

(Allegro maestoso), bars 48-57 74

8. String Quartet in C Minor, op. 2, no. 1, G. 159, i

(Allegro comodo), opening bars of first-violin part to words from Cambini"s Nouvelle Méthode 88

9. String Quintet in C Minor, op. 18, no. 1, G. 283, iv

(Allegro assai), bars 67-75 89

10. String Quintet in C Major, op. 50, no. 5, G. 374, ii

(Minuetto a modo di sighidiglia spagnola), bars 1-13 98
xiii

11. Cello Sonata in C Major, G.17, i (Moderato)106

12. Cello Sonata in C Major, G.17, ii (Adagio)113

13. Cello Sonata in C Major, G. 17, ii (Adagio), bars 5-8

to words from Metastasio"s Didone abbandonata 115

14. Cello Sonata in C Major, G. 17, iii (Rondò)118

15a. Cello Sonata in G Major, G. 5, i (Allegro militare),

bars 50-51 130

15b. Cello Sonata in G Major, G. 5, ii (Largo),

opening 130

16. String Quintet in D Major, op. 11, no. 6, "L"uccelliera,"

G. 276, ii (Allegro [I pastori e li cacciatori]), bars

37-49, viola, cello 1, cello 2

144

17. Chord formations from Brunetti151

18. String Quintet in E Major, op. 11, no. 5, G. 275, iii

(Minuetto), opening 158

19. String Quartet in C Minor, op. 9, no. 1, G. 171, i

(Allegro) 166

20. String Quartet in F Major, op. 8, no. 5, G. 169, iii

(Tempo di minuetto), trio 177

21. String Quartet in D Major, op. 8, no. 1, G. 165, i

(Allegro assai), bars 32-35 191

22. String Quartet in G Minor, op. 8, no 4, G. 168, ii

(Grave) 197

23a. String Quartet in F Major, op. 8, no. 5, G. 169, ii

(Allegro), bars 85-96 213

23b. String Quartet in F Major, op. 8, no. 5, G. 169, iii

(Tempo di minuetto), bars 8-14 214

24. String Quartet in EbMajor, op. 9, no. 4, G. 174, i

(Adagio), bars 13-18 216

25. String Quartet in EbMajor, op. 8, no. 3, G. 167, i

(Largo [soto (sic)voce]), bars 22-25 218

26. String Quartet in E Major, op. 15, no. 3, G. 179, i

(Andantino) 225

27. String Quartet in E Major, op. 15, no. 3, G. 179, ii

(Prestissimo)

231xivlist of music examples

cd playlist

All selections are by Luigi Boccherini.

The Artaria String Quartet is made up of Elizabeth Blumen- stock, Katherine Kyme, and Anthony Martin, violin/viola; and

Elisabeth Le Guin, cello.

1. Cello Sonata in E

bMajor, fuori catalogo, i (Allegro).

Elisabeth Le Guin (vcl), Charles Sherman (hps).

Length: 6:46. Examples 1 and 2.

2. Cello Sonata in E

bMajor, fuori catalogo, i (Allegro), bars 5-7. Elisabeth Le Guin (vcl), Charles Sherman (hps). Length: 0:11. Example 1.

3. Cello Sonata in E

bMajor, fuori catalogo, i (Allegro), bars 8-11. Elisabeth Le Guin (vcl), Charles Sherman (hps). Length: 0:12. Example 1.

4. Cello Sonata in E

bMajor, fuori catalogo, i (Allegro), bars 18-22. Elisabeth Le Guin (vcl), Charles Sherman (hps). Length: 0:16. Example 1.

5. Cello Sonata in E

bMajor, fuori catalogo, i (Allegro), bars 26-29. Elisabeth Le Guin (vcl), Charles Sherman (hps). Length: 0:15. Example 1.

6. Cello Sonata in E

bMajor, fuori catalogo, i (Allegro), bars 11-18. Elisabeth Le Guin (vcl), Charles Sherman (hps). Length: 0:32. Example 1.

7. Cello Sonata in E

bMajor, fuori catalogo, i (Allegro), xv bars 36-38. Elisabeth Le Guin (vcl), Charles Sherman (hps). Length: 0:12. Example 2.

8. Cello Sonata in E

bMajor, fuori catalogo, i (Allegro), bars 45-51. Elisabeth Le Guin (vcl), Charles Sherman (hps). Length: 0:32. Example 2.

9. Cello Sonata in E

bMajor, fuori catalogo, i (Allegro), bars 59-62. Elisabeth Le Guin (vcl), Charles Sherman (hps). Length: 0:16. Example 2.

10. String Quartet in A Major, op. 8, no. 6, G. 170, i

(Allegro brillante), bars 11-17. Artaria String Quartet.

Length: 0:32. Example 5.

11. String Quartet in D Minor, op. 9, no. 2, G. 172, ii

(Larghetto), bars 13-23. Artaria String Quartet.

Length: 0:35. No example.

12. String Quartet in D Major, op. 8, no. 1, G. 165, ii

(Adagio), opening. Artaria String Quartet. Length:

0:36. No example.

13. String Quartet in C Minor, op. 9, no. 1, G. 171, ii

(Larghetto), opening. Artaria String Quartet. Length:

1:26. No example.

14. String Quartet in A Major, op. 8, no. 6, G. 170, iii

(Allegro maestoso), bars 48-57. Artaria String

Quartet. Length: 0:19. Example 7.

15. String Quartet in E

bMajor, op. 9, no. 4, G. 174, i (Adagio), bars 1-38. Artaria String Quartet. Length:

2:11. No example.

16. String Quartet in G Minor, op. 8, no. 4, G. 168, ii

(Grave), bars 28-34. Artaria String Quartet. Length:

0:57. Example 22.

17. String Quartet in D Minor, op. 9, no. 2, G. 172, i

(Grave), opening. Artaria String Quartet. Length: 0:37.

No example.

18. Cello Sonata in C Major, G. 17, i (Moderato). Elisabeth

Le Guin (vcl), Charles Sherman (hps). Length: 7:12.

Example 11.

19. Cello Sonata in C Major, G. 17, i (Moderato), bar 5.

Elisabeth Le Guin (vcl), Charles Sherman (hps).

Length: 0:05. Example 11.

20. Cello Sonata in C Major, G. 17, i (Moderato), bar 27.

xvicd playlist

Elisabeth Le Guin (vcl), Charles Sherman (hps).

Length: 0:05. Example 11.

21. Cello Sonata in C Major, G. 17, i (Moderato), bars

33-34. Elisabeth Le Guin (vcl), Charles Sherman

(hps). Length: 0:11. Example 11.

22. Cello Sonata in C Major, G. 17, i (Moderato), bars

35-38. Elisabeth Le Guin (vcl), Charles Sherman

(hps). Length: 0:23. Example 11.

23. Cello Sonata in C Major, G. 17, i (Moderato), bars

45-46. Elisabeth Le Guin (vcl), Charles Sherman

(hps). Length: 0:17. Example 11.

24. Cello Sonata in C Major, G. 17, ii (Adagio). Elisabeth

Le Guin (vcl), Charles Sherman (hps). Length: 3:13.

Example 12.

25. Cello Sonata in C Major, G. 17, ii (Adagio), bars 5-8.

Elisabeth Le Guin (vcl), Charles Sherman (hps).

Length: 0:30. Example 12.

26. Cello Sonata in C Major, G. 17, ii (Adagio), bars 9-11.

Elisabeth Le Guin (vcl), Charles Sherman (hps).

Length: 0:17. Example 12.

27. Cello Sonata in C Major, G. 17, ii (Adagio), bars 13-16.

Elisabeth Le Guin (vcl), Charles Sherman (hps).

Length: 0:35. Example 12.

28. Cello Sonata in C Major, G. 17, ii (Adagio), bars

18-23. Elisabeth Le Guin (vcl), Charles Sherman

(hps). Length: 0:26. Example 12.

29. Cello Sonata in C Major, G. 17, ii (Adagio), bars 23-25.

Elisabeth Le Guin (vcl), Charles Sherman (hps).

Length: 0:18. Example 12.

30. Cello Sonata in C Major, G. 17, iii (Rondò). Elisabeth

Le Guin (vcl), Charles Sherman (hps). Length: 4:13.

Example 14.

31. Cello Sonata in C Major, G. 17, iii (Rondò), bars

112-51. Elisabeth Le Guin (vcl), Charles Sherman

(hps). Length: 0:45. Example 14.

32. Cello Sonata in E

bMajor, fuori catalogo, ii (Largo assai). Elisabeth Le Guin (vcl), Charles Sherman (hps).

Length: 5:58. No example.

33. Cello Sonata in E

bMajor, fuori catalogo, iii (Allegretto cd playlistxvii assai), opening. Elisabeth Le Guin (vcl), Charles

Sherman (hps). Length: 0:28. No example.

34. Cello Sonata in E

bMajor, fuori catalogo, i (Allegro), bars 45-51. Elisabeth Le Guin (vcl), Charles Sherman (hps). Length: 0:32. Example 2.

35. String Quartet in F Major, op. 9, no. 3, G. 173, iii

(Tempo di minuetto), minuet. Artaria String Quartet.

Length: 2:03. No example.

36. String Quartet in F Major, op. 9, no. 3, G. 173, iii

(Tempo di minuetto), trio. Artaria String Quartet.

Length: 1:20. No example.

37. String Quartet in F Major, op. 9, no. 3, G. 173, iii

(Tempo di minuetto), trio, bars 46-50. Artaria String

Quartet. Length: 0:09. No example.

38. String Quartet in F Major, op. 9, no. 3, G. 173, iii

(Tempo di minuetto), minuet D.C. Artaria String

Quartet. Length: 1:05. No example.

39. String Quartet in C Minor, op. 9, no. 1, G. 171, i

(Allegro). Artaria String Quartet. Length: 5:48.

Example 19.

40. String Quartet in C Minor, op. 9, no. 1, G. 171, i

(Allegro), bars 32-38. Artaria String Quartet. Length:

0:24. Example 19.

41. String Quartet in C Minor, op. 9, no. 1, G. 171, i

(Allegro), bars 38-41. Artaria String Quartet. Length:

0:13. Example 19.

42. String Quartet in C Minor, op. 9, no. 1, G. 171, i

(Allegro), bars 44-47. Artaria String Quartet. Length:

0:14. Example 19.

43. String Quartet in F Major, op. 8, no. 5, G. 169, iii

(Tempo di minuetto), trio, bars 37-44. Artaria String

Quartet. Length: 0:24. Example 20.

44. String Quartet in F Major, op. 8, no. 5, G. 169, iii

(Tempo di minuetto), trio, bars 45-52. Artaria String

Quartet. Length: 0:25. Example 20.

45. String Quartet in F Major, op. 8, no. 5, G. 169, iii

(Tempo di minuetto), trio, bars 53-60. Artaria String

Quartet. Length: 0:26. Example 20.

46. String Quartet in F Major, op. 8, no. 5, G. 169, iii

xviiicd playlist (Tempo di minuetto), trio, bars 61-94. Artaria String

Quartet. Length: 0:50. Example 20.

47. String Quartet in D Major, op. 8, no. 1, G. 165, i

(Allegro assai), bars 29-36. Artaria String Quartet.

Length: 0:17. Example 21.

48. String Quartet in C Minor, op. 9, no. 1, G. 171, i

(Allegro), bars 58-60. Artaria String Quartet. Length:

0:13. Example 19.

49. String Quartet in G Minor, op. 8, no. 4, G. 168, ii

(Grave). Artaria String Quartet. Length: 5:05. Example 22.

50. String Quartet in G Minor, op. 8, no. 4, G. 168, ii

(Grave), bar 2. Artaria String Quartet. Length: 0:09.

Example 22.

51. String Quartet in G Minor, op. 8, no. 4, G. 168, ii

(Grave), bars 4-5. Artaria String Quartet. Length:

0:13. Example 22.

52. String Quartet in G Minor, op. 8, no. 4, G. 168, ii

(Grave), bars 6-10. Artaria String Quartet. Length:

0:32. Example 22.

53. String Quartet in G Minor, op. 8, no. 4, G. 168, ii

(Grave), bars 13-14. Artaria String Quartet. Length:

0:15. Example 22.

54. String Quartet in G Minor, op. 8, no. 4, G. 168, ii

(Grave), bars 38-42. Artaria String Quartet. Length:

0:42. Example 22.

55. String Quartet in G Minor, op. 8, no. 4, G. 168, ii

(Grave), bars 15-21. Artaria String Quartet. Length:

0:50. Example 22.

56. String Quartet in F Major, op. 8, no. 5, G. 169, ii

(Allegro), bars 85-96. Artaria String Quartet. Length:

0:21. Example 23a.

57. String Quartet in F Major, op. 8, no. 5, G. 169, iii

(Tempo di minuetto), bars 7-15. Artaria String

Quartet. Length: 0:15. Example 23b.

58. String Quartet in E

bMajor, op. 9, no. 4, G. 174, i (Adagio), bars 13-19. Artaria String Quartet. Length:

0:24. Example 24.

59. String Quartet in E

bMajor, op. 8, no. 3, G. 167, i cd playlistxix (Largo [soto (sic)voce]), bars 22-24. Artaria String

Quartet. Length: 0:23. Example 25.

60. String Quartet in E Major, op. 15, no. 3, G. 179, ii

(Prestissimo), bars 23-50. Artaria String Quartet.

Length: 0:23. Example 27.

61. String Quartet in E Major, op. 15, no. 3, G. 179, i

(Andantino). Artaria String Quartet. Length: 6:55.

Example 26.

62. String Quartet in E Major, op. 15, no. 3, G. 179, i

(Andantino), bars 43-54. Artaria String Quartet.

Length: 0:25. Example 26.

63. String Quartet in E Major, op. 15, no. 3, G. 179, i

(Andantino), bars 54-60. Artaria String Quartet.

Length: 0:15. Example 26.

64. String Quartet in E Major, op. 15, no. 3, G. 179, ii

(Prestissimo). Artaria String Quartet. Length: 2:21.

Example 27.

65. String Quartet in E Major, op. 15, no. 3, G. 179, ii

(Prestissimo), bars 63-73. Artaria String Quartet.

Length: 0:09. Example 27.

66. String Quartet in E Major, op. 15, no. 3, G. 179, i

(Andantino), bars 14-19. Artaria String Quartet.

Length: 0:12. Example 26.

67. String Quartet in E Major, op. 15, no. 3, G. 179, i

(Andantino), bars 23-28. Artaria String Quartet.

Length: 0:13. Example 26.

68. String Quartet in E Major, op. 15, no. 3, G. 179, i

(Andantino), bars 86-92. Artaria String Quartet.

Length: 0:17. Example 26.

69. String Quartet in E Major, op. 15, no. 3, G. 179, i

(Andantino), bars 29-36. Artaria String Quartet.

Length: 0:16. Example 26.

70. String Quartet in E Major, op. 15, no. 3, G. 179, i

(Andantino), bars 94-98. Artaria String Quartet.

Length: 0:10. Example 26.

xxcd playlist acknowledgments Surely, the true importance of a project like this lies in the wonderful hu- man contacts for which it has served as pretext. Herewith, my heartfelt thanks, served up in alphabetical order. To the American Council of Learned Societies, for generous fellowshipquotesdbs_dbs26.pdfusesText_32

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