4 in D major (G ) for 2 Violins, Viola, Violoncello and Guitar [Score] Author: Luigi Boccherini () Editor: Fulvia Morabito, Andrea Schiavina. 4 In D Major G ‘Fandango’. Luigi Boccherini was not only one of the most prolific Italian composers of the 18th century, he was a virtuoso. Luigi Boccherini was the foremost Italian composer of instrumental music 4 in D major (G[√©rard] ) from the first two movements of his Quintet, Op. 12, No.

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Luigi Boccherini | Quintet No. 4 in D major (G 448) Score

Luigi V was the foremost Italian composer of instrumental music during the late 18th century. The son of a cellist, he learned his father’s instrument early and well, and made his public debut in his native Lucca at the age of thirteen. The following year,he and his father took up appointments in the orchestra of the court theater in Vienna, where Luigi’s reputation as a performer began to be matched by that of his compositions, as indicated by their widespread contemporary distribution in manuscript copies.

In Aprilhe returned to Lucca as composer and cellist at the church of St. At the end ofBoccherini embarked 44 a concert tour with a hometown friend, violinist Filippo Manfredi, bodcherini ended in Paris several months later; they remained there at least until the summer of Boccherini’s playing and compositions were much admired in the French capital, and many of his works, mostly chamber music for strings, were printed by local publishing houses.

His appearances at the Concert Spirituel in were apparently the inspiration for him to compose a number of concertos for cello, four of which were printed in InBoccherini moved to Madrid at the urging of the Spanish ambassador to Bocfherini. The following year he composed and dedicated to Don Luis, the Spanish Infante, younger brother of King Charles III, a set of quartets, and was rewarded with an appointment beginning in November to serve the Infante boccherinj virtuoso di camera [” chamber virtuoso “] e compositor boccherinni musica.


The next fifteen years were a time of security and steady activity for Boccherini: This happy period came to an end inwhen both Boccherini’s wife and Don Luis died.

Two years earlier, through the Prussian ambassador, Boccherini had met Prince later King Friedrich Wilhelm of Prussia, himself a cellist and an avid lover of music.

The Prince had expressed a boccheriini to have some new works provided to him by Boccherini, but his contract with Don Luis prohibited him from composing for anyone else.

Boccherini: Quintet No. 4 in D G ‘Fandango’ (page 1 of 4) | Presto Classical

With the Infante’s death, however, Boccherini was free to accept new employment, and he was appointed chamber music composer to Friedrich Wilhelm on January 21, The records of Boccherini’s activities for the decade following are scarce, but he seems to have remained in Madrid, where he filled Friedrich’s commissions as well as those from several Portuguese, Spanish and French patrons. Following Friedrich’s death inand the refusal of his successor to continue Boccherini’s employment, Boccherini’s income became undependable.

Apparently because of his gentle nature, he was regularly cheated by his publishers, despite their sizable profits from the sale of his music, which remained popular in Paris, London and elsewhere.

Occasional commissions came his way, as did a small pension granted to him by Don Luis, but bocfherini pianist and composer Sophie Gail reported finding him in financial distress during her visit to Madrid in His condition bocchernii been exacerbated by the deaths the preceding year of two daughters; his second wife and another daughter passed away in Boccherini died in Madrid on May 28,from respiratory failure; inhis remains were returned to Lucca.

During the late s, Boccherini arranged about a dozen of his existing string quintets for the combination of guitar and string quartet, mostly on commission from the Spanish nobleman Marquis de Benavente.


Louis Picquot, an early biographer of the composer, explained: He asked Boccherini to provide a guitar part for his own use in those compositions which he liked, in exchange for one hundred francs for each quartet, quintet or symphony. Several other rich amateurs acted in a similar manner, which prompted Boccherini not to compose, as many believed, but to arrange with a bocfherini part a rather large number of chosen pieces from among his works.

The Quintet opens with an ingratiating Pastorale of gently swaying rhythms and vernal mood. The guitar assumes an accompanimental boccherjni in the buoyant Allegro maestoso while the cello Boccherini’s instrument is featured in high-register flourishes. A stately Grave assai serves as the introduction to the brilliant closing Fandangoa folk dance in moderately fast triple meter built upon alternating tonic and dominant chords that originated in Spain in the early 18th century.

The Fandango was traditionally performed by couples with castanets accompanied by guitars, and here Boccherini distilled the essence of the dance in both the musical content and in calling for a sistrum a rattle of ancient origin whose jangling sound resembles that of a modern tambourine and castanets.

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