Hidden treasures - Luigi Boccherini - The complete symphonies (c. 1765-1798) - Selected highlights

≈ History ≈
At the end of the 1760s Jean-Baptiste Davaux and Carl Stamitz introduced a new musical genre to the European public in the form of the symphonie concertante. Both a direct descendant and a further development of the baroque tripartite opera sinfonia and the traditional sonata, the symphony would prove to be a vehicle of great importance for 18th century composers even before the form reached its revolutionary status with the advent of romanticism. The circumstances of Luigi Boccherini's life dictated that his main occupation would be the composition of chamber music, but he was in fact one of the first composers to embrace the new aesthetic: thus, upon his arrival to Madrid in 1769 Boccherini introduced himself to the Spanish public with the large-scale Symphony in C major (labeled as a "concerto") which would be his first work in the genre. The composer would go on to write no less than 28 extended symphonies (1). In particular, during his happy tenure as court composer to the Spanish infant Don Luis in Aranjuez he wrote no less than 3 symphonic cycles of 6 works each (2).

(1): If we are to ignore the dubious nature of some pieces, such as G500, which are attributed to Boccherini.
(2): Article is based on materials from the Grove Dictionary of Music and the essays of Christian Speck that accompany the CPO recordings that are highlighted in the present case.

≈ Music ≈
Boccherini's status as a chamber composer of elegant court music and a noted contemporary, rather than full equal, of Mozart and Haydn (3) serves as a predisposition for our critical approach to his symphonic efforts. The composer's personal approach to the form went through significant changes in his lifetime which accounts for the variety of scale, structure and orchestration of his oeuvres, ranging from the straightforward and brief 1765 Symphony in D major (originally an overture to a cantata) to the more Germanic works of the 1780s in the more standard four sections, perhaps reflecting the influence of the above-mentioned maestros. In general, workmanship, rather than inspiration, is evident in most of the movements (especially the frequently mechanic allegros), while constant repetitions of phrases leads to a lack of development and subtlety. However, persistence proves to be rewarding, as the jewels one uncovers in the symphonic cycles turn out to be well worth of rediscovery. At his best, Boccherini provides the listener with a continuance of his chamber works: charming melodies, arranged in appealing orchestral accompaniments. The collection presented in this case is effectively a showcase of the slower movements from the symphonies. The sole exclusion is an appealing Allegro from the First Symphony in C major which presents the listener with a daring virtuoso duo for two violins over a constantly developing orchestral background (9:43). Similar opening and closing movements of the symphonies tend to be indistinctive. But it is the perfectly balanced, elegiac andante passages which Boccherini weaves into his music where one finds true beauty: the tender ornamental melody in the warm Grave of G523, at first passed between the guitar/cello/oboe/violin and then effectively blooming into an elegant ensemble in the development section (1:26); the genuinely chilling, even hypnotic brooding string theme of the Andante lento in G509, only accentuated by an extended coda passage effectively contrasting the high trills of the violins with the descending phrases of the remaining orchestra (6:13); the passionately sighing double cello line of the Larghetto in G495, at first constantly interrupted by the remaining orchestral forces but then developing into an eloquent romanza over a stylized heartbeat accompaniment (11:46); the glowing exchange of descending lines between the winds/strings in the Andantino of G503 (14:58); the fragile suspension of the strings' eloquent fiorituras in the Andantino of G497, at times suggesting the advent of a fugue which, however, fails to begin (18:06); and finally, the radiant peaceful of the pastoral Lentarello from G519 disturbed only by a boastful duettino alla caccia for the violins (20:00). It is such passages that fully negate the notion of Boccherini's symphonies as devoid of interest.

(3): Reflected in the affectionate but rather crude commentary of Boccherini as Haydn's [musical] wife.

≈ Scores ≈
Selected sheet music for Boccherini's symphonies (G490, G493-498, G503-508, G515-518, G521) can be found here:
http://imslp.org/wiki/Category:Boccherini,_Luigi

≈ Recording ≈
The 1999 CPO box set which unites all of Boccherini's symphonies on 8 CDs is self-recommending by virtue of both its completeness and the high standards of playing that are achieved by the Deutsche Kammerakademie Neuss (the German Chamber Academy) under the direction of Johannes Goritzki.

Hope you'll enjoy =).

Category:

Music

Tags:

• Boccherini
• symphony
• classical
• orchestra
• cello

[TranskriptionenFan]

You really selected the very most superb highlights !!!

Thank You !!

[aussiechickdiana]

Beautiful...And many thanks for your comments; they are very informative and valuable. All the best, diana

[mmbmbmbmb]

Just what I needed right now. Loveliness, tranquility, beauty ~ expressed musically. Thank you for giving me that pleasure! Kind regards!

[marian444]

Very nice!!!

[Teonareine]

Wonderful !

[ruivog]

Beautiful "visions".