Boccherini’s Body: An Essay in Carnal Musicology

Index

index 345 acoustics, 222; influence of, 76–77 acting. See under Diderot afrancesismo, 61, 63–64, 97, 255 Albani, Francesco, 78 Alborea, Francesco. See Francischello Alpers, Svetlana, 76, 244 Amsterdam, Ellen Iris, 224 analysis through performance, 234–53 Andreoli, Carlo, 208 Angiolini, Gasparo, 46–48, 91–96, 138–39, 263; Don Juan, ou Le Festin de pierre, 47, 94; Sémiramis, 93 Aristotle, on making and doing, 135–36 Artaria (publisher), 255 Artaria Quartet, 12 automata, 147–48 Bach, C.P.E., 65; Abschied von meinem Silbermannischen Claviere, 181, 195 Bachaumont, Louis Petit de, 39 Bagge, Baron de, 52 Bailleux (publisher), 55 Baillot, Pierre, 78, 153, 163, 184, 256, 319n50 ballet, 88. See also pantomime ballet Barnes, David, 160 Batoni, Pompeo, 39 Baxandall, Michael, 4, 76, 244 Beaumarchais, Le Mariage de Figaro, 77 Beethoven, Ludwig van, on composition, 277–78n15 bel canto, cellistic, 23 Biagi-Ravenni, Gabriella, 71–72 bien-parado, 97, 100 Blackmore, Richard, 187 Boccherini, Anna Matilda, 43 Boccherini, Giovanni Gastone, 43–45, 71–72 Boccherini, Leopoldo, 43–44, 48 Boccherini, Luigi: abandonment of melodic line, 72–73, 75–76, 210, 223–24; accounts of his cello playing, 39; anecdotes about, 68–69; autograph catalog, omission of virtuoso works, 133; autopsy of, 160, 187–88; “celestial” topos, 32, 130; cello possibly owned by, 293n22; compositional process, 33–36; contemporary comparison with Haydn, 255–57; contemporary writings on, 4; and Haydn, 254; health, 160, 187–88; hedonistic quality in his music, 219; influence of dance music on, 48; influence of Viennese style on, 46–48; interdependence of composer and performer identities, 42; in Lucca, 42–44; and melancholy, 162–82, 204–6; his music associated with painting, 78–79; in Paris, 49–55; partiality to soft dynamics, 71; on performers , 1; portraits of, 39–42, 134; posthumous reputation, 66, 68, 163, 255–56; publications, 55, 61, 255, 325n7; relations with Pleyel, 38; self- Boccherini, Luigi (continued) presentation in letters, 38; sonatas in his oeuvre, 132–33; in Spain, 3, 55–64, 134; string quartets, chronology of, 208–9, 271; string quartets, early, 207–53; style periodization, 208–210; tours of northern Italy, 48; tragedy in his music, 85– 90, 94–95; use of instrumental tessitura, 95; in Vienna, 44–55; virtuosity, 5–6; wife (first), 57–58, 187; his works as a reflection of his character, 38–39; works in Spanish style, 100–102; works omitted from his catalog, 133 Boccherini, Luigi, works: aria “Se d’un amor tiranno” in Bb Major, G. 557, 58, 129; Cello Concerto in Bb Major, 273n1; Cello Concerto in C Major, G. 573, 53; Cello Sonata in C Major, G. 17, 105–29; Cello Sonata in Eb Major, fuori catalogo, 14– 37; Cello Sonata in G Major, G. 5, 130; La Clementina, G. 540, 100; Concerto in A Major, G. 475, 129; Concerto in C Major, G. 477, 293n19; Concerto in G Major, G. 480, 293n19; Quartet in A Major, op. 8, no. 6, G. 170, 67, 74, 215; Quartet in C Minor, op. 2, no. 1, G. 159, 86, 88; Quartet in C Minor, op. 9, no. 1, G. 171, 165–76, 195, 291n4; Quartet in D Major, op. 8, no. 1, G. 165, 70, 190–91; Quartet in E Major, op. 15, no. 3, G. 179, 223–53; Quartet in Eb Major, op. 8, no. 3, G. 167, 217–18; Quartet in Eb Major, op. 9, no. 4, G. 174, 215–17; Quartet in F Major, op. 8, no. 5, G. 169, 176–80, 212–15; Quartet in F Major, op. 9, no. 3, G. 173, 146–47; Quartet in F Major, op. 15, no. 2, G. 178, 73; Quartet in G Minor, op. 8, no. 4, G. 168, 196–204, 215; Quartet op. 53, no. 1, G. 236, 71; Quartets op. 9, G. 171–76, 61; Quintet in A Major, op. 13, no. 5, G. 281, 291n4; Quintet in A Major, op. 28, no. 2, G. 308, 291n4; Quintet in A Minor, op. 20, no. 6, G. 294, 85, 95; Quintet in C Major, op. 30, no. 6, G. 324 (La musica notturna delle strade di Madrid), 100–101; Quintet in C Major, op. 50, no. 5, G. 374, 98–99; Quintet in C Minor, op. 18, no. 1, G. 283, 88–90; Quintet in D Major, op. 11, no. 6, G. 276, 144; Quintet in E Major, op. 11, no. 5, G. 275, 157–59; scena, G. 544, 346 index 302n1; Sextet in C Major...