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acknowledgments Surely, the true importance of a project like this lies in the wonderful human 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 fellowship assistance, without which the book would never have been written. To Wendy Allanbrook, whose work and mentoring profoundly and forever changed how I hear and understand eighteenth-century music. To the American Musicological Society Subvention Fund, which made possible the editing and mastering of the CD bound into this book. To the anonymous readers for UC Press, for their meticulous and perspicacious reading of drafts early and late; and to one particular anonymous reader of a later, “final” draft, whose strenuous objections to the manuscript (and eventual recusal from the project) triggered major revisions; this is a much better book as a result. To my fellow members of the Artaria String Quartet, Elizabeth Blumenstock , Katherine Kyme, and Anthony Martin, for their beautiful playing in the recorded examples of quartet music and their willingness to be paraphrased and fictionalized in chapter 6; and for cheerfully putting up with years of alternate pontificating and woolgathering on my part. To the Junta of the Asociación Luigi Boccherini, Madrid, for welcoming me into the Asociación’s formative process, and for providing much conversational food for thought: Josep Bassal, José Antonio Boccherini, José Carlos Gosálvez, Germán Labrador, Emilio Moreno, Sergio Pagán, Victor Pagán, Bianca Hernández, and Jaime Tortella. To Joseph Auner, former editor of JAMS, and his redoubtable assistant Catherine Gjerdingen. Portions of chapters 1, 3, and 4 appear in vol. 55, no. 2 (fall 2002) in an article entitled “‘One Says That One Weeps, but One xxi Does Not Weep’: Sensible, Grotesque, and Mechanical Embodiments in Boccherini ’s Chamber Music.” To Umberto Belfiore, for recording the two sonatas included on the book’s CD, and for the final editing and mastering of all of the music examples. To José Antonio Boccherini Sánchez and Christina Slot Wiefkers, for graciously welcoming my sometimes clumsy enthusiasm. To Luigi Boccherini himself, whose music (and whose presence within it) continues to delight me profoundly, even after ten years of immersion; since I claim so strenuously to have a living relationship with him, I would be remiss indeed not to thank him for it here. To Bruce Brown, who read early drafts of several chapters, and who was always generous about answering questions that no one else on the planet could have answered. To Marisol Castillo, for the conversation lessons without which the Spanish wing of this project could never have flown. To Gerhard Christmann, for allowing me to reproduce the Liotard portrait of Boccherini, which he owns, and for the gift of an exquisite porcelain bust of the composer. To Laura Davey and Edith Gladstone, who copyedited a difficult mess of a manuscript with grace and precision. To Denis Diderot, my other non-living companion for so much of this project , whose weaving together of intellect and sentiment remains my ideal both as writer and as human being. To my editors at UC Press, Mary Francis and Dore Brown, for their clearsighted , amiable ability to head off panic attacks and keep me on track. To Bonnie Hampton, who taught me not only how to play the cello, but how to think about playing it. To Daniel Heartz, who deftly advised the dissertation from which this book emerged, and whose spacious and gracious understanding of the eighteenth century, and of history in general, I will always strive to emulate. To Ian Honeyman, for early editing and mastering of the book’s CD. To my daughter, Lyra Howell, for tolerating my preoccupation with this project through much of her childhood, when no child should have to demonstrate patience; and for her fine drawing of my left hand, which appears as figure 1. To Mary Hunter, for scholarship that I very much admire, and for her warm support and encouragement. To Mariano Lambea, editor of Revista de musicología. Portions of chapters 1, 3, and 5 appear (in Spanish) in vol. 1 (2004) in an article entitled “Luigi Boccherini y la teatralidad.” To my parents, Ursula and Charles Le Guin, sine qua non. To Lolly Lewis, producer, and Paul Stubblebine, engineer, for recording and editing the Artaria Quartet’s renditions of Boccherini’s opp. 8, 9, and xxii acknowledgments [18.222.10.9] Project MUSE (2024-04-25 05...

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