Luigi Boccherini
Luigi Boccherini was born in Lucca, Italy, on February 19, 1743. After studying music with various private teachers in Rome, he gained recognition as a cellist both as a member of theater orchestras in Lucca and later on tour throughout Europe in joint concerts with Filippo Manfredi, violinist. He served as court composer in Madrid from 1785 to 1787, and from 1787 until 1797 for Friedrich Wilhelm II of Prussia. His last years were spent in Madrid in poverty and poor health, and he died in that city on May 28, 1805.
Boccherini, a contemporary of Haydn, was a prolific composer of symphonies, concertos, and a considerable amount of chamber music which were all-important in helping to develop and crystallize a classical style of instrumental writing and in establishing the classic forms of instrumental music.
Despite the abundance of his creation in virtually every branch of instrumental music, and despite the significance of his finest works, Boccherini is remembered today by many music lovers mainly for a comparatively minor piece of music: the sedate Minuet which originated as the third movement of the String Quintet in E major, op. 13, no. 5. Transcribed for orchestra, and for various solo instruments and piano, (even for solo harpsichord) this light and airy Minuet has become one of the most celebrated musical examples of this classic dance form.
Several of Boccherini’s little known melodies from various quintets and from his Sinfonia No. 2 in B-flat were used by the contemporary French composer, Jean Françaix, for a ballet score, from which comes an enchanting little orchestral suite. The ballet was The School of Dancing (Scuola di Ballo), with book and choreography by Leonide Massine; it was introduced by the Ballet Russe de Monte Carlo in Monte Carlo in 1933. The book was set in the dancing school of Professor Rigadon. The professor tries to palm off one of his backward pupils on an impresario, while withholding his star; in the end all pupils leave him in disgust. The suite is in four parts. The first consists of “Leçon” and “Menuet”; the second, “Larghetto,” “Rondo,” and “Dispute”; the third, “Presto,” “Pastorale,” and “Danse allemande”; the last, “Scène du notaire” and “Finale.” An unidentified program annotator goes on to explain: “An occasional stern note in the ‘Leçon’ and strong chords in the ‘Menuet’ suggest the teacher. The violin and bassoon play a duet which very clearly pictures the inept pupil. Further atmosphere is furnished by a guitar-like accompaniment heard on the harp from time to time. One is soon acquainted with the characters who reappear in the various sections. The ‘Larghetto’ closely resembles a movement in one of Haydn’s symphonies, which suggests a tempting line of speculation. The orchestration of the ‘Rondo’ and the syncopation of the ‘Danse allemande’ are noteworthy.”