See also:

• LUIGI

LUIGI See also:

• LUIGI BOCCHERINI (1743-1805)

BOCCHERINI (1743-1805)  , See also:

• ITALIAN

Italian composer, son of an Italian See also:

• BASS
• BASS (the same word as " base," and so pronounced, but influenced in spelling by the Ital. basso)

bass-player, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• LUCCA (anc. Luca)
• LUCCA, BAGNI DI (Baths of Lucca, formerly Bagno a Corsena)

Lucca, and studied at See also:

• ROME
• ROME (Roma)

Rome, where he became a See also:

• FINE

fine 'cellist, and soon began to compose . He returned to Lucca, where for some years he was prominent as a player, and there he produced two oratorios and an See also:

• OPERA (Italian for " work ")

opera . He toured in See also:

• EUROPE

Europe, and in 1768 was received in See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris by See also:

• GOSSEC, FRANCOIS JOSEPH (1734—1829)

Gossec and his circle with See also:

• GREAT

great See also:

• ENTHUSIASM

enthusiasm, his instrumental pieces being highly applauded; and from 1769 to 1785 he held the See also:

• POST

post of " composer and virtuoso " to the See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

king of See also:

• SPAIN
• SPAIN (Espana)

Spain's See also:

• BROTHER

brother, the See also:

• INFANTE (Spanish and Portuguese form of Lat. infans, young child)

infante Luis, at See also:

• MADRID

Madrid . He afterwards became " chamber-composer " to King See also:

• FREDERICK
• FREDERICK (Mod. Ger. Friedrich; Ital. Federigo; Fr. Frederic and Federic; M.H.G. Friderich; O.H.G. Fridurih, " king or lord of peace," from O.H.G. fridu, A.S. frith, " peace," and rfh " rich," " a ruler," for derivation of which see HENRY)

Frederick See also:

• WILLIAM
• WILLIAM (1143-1214)
• WILLIAM (1227-1256)
• WILLIAM (1J33-1584)
• WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
• WILLIAM (c. 1130-C. 1190)
• WILLIAM, 13TH

William II. of See also:

• PRUSSIA
• PRUSSIA (Ger. Preussen; Lat. Borussia)

Prussia, till 1797, when he returned to Spain . He died at Madrid on the 28th of May 1805 . As an admirer of See also:

• HAYDN, FRANZ JOSEPH (1732–1809)

Haydn, and a voluminous writer of instrumental See also:

• MUSIC

music, chiefly for the See also:

• VIOLONCELLO (Fr. violoncelle, Ger. Violoncell, Ital. violoncello)

violoncello, See also:

• BOCCHERINI, LUIGI (1743-1805)

Boccherini represents the effect of the rapid progress of a new See also:

• ART

art on a mind too refined to be led into crudeness, too inventive and receptive to neglect any of the new See also:

• ARTISTIC

artistic resources within its See also:

• COGNIZANCE (Lat. cognoscere, to know)

cognizance, and too superficial to grasp their real meaning . His mastery of the violoncello, and his advanced sense of beauty in instrumental See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone-See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour, must have made even his earlier See also:

• WORKS

works seem to contemporaries at least as novel and mature as any of those experiments at which Haydn, with eight years more of See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age and experience, was labouring in the development of the true new forms . Most of Boccherini's technical resources proved useless to Haydn, and resemblances occur only in Haydn's earliest works (e.g. most of the slow movements of the quartets in op . 3 and in some as See also:

• LATE

late as op . 17); whichever derived the characteristics of such movements from the other, the See also:

• ADVANTAGE

advantage is decidedly with Boccherini . But the progress of music did not See also:

• LIE, JONAS LAURITZ EDEMIL (1833—1908)
• LIE, MARIUS SOPHUS (1842–1899)

lie in the See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production of novel beauties of instrumental tone in a See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style in which polyphonic organization was either deliberately abandoned or replaced by a pleasing illusion, while the See also:

• FORM (Lat. forma)

form in its larger aspects was a See also:

• MERE
• MERE, ADALBERT (1838-1909)

mere inorganic amplification of the old See also:

• SUITE (Suite de pieces; Ordre; Partita)

suite-forms, which presupposed a genuine polyphonic organization as the vitalizing principle of their otherwise purely decorative nature . The true tendency of the new See also:

• SONATA (From Ital. sonare, to sound)

sonata forms was to make instrumental music dramatic in its variety and contrasts, instead of merely decorative .

Haydn from the outset buried himself with the handling of new rhythmic proportions; and if it is hardly an exaggeration to say that the surprising beauty of colour in such a specimen of Boccherini's 125 See also:

• STRING

string-quintets as that in E See also:

• MAJOR
• MAJOR (Lat. for " greater ")
• MAJOR (or MAIR), JOHN (1470-1550)

major (containing the popular See also:

• MINUET (adapted, under the influence of the Italian minuetto, from Fr. menuet, small, pretty, delicate, a diminutive of menu, from Lat. minutus; the word refers probably to the short steps, pas menus, taken in the dance)

minuet) is perhaps more See also:

• MODERN

modern and certainly safer in performance than any See also:

• SPECIAL

special effect Haydn ever achieved, it is nevertheless true that even this beauty fails to justify the length and monotony of the See also:

• WORK

work . Where Haydn uses any fraction of the resources of such a style, the ultimate effect is in proportion to a purpose of which Boccherini, with all his genuine admiration of his See also:

• ELDER (0. Eng. ellarn; Ger. Holunder; Fr. sureau)
• ELDER (Gr. 1rpev(3iTepos)

elder brother in art, could form no conception . Boccherini's works are, however, still indispensable for violoncellists, both in their See also:

• EDUCATION

education and their See also:

• CONCERT (through the French from Lat. con-, with, and certare, to strive)

concert repertories; and his position in musical See also:

• HISTORY

history is assured as that of the most See also:

• ORIGINAL

original and, next to See also:

• TARTINI, GIUSEPPE (1692–1770)

Tartini, perhaps the greatest writer of music for stringed See also:

• INSTRUMENTS

instruments in the late Italian amplifications of the older quasi-polyphonic sonata or suite-form that survived into the beginning of the 19th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century in the works of Nardini . Boccherini may safely be regarded as its last real See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master . He was wittily characterized by the contemporary violinist Puppo as " the wife of Haydn "; which is very true, if See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man and woman are two different See also:

• SPECIES

species; but not as true as e.g. the equally See also:

• COMMON

common saying that " See also:

• SCHUBERT, FRANZ PETER (1797-1828)

Schubert is the wife of See also:

• BEETHOVEN, LUDWIG VAN (1770-1827)

Beethoven," and still less true than that " See also:

• VITTORIA

Vittoria is the wife of See also:

• PALESTRINA, GIOVANNI PIERLUIGI DA (1526-1594)

Palestrina." His See also:

• LIFE

life, with a See also:

• CATALOGUE (a Fr. adaptation of the Gr. KaraXoyos, a register, from Karalyety, to enrol or pick out)

Catalogue raisonne, was published by L . Picquot (1851) . (D . F .