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Yet Boccherini did not come into contact with Pleyel until 1796, and, as far as we know, the quintets Op 19 were never offered to him. In other cases such modifications on autographs were intended to reconstruct a coherent history of Boccherini’s output, in order to persuade the Parisian publisher Pleyel to buy as new some of the collections that had in fact already been printed before the French Revolution. The corrections were clearly made by Boccherini himself. da 1774’ (‘opus 2, 1774’), that is, a numbering and a dating perfectly consistent with both Don Luis’ commission and the 1879 catalogue.
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Yet, as Professor Gérard noted, the entry clearly modifies a previous ‘Opera Sec. We know that Boccherini was contracted to compose three collections per year, each of six compositions, for Don Luis so a ‘sixth’ opus seems inexplicable. ‘seventh book’) is far from clear moreover, the rest of the entry, which is repeated at the beginning of each quintet, has clearly been erased and then corrected. To begin with, what Boccherini means by ‘Libro Settimo’ (i.e. But what is intriguing about Op 19 is the dating on the autograph score, now the property of Germaine de Rothschild’s heirs and carefully examined in the 1960s by Professor Yves Gérard: ‘Opera Sesta 1775 Libro Settimo’. Opus numbers, after all, were not as mandatory as scholars have sometimes supposed. There is nothing strange in such discrepancy of opus numbers we have good reasons to conclude that Boccherini revised the numberings in his catalogue several times in order to offer a credible chronological view of his output to publishers. The so-called ‘autograph’ catalogue (which is by no means an autograph), published in 1879 by Boccherini’s descendant Alfredo and probably based on a late version of the composer’s own catalogue, registers these quintets as ‘Op 19 of 1774’ the first print was made in 1776 and, as we have seen, bore the opus number 25. The exact dating of Op 19 presents one of the many intrigues associated with Boccherini’s career.
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(The so-called ‘Quintetti di Madrid’, also for flute and strings and never committed to print, probably date from the same period.)
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Both collections were to be published slightly later by La Chevardière as Op 21 and Op 25 respectively. Alternatively such a musician might well have been found at the King’s court.īetween 17 Boccherini devoted himself intensively to compositions for flute: besides the Divertimenti Op 16, he also wrote two collections of ‘Quintetti piccoli’ (‘Little quintets’), Opp 17 and 19. According to the titles of both the autograph and the first edition, the Divertimenti were expressly composed for Boccherini’s Spanish patron Don Luis, at whose court he had been working since 1770, even though we know nothing about a possible flute player working there. Two years later, in 1773, Boccherini’s relationship with the flute was to reach its peak, with the Divertimenti Op 16 (published in Paris in 1775 by La Chevardière as Op 15), whose brilliant writing is a clear indication that at this time the composer had a skilful player at his disposal. Regarding the flute, a good example of how Boccherini understood its character and capabilities is found in the Trio section of the Minuet in the Symphony in B flat Op 12 No 5, part of the same 1771 collection as the celebrated ‘La Casa del Diavolo’. In Boccherini’s music wind instruments do not usually play a central role nevertheless, the masterly use of the oboe, flute and horn in the orchestration of his symphonies, together with a handful of relevant chamber pieces, leads us to investigate carefully this particular aspect of his output.