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25-719: Boccherini's output also includes several guitar quintets. The final movement of the Guitar Quintet No. 4 in D (G 448) is a fandango , a lively Spanish dance. Boccherini was born into a musical family in Lucca , Italy in 1743. He was the third child of Leopoldo Boccherini, a cellist and double-bass player, and the brother of Giovanni Gastone Boccherini, a poet and dancer who wrote libretti for Antonio Salieri and Joseph Haydn . Luigi received his first music lessons at age five by his father, who taught him cello, and then continued his studies at age nine with Abbé Vanucci, music director of

50-517: A "godless dance". Just as the Consistory were about to prohibit it, one of the judges remarked that it was not fair to condemn anyone unheard. Two celebrated dancers were accordingly introduced to perform the fandango before the Consistory. This they did with such effect, that, according to the old chronicler, "every one joined in, and the hall of the consistorium was turned into a dancing saloon". No more

75-564: A dozen guitar quintets, not all of which have survived, nearly a hundred string quartets, and a number of string trios and sonatas (including at least 19 for the cello). His orchestral music includes around 30 symphonies and 12 virtuoso cello concertos . Boccherini's works have been catalogued by the French musicologist Yves Gérard (1932–2020) in the Gérard catalog , published in London (1969), hence

100-606: A local cathedral, at San Martino. When his son reached thirteen, Leopoldo Boccherini sent him to study in Rome with Giovanni Battista Costanzi . In 1757 Luigi Boccherini and his father both went to Vienna , where the court employed them as musicians in the Burgtheater . In 1768 Boccherini went to Madrid , entering in 1770 the employ of Infante Luis Antonio of Spain (1727–1785), younger brother of King Charles III of Spain . There, Boccherini flourished under royal patronage, until one day when

125-533: A result of the extravagant features of the dance, the word fandango is used as a synonym for "a quarrel", "a big fuss", or "a brilliant exploit". In Veracruz, Mexico , a fandango is a party where people get together to dance, to play and to sing in a community setting. As local musicians perform the Son Jarocho music, people dance " zapateado " atop a large wooden platform known as a Tarima . [REDACTED] This article incorporates text from this source, which

150-514: Is a lively partner dance originating in Portugal and Spain, usually in triple meter , traditionally accompanied by guitars, castanets, tambourine or hand-clapping. Fandango can both be sung and danced. Sung fandango is usually bipartite: it has an instrumental introduction followed by "variaciones". Sung fandango usually follows the structure of "cante" that consist of four or five octosyllabic verses (coplas) or musical phrases (tercios). Occasionally,

175-406: Is evident in the cello parts of his compositions (particularly in the quintets for two cellos, treated often as cello concertos with string quartet accompaniment ). He wrote a large amount of chamber music, including over one hundred string quintets for two violins, viola and two cellos (a type which he pioneered, in contrast with the then common scoring for two violins, two violas and one cello),

200-765: Is given by Dohrn in the Neue Zeitschrift f. Music. The current 4 pattern of the fandango, its distinctive progression (i–iv–V) lyrics with octosyllabic verses and the use of castanets and guitars are well-documented from the 18th century. The fandangos grandes (big fandangos) are normally danced by couples, which start out slowly with gradually increasing tempo. Many varieties are derived from this one. The fandanguillos (little fandangos) are livelier, more festive derivations of fandangos. Some regions of Spain have developed their own style of fandangos, such as Huelva (fandangos de Huelva) and Málaga (fandangos de Málaga , or Verdiales ) . Northern areas such as

225-527: Is in the public domain : Grove, Sir George (1908). Grove's Dictionary of Music and Musicians . New York, McMillan. Yves G%C3%A9rard Yves-René-Jean Gérard (6 January 1932 – 6 October 2020) was a French musicologist . Born on 6 January 1932 in Châlons-sur-Marne , Yves Gérard studied philosophy at the Nancy-Université from 1949 to 1955. Following his graduation, he studied

250-529: Is known especially for his scholarly works on the composers Luigi Boccherini and Camille Saint-Saëns . He has also made significant contributions to the study of the chamber music of late-18th century Italy , Spain , and Austria , and to French music of the 18th, 19th and 20th centuries. The Grove Dictionary of Music and Musicians writes that his major work has been on the writings of Hector Berlioz . In 1983 he co-edited volume 4 of Berlioz's Correspondance générale , and in 1996 he co-edited Volume 1 of

275-593: The Pontifical Basilica of St. Michael in Madrid until 1927, when his remains were repatriated and buried in the church of San Francesco in his native Lucca. Much of Boccherini's chamber music follows models established by Joseph Haydn ; however, Boccherini is often credited with improving Haydn's model of the string quartet by bringing the cello to prominence, whereas Haydn had frequently relegated it to an accompaniment role. Some sources for Boccherini's style are in

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300-656: The Principality of Asturias , the Basque Country and Castile and León have preserved a more relaxed performance. Fandango is one of the main folk dances in Portugal . The choreography is quite simple: on its more frequent setting two male dancers face each other, dancing and tap-dancing one at a time, showing which has the most lightness and repertoire of feet changes in the tap-dancing. The dancers can be boy and girl, boy and boy (most frequent) or, rarely, two girls. While one of

325-590: The piano for three years at the Nancy Conservatory. From 1955 to 1956 he studied at the Sorbonne under composer, musicologist and theoretician Jacques Chailley . At the Conservatoire de Paris he studied music history, musicology and aesthetics. In 1956, he won first prize for music history, and in 1958 for aesthetics. He succeeded his teacher, Norbert Dufourcq , as professor of music history and musicology at

350-508: The "G" numbers applied to his output. Boccherini's style is characterized by Rococo charm, lightness, and optimism, and exhibits much melodic and rhythmic invention, coupled with frequent influences from the guitar tradition of his adopted country, Spain. Boccherini's music is heard in the 2003 feature film Master and Commander: The Far Side of the World . (All performed by Jacques Lochet, violin and synthesiser.) Fandango Fandango

375-622: The Conservatoire in 1975, and retained this post until he retired in 1997. From 1979 to 1982, Gérard served as president of the French association of musicologists Société Française de Musicologie , and he was the French representative to the International Musicological Society from 1982 until 1992. Gérard taught at Laval University as visiting professor from 1984 to 1986, and the University of Maryland in 1987. Gérard

400-430: The French ambassador to Spain, Lucien Bonaparte (1775–1840), as well as King Friedrich Wilhelm II of Prussia (1744–1797), himself an amateur cellist, flautist , and avid supporter of the arts. Boccherini fell on hard times following the deaths of his Spanish patron (1785), his two wives (1785 and 1805), and his four daughters (1796, 1802 and 1804). He died in Madrid in 1805, survived by two sons. His body lay buried in

425-628: The King expressed his disapproval at a passage in a new trio, and ordered Boccherini to change it. The composer, no doubt irritated with this intrusion into his art, doubled the passage instead, which led to his immediate dismissal. Then he accompanied Don Luis (the Infante ) to Arenas de San Pedro , a little town in the Gredos Mountains in Ávila ; there and in the nearest town of Candeleda Boccherini wrote many of his most famous works. Later patrons included

450-449: The dancers dances, the other just "goes along". Afterwards, they "both drag their feet for a while" until the other one takes his turn. They stay there, disputing, seeing which one of them makes the feet transitions more eye-catching. The "fandango do Ribatejo" refers specifically to the form of fandango practiced in Ribatejo , Portugal. The dance is usually performed by two Campinos . As

475-700: The earliest description of the dance itself is found in a 1712 letter by Martín Martí, a Spanish priest. The fandango's first sighting in a theatrical work was in Francisco de Leefadeal 's entremés "El novio de la aldeana" staged in Seville, ca. 1720. By the late 18th century it had become fashionable among the aristocracy and was often included in tonadillas , zarzuelas , ballets and operas , not only in Spain, but also elsewhere in Europe. Widely varying claims have been made about

500-414: The finale of Luigi Boccherini 's String Quartet Op. 40 No. 2 (1798) and Guitar Quintet G.448; Antonio Soler 's Fandango for harpsichord; and the finale of Rimsky-Korsakov 's Capriccio Espagnol . Luis de Freitas Branco 's third movement of his "Suite Alentejana No. 1" is inspired on the fandango of the regions of Alentejo and Ribatejo of Portugal. Camille Saint-Saëns' "Danse Macabre" also follows

525-448: The first copla is repeated. The meter of fandango is similar to that of the bolero and seguidilla . It was originally notated in 8 time, of slow tempo, mostly in the minor, with a trio in the major; sometimes, however, the whole was in a major key. Later it took the 3-4 tempo, and the characteristic Spanish rhythm. The earliest fandango melody is found in the anonymous "Libro de diferentes cifras de guitarra" from 1705, and

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550-459: The origin of fandango: its relation to the jabera, the soleá , and the petenera ; to the Andalusian malagueña , granadina , murciana and rondeña ; to the canario and gitano ; to the jota aragonesa. There is a curious piece of history said to be connected with this dance. Soon after its first introduction, in the 17th century, it was condemned by the ecclesiastical authorities in Spain as

575-418: The rhythm of the fandango. Italian composer Domenico Scarlatti , who was influenced by Iberian folk music, had several passages reminiscent of fandango, such as in his keyboard sonata K. 492 (1756) which has been called "Fandango portugués". The piece "Fandango del Sigr. Escarlate" has been attributed to him, but some scholars dispute this claim and its similarity to fandangos. The Spanish form of fandango

600-436: The works of a famous Italian cellist, Giovanni Battista Cirri , who was born before Boccherini and before Haydn. A virtuoso cellist, Boccherini often played violin repertoire on the cello, at pitch , a skill he developed by substituting for ailing violinists while touring. This supreme command of the instrument brought him much praise from his contemporaries (notably Pierre Baillot , Pierre Rode , and Bernhard Romberg ), and

625-440: Was heard of the condemnation of the fandango. The form of fandango has been used by many European composers, and often included in stage and instrumental works. Notable examples include J. P. Rameau 's "Les trois mains" (in "Nouvelles suites de pièces de clavecin", ca. 1729–30); Fandango forms #19 in the part 2 of Gluck 's ballet Don Juan (1761); in the third-act finale of Mozart 's opera The Marriage of Figaro (1786); in

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