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Editorial Reviews
Product Description
In this elegant study of the works of the undeservedly neglected composer Luigi Boccherini, Elisabeth Le Guin uses knowledge gleaned from her own playing of the cello as the keystone of her original approach to the relationship between music and embodiment. In analyzing the striking qualities of Boccherini's music--its virtuosity, repetitiveness, obsessively nuanced dynamics, delicate sonorities, and rich palette of melancholy affects--Le Guin develops a historicized critical method based on the embodied experience of the performer. In the process, she redefines the temperament of the musical Enlightenment as one characterized by urgent, volatile inquiries into the nature of the self. A CD of sound examples, performed by the author and her string quartet, is included with the book.
From the Inside Flap
"Boccherini's Body is extremely important, both for its new directions and for its unique combination of interests. It offers a considerable amount of little-known material, and does so daringly and skillfully. Le Guin is a joy to read."--John Butt, author of Playing With History
"Virtuoso writing by a professional performer, this book unites history, biography, cultural studies, and a physically-lived sense of Boccherini's music. It is a work of unusual scholarly imagination; not only does it bring an under-studied body of music to light, but it also introduces new ways to think about performance in historical context."--Mary Hunter, author of the Culture of Opera Buffa in Mozart's Vienna
"Le Guin's book is an adventure in new forms of musical analysis, with a beguilingly passionate, yet rigorous style of philosophical introspection. Her book explodes old analytical paradigms, attending to the technologies and erotics of musical performance in ways some have wanted to do but none have achieved as Le Guin has. This book will catapult Le Guin to stardom."--Martha Feldman, author of City Culture and the Madrigal at Venice
See all Editorial Reviews
In this elegant study of the works of the undeservedly neglected composer Luigi Boccherini, Elisabeth Le Guin uses knowledge gleaned from her own playing of the cello as the keystone of her original approach to the relationship between music and embodiment. In analyzing the striking qualities of Boccherini's music--its virtuosity, repetitiveness, obsessively nuanced dynamics, delicate sonorities, and rich palette of melancholy affects--Le Guin develops a historicized critical method based on the embodied experience of the performer. In the process, she redefines the temperament of the musical Enlightenment as one characterized by urgent, volatile inquiries into the nature of the self. A CD of sound examples, performed by the author and her string quartet, is included with the book.
From the Inside Flap
"Boccherini's Body is extremely important, both for its new directions and for its unique combination of interests. It offers a considerable amount of little-known material, and does so daringly and skillfully. Le Guin is a joy to read."--John Butt, author of Playing With History
"Virtuoso writing by a professional performer, this book unites history, biography, cultural studies, and a physically-lived sense of Boccherini's music. It is a work of unusual scholarly imagination; not only does it bring an under-studied body of music to light, but it also introduces new ways to think about performance in historical context."--Mary Hunter, author of the Culture of Opera Buffa in Mozart's Vienna
"Le Guin's book is an adventure in new forms of musical analysis, with a beguilingly passionate, yet rigorous style of philosophical introspection. Her book explodes old analytical paradigms, attending to the technologies and erotics of musical performance in ways some have wanted to do but none have achieved as Le Guin has. This book will catapult Le Guin to stardom."--Martha Feldman, author of City Culture and the Madrigal at Venice
See all Editorial Reviews
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Inside This Book
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First Sentence:
Anyone who performs old music or who has written about its history can attest to identifying with composers. Read the first page Key Phrases - Capitalized Phrases (CAPs): (learn more)
First Violinist, Cello Sonata, Perfect Listener, Don Juan, Don Luis, Luigi Boccherini, Museo del Prado, Christian Speck, Concerts Spirituels, Sitios Reales, Giovanni Gastone, Maria Ester, Pierre Baillot, String Quintet, Author Where, Francisco de Goya, Robert Burton New!
Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Surprise Me!
Anyone who performs old music or who has written about its history can attest to identifying with composers. Read the first page Key Phrases - Capitalized Phrases (CAPs): (learn more)
First Violinist, Cello Sonata, Perfect Listener, Don Juan, Don Luis, Luigi Boccherini, Museo del Prado, Christian Speck, Concerts Spirituels, Sitios Reales, Giovanni Gastone, Maria Ester, Pierre Baillot, String Quintet, Author Where, Francisco de Goya, Robert Burton New!
Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Surprise Me!
Citations (learn more)
This book cites 69
books:
See all 69 books this book cites
- Dictionary Of Music And Musicians (9 Volumes)) (Music Book Index) by Sir George Grove on 10 pages
- New Grove Dictionary by Sadie on 8 pages
- Tiepolo and the Pictorial Intelligence by Professor Svetlana Alpers on 7 pages
- The Anatomy of Melancholy (New York Review Books Classics) by Robert Burton on 7 pages
- The New Grove Dictionary of Music and Musicians (20 Volume Set) by Stanley Sadie on 7 pages
See all 69 books this book cites
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