Album insights
In Boccherini's music, wind instruments generally do not take a central role. However, the masterful use of the oboe, flute, and horn in orchestrating his symphonies, along with selected chamber music pieces, led to a closer examination of this aspect in the composer's body of work. For instance, in the trio section of the Minuet from the Symphony in B-flat Major Op. 12, No. 5, dating back to 1771 along with the famous Symphony "La Casa del Diavolo," one finds a compelling example showcasing Boccherini's understanding of the character and potential of the flute. Fast forward to 1773, Boccherini's connection with the flute reached its peak with the Divertimenti Op. 16, published in 1775 in Paris as Op. 15 by La Chevardière. These virtuosic compositions suggest the presence of a skilled interpreter during that period.
Between 1773 and 1774, Boccherini devoted much attention to composing pieces for the flute, including the Divertimenti Op. 16 and two collections of "Quintetti piccoli" Op. 17 and Op. 19, later to be published as Op. 21 and Op. 25 by La Chevardière. The exact dating of Quintette Op. 19 remains a puzzling aspect of Boccherini's body of work. While discrepancies exist with opus numbers, it is clear that these quintets were part of Boccherini's output in 1774.
The term "Opere piccole," indicating smaller works, may suggest a lighter character. However, Boccherini's statement about everything coming from the same cloth should be recalled. The six Quintets Op. 19 offer a diverse range of characters using compositional and emotional means found in the composer's larger works. Boccherini maintained his typical symphonic chamber music concept while highlighting the role of the flute.
Regarding the quintettes, they can be divided into three groups based on their sequence of movements. The sixth quintet stands out as a unique case with distinct titles for each movement. Each piece within this collection showcases Boccherini's skill in creating illustrative music, a trait he excelled in, adding vibrant elements to his compositions. The edition by La Chevardière may lack the explicit titles intended for a Spanish audience, possibly to suit French sensibilities.