Matanya Ophee (![[info]](http://l-stat.livejournal.com/img/userinfo.gif){kind=small} matanya) wrote,@ 2005-03-03 14:50:00 |
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I must be getting out of touch....
Any one had seen or heard a recording of the Boccherini Guitar Quintets by one Giangiacomo Pinardi?
Never heard of this man before, which does not mean much, since there are a lot of people I have never heard of before. But Googling this name, reveals that he has already a few CDs to his name where he plays guitar, theorboe and mandolin. I am perfectly aware that there are a lot of young men and women coming out of the wood works fast and furious, at a rate that is probably a bit more favorable than the rate of hasbeens moving away from music performance and into the real-estate and insurance sales business. But I have not heard of Pinardi. If any of his CDs have been reviewed in the guitar press, and I am on the omaggio list for most of them (I do pay a subscription to Soundboard and for the Guitar Review. The first because I have been a supporter of the GFA since almost its very beginning, and the second because I want to be sure to have the last issue, so my collection of GR will be complete... a Complete Run is worth a lot more money... I must have missed it.
The reason I am interested in this name is because he was mentioned as an authority on the provenance of the Boccherini guitar quintets. Having written the definitive book on the subject in 1981, a book that was hailed as “. . . absolutely convincing and brilliant. . .” by none other than Yves Gérard, the author of the Boccherini Thematic Catalogue of 1969, I am curious if this man Pinardi knows something about the subject which I do not.
So before I rush out to Border's to see if I can scare up a copy of this CD, I would like to know if anybody knows of any serious scholarly writings by Pinardi on the subject, over and above whatever he has written in the liner notes to his CD. Contrary to some other soi-disant experts one finds at every twist and turn around the Internet turnpike, I normally discount the information given in liner notes, (even if written by myself...) as a reliable source on historical matters. To illustrate the point, here are excerpts from an online review of the Pinardi recording:
Such reviews, traditionally, take their information directly from the liner notes. Record reviewers, with few exceptions, are not known to be conversant with the scholarly literature directly. If so, the liner notes tell us two blatantly false bits of information:
1. Boccherini arranged only six quintets (In my book, I give the details of the 9 existing quintets, and of the other 6, a total of 15!, that are known by literary reference).
2. The Ritirata di Madrid is an integral part of the C Major quintet. (It is not. It is a completely separate entity, coming from a completely separate Boccherini work, existing in 1923-26 in a completely separate manuscript, now lost. It was cobbled together with the C Major quintet and published as one work by Heinrich Albert in 1926.)
Obviously, there is always the possibility that Mr. Pinardi, or whoever wrote the liner notes to his recording, had discovered an original source for the C Major quintet which includes the Ritirata, and if so, I would be most interested to learn about it. But there is no way he could make 3 existing quintets disappear, Update: particularly, when the recording in question contains two quintets that are not part of the six in LoC, the C Major (G.324) and the Ritirata (G.418). Hence, my curiosity.
Any assistance here would be much appreciated.
Update:(March 5, 2005):
So for lack of testimonies by people who have heard the Pinardi recording (on the Virgin Classics label), I just ordered a copy of this from CDNow. When it gets here, I should be able to tell more on the problem at hand, and I will.
Any one had seen or heard a recording of the Boccherini Guitar Quintets by one Giangiacomo Pinardi?
Never heard of this man before, which does not mean much, since there are a lot of people I have never heard of before. But Googling this name, reveals that he has already a few CDs to his name where he plays guitar, theorboe and mandolin. I am perfectly aware that there are a lot of young men and women coming out of the wood works fast and furious, at a rate that is probably a bit more favorable than the rate of hasbeens moving away from music performance and into the real-estate and insurance sales business. But I have not heard of Pinardi. If any of his CDs have been reviewed in the guitar press, and I am on the omaggio list for most of them (I do pay a subscription to Soundboard and for the Guitar Review. The first because I have been a supporter of the GFA since almost its very beginning, and the second because I want to be sure to have the last issue, so my collection of GR will be complete... a Complete Run is worth a lot more money... I must have missed it.
The reason I am interested in this name is because he was mentioned as an authority on the provenance of the Boccherini guitar quintets. Having written the definitive book on the subject in 1981, a book that was hailed as “. . . absolutely convincing and brilliant. . .” by none other than Yves Gérard, the author of the Boccherini Thematic Catalogue of 1969, I am curious if this man Pinardi knows something about the subject which I do not.
So before I rush out to Border's to see if I can scare up a copy of this CD, I would like to know if anybody knows of any serious scholarly writings by Pinardi on the subject, over and above whatever he has written in the liner notes to his CD. Contrary to some other soi-disant experts one finds at every twist and turn around the Internet turnpike, I normally discount the information given in liner notes, (even if written by myself...) as a reliable source on historical matters. To illustrate the point, here are excerpts from an online review of the Pinardi recording:
Transcribed from earlier cello and piano quintets to accommodate a guitar-playing marquis, these two quintets (Boccherini composed six in this untitled series) seamlessly cobble together movements from different compositions.[...] Boccherini infuses the quintets' concluding movements with themes from Spanish popular music. An energetic fandango—replete with castanets—caps the D-major quintet and scene-painting variations on a military march close the C major.
Such reviews, traditionally, take their information directly from the liner notes. Record reviewers, with few exceptions, are not known to be conversant with the scholarly literature directly. If so, the liner notes tell us two blatantly false bits of information:
1. Boccherini arranged only six quintets (In my book, I give the details of the 9 existing quintets, and of the other 6, a total of 15!, that are known by literary reference).
2. The Ritirata di Madrid is an integral part of the C Major quintet. (It is not. It is a completely separate entity, coming from a completely separate Boccherini work, existing in 1923-26 in a completely separate manuscript, now lost. It was cobbled together with the C Major quintet and published as one work by Heinrich Albert in 1926.)
Obviously, there is always the possibility that Mr. Pinardi, or whoever wrote the liner notes to his recording, had discovered an original source for the C Major quintet which includes the Ritirata, and if so, I would be most interested to learn about it. But there is no way he could make 3 existing quintets disappear, Update: particularly, when the recording in question contains two quintets that are not part of the six in LoC, the C Major (G.324) and the Ritirata (G.418). Hence, my curiosity.
Any assistance here would be much appreciated.
Update:(March 5, 2005):
So for lack of testimonies by people who have heard the Pinardi recording (on the Virgin Classics label), I just ordered a copy of this from CDNow. When it gets here, I should be able to tell more on the problem at hand, and I will.
