Carnal Musicology in a New Edition of Luigi Boccherini’s Cello Concerto in D major G. 478 ​ D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts in the Graduate School of The Ohio State University By Samuel Converse Johnson, M.M. Graduate Program in Music The Ohio State University 2020 D.M.A. Committee: Professor Mark Rudoff, Advisor Dr. Kristina MacMullen Dr. Juliet White-Smith Dr. David Clampitt Copyright by Samuel Converse Johnson 2020 Abstract The music of Luigi Boccherini has experienced a slow and steady revival over the last half century, yet few of his twelve cello concertos are widely published. This document presents a newly engraved edition of Boccherini’s Cello Concerto in D major G. 478, including solo parts ​ ​ and full score. I use carnal musicology to support a historically informed editorship of the cello part. In doing so I critique the anachronistic ways in which Boccherini’s music has been edited and published, particularly by Friedrich Grützmacher in his late 19th century Boccherini concerto mash-up. Grützmacher’s widely accepted version compromises the techniques that would have been implicit in Boccherini’s music, such that these inventions are lost in modern cello pedagogy and performance. My approach offers a new way of teaching and historicizing music that is faithful to Boccherini and caring toward the cello playing body. This project provides resources for the well-being of musicians and their bodies through a musicology that re-centers practice as community rather than isolation. The primary historical contributions I make to what we know of Boccherini are embodied and transcribed into the performance edition itself. This carnal musicology serves as the connective framework between history and embodied feeling, such that musicians and students can feel both the music and the history. i The practice guide develops an analytical teaching methodology toward mastery of Boccherini’s unique musical style and technical inventions. The Concerto G. 478 serves as a case study by ​ ​ which I teach historical performance using contemporary research methodologies of formal and harmonic analysis, topic theory, and carnal musicology. I offer insight for feeling, interpreting, and translating these components of text and history through the sound of the cello. I invent practice strategies that engage the student in technical and musical inquiries of the Concerto that ​ ​ allow them to take ownership of their performance. Finally, the score portion of the document prints a new edition of Luigi Boccherini’s Concerto in ​ D major G. 478, including the full orchestra score, a performance edition of the solo cello part ​ with original cadenzas by the editor, and a clean copy of the solo part. ii Acknowledgements Connection, community, and collaboration are central to my work as a musician, teacher, and researcher. This project bears the fingerprints of many communities and individuals who have invested in my flourishing. For this work and the connections it creates, I am deeply grateful. To The Ohio State University School of Music, for supporting me with a graduate associateship, and offering space and resources for my research, community, and artistic development. To members of CELLOHIO and the OSU cello studio, for showing up ready for anything, for trusting me with our wild transcriptions, and for generating mutual support in our creative processes. To the Boccherini Ensemble: Mary Brandal, Yi Chieh Anita Chu, Anna Dorey, Nora Dukart, Ben Hottensmith, Esther Krumm, Erik Malmer, Maggie Mueller, Drew Postel, and Sam Zelnik who, on March 31, 2019, joined me in performing this radiant, effervescent music with the intention and detail it deserves. And to Benji Robinson, for generously recording the show. To Elisabeth Le Guin, who has articulated for me a way of being a whole musician through connecting music history with practice, analysis, gesture, somatics, feminism, and queerness. iii To Luigi Boccherini, whose music and life continues to captivate and teach me, and without whom this project would not have been possible. To the musicians of Columbus Ohio and beyond, whose collaboration and companionship has made this work a joy, including Professor Ed Bak, Cory Blais, Devin Copfer, Clara Davison, Aubrey Liston, and Sarah Troeller. To my doctoral committee, Drs. David Clampitt, Kristina MacMullen, and Juliet White-Smith, who showed up for many performances, read and offered critique on the drafts of this paper, and held space for my research and experimentation. To all my cello and chamber music teachers who challenged and nurtured my growth: Lucy Fink, Jon Jeffrey Grier, Christopher Hutton, Anne Poe Matthews, John Ravnan, and Bion Tsang. To Professor Mark Rudoff, who at a critical moment in 2012 saw the artist that I vision myself to be, whose deep investment in my professional life brought me to Columbus, who has taught me so much of what I know about teaching and historicizing music, who has been on my side at every step in this work, and who continues to cultivate with me paths toward community, collaboration, and growth. iv To my queer family, whose artistic and human processes vibrate in life-affirming counterpoint with my own: Jeffrey Clark, Noah Demland, Jake Shannon, and Sharon Udoh. You amaze and inspire me, you teach me how to love my artistic process, and you help me realize my power. To Michael J. Morris, who reflects my strengths back to me and gives me words to articulate my work, who teaches me how to show up in my vulnerability as an artist, who comforted me when this project felt like too much to bear, and who has offered their compassion, feedback, and insight as a brilliant writer and thinker. To Maggie Mueller, who was on board from the earliest moments of charting the edition and performance, who read every word of this document and offered her valuable feedback, and who continues to be a bright star in my musical life. To Stewart Johnson, who shares with me blood and home and an instinct for musical innovation, who celebrates my victories and encourages me in my distress, who holds space for the study, research, and musicking, even when it is messy. To my parents, Sue and Paul Johnson, and to my grandfather, Charlie Johnson, for their unwavering support of my creative life, from the first moment I held a cello until now, and for encouraging and believing in what I can share. v Vita 2013………………………………….B.M. Cello Performance, The University of Texas at Austin 2015………………………………….M.M. Cello Performance, The Ohio State University 2016 to present……………………..Graduate Teaching Associate, School of Music, The Ohio State University Fields of Study Major Field: Music vi Table of Contents Abstract …………………………………………………………………………………………. i Acknowledgements …………………………………………………………………………….iii Vita ……………………………………………………………………………………………. vi List of Figures ………………………………………………………………………………….viii List of Tables …………………………………………………………………………………. x Overview ………………………………………………………………………………………. 1 Part 1: The Musicology of Performance Editorship ………………………………………….... 6 Chapter 1: Grützmacher Musicology …………………………………………………………. 7 Chapter 2: Carnal Musicology ………………………………………………………………. 15 Chapter 3: New Edition for the Concerto G. 478 ……………………………………………. 21 ​ ​ Chapter 4: Luigi Boccherini …………………………………………………………………. 40 Part 2: Practice Guide ………………………………………………………………………... 46 Chapter 5: I. Allegro con spirito ……………………………………………………………... 47 Chapter 6: II. Larghetto ………………………………………………………………………. 69 Chapter 7: III. Rondo: Comodo assai …………………………………………………………. 81 Chapter 8: IV. Rondo …………………………………………………………………………. 90 Bibliography …………………………………………………………………………………. 107 Appendix: Part 3: Scores for Boccherini’s Cello Concerto in D major G. 478 …………….... 109 ​ ​ vii List of Figures Figure 1. IV. Rondo, bars 3-4 (Dresden copy) ……………………………………………… 23 Figure 2. IV. Rondo, bars 3-4 (performance edition) ……………………………………….. 24 Figure 3. I. Allegro con spirito, bar 93 (Dresden copy) ……………………………………... 27 Figure 4. I. Allegro con spirito, bar 93 (performance edition) ………………………………. 27 Figure 5. Portrait of Boccherini …………………………………………………………….... 30 ​ ​ Figure 6. II. Larghetto, bar 36 (Dresden copy) ………………………………………………. 32 Figure 7. II. Larghetto, bar 36 (performance edition) ………………………………………... 33 Figure 8. Brilliant music ………………………………………………………………………. 52 Figure 9. Singing music ………………………………………………………………………. 52 Figure 10. Singing music → Brilliant music …………………………………………………. 52 Figure 11. Brilliant music → Singing music …………………………………………………. 53 Figure 12. Canzone brillante …………………………………………………………………. 54 ​ ​ Figure 13. Shifting practice …………………………………………………………………... 61 Figure 14. Bariolage reduction ………………………………………………………………. 65 Figure 15. Double-stop practice ………………………………………………………………. 66 Figure 16. Bariolage practice …………………………………………………………………. 67 Figure 17. “Building Individual Notes” practice ……………………………………………. 77 Figure 18. Rhythm & subdivision practice ………………………………………………….... 79 Figure 19. Contrast practice ………………………………………………………………….. 85 viii Figure 20. Drone practice ……………………………………………………………………. 87 Figure 21. Thumb position scale practice ……………………………………………………. 88 Figure 22. Gavotte theme ……………………………………………………………………. 95 Figure 23. Gavotte theme phrase diagram ……………………………………………………. 96 Figure 24. Pencil bow ………………………………………………………………………….99 Figure 25. Rhythm variations ……………………………………………………………….. 102 Figure 26. Rhythm variations practice ………………………………………………………. 103 Figure 27. Contrast practice 2 ……………………………………………………………….