Boccherini and the "Spanish Body" : Reflections on Popular Dance and National Identity
Pessarrodona, Aurèlia 1978- (Universitat Autònoma de Barcelona)

Data:	2026
Descripció:	27 pàg.
Resum:	During his thirty-seven years in Spain, Boccherini incorporated elements of very fashionable Spanish dances, as seen in the Fandango of the string quintet op. 40 nº 2 G341 (1788) and in the quintet with guitar nº 4 G 448 (1798); the Minuetto a modo di sighidiglia spagnuola inserted in the string quintet op. 50 nº 3 G 374 (1795); and the string quartet op. 44 nº 4 G 223 (1792)1 known as La Tiranna. These works were inspired by three of the most iconic Spanish dances of the time-fandango, seguidillas and tirana2-each of which embodied the 'Spanish body', a constructed image of Spain defined by distinctive physical expressions, dance movements, and attire. These works have garnered some scholarly attention3, although not from a global perspective that fully accounts for the specificity and complexity of these dances within the embodied cultural framework of late 18th-century Spain. Thus, the primary objective of this paper is to explore Boccherini's perception of this 'Spanish body' through examining these three compositions. The intention is to address these key questions: To what extent did Boccherini possess an authentic corporeal understanding of these dances? Was his treatment of these 'Spanish' elements faithful or did he manipulate them to suit his own stylistic purposes? Finally, what kind of image of the 'Spanish body' did these works convey to the listener? To address these questions, it is first essential to define the notion of a 'Spanish body' within Boccherini's contexts, both in Spain and abroad. Subsequently, Boccherini's compositions will be contrasted with contemporary sources, with particular attention to the characteristic dance gestures that may define this 'Spanish body.
Drets:	Aquest document està subjecte a una llicència d'ús Creative Commons. Es permet la reproducció total o parcial, la distribució, la comunicació pública de l'obra i la creació d'obres derivades, fins i tot amb finalitats comercials, sempre i quan es reconegui l'autoria de l'obra original.
Llengua:	Anglès
Document:	Capítol de llibre ; recerca ; Versió de l'autor
Publicat a:	The Body in Musical Performance: Knowledge, Gesture, and Identity, 2026, p. 131-157

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