Sources
60. Le Villi
-
A Sketches and drafts
*
Puccini did not use pre-printed music paper for these drafts and sketches for this opera, but made his own staves on pages of various sizes. Insofar as possible, the dimensions are reported in detail. However, some slight variations due to wear and tear over the years have not been indicated and in those cases the dimensions in centimeters are only approximate.
- B Autographs
- C Copies
- D Facsimiles
- E Printed editions
60.A.1
Cary 248
)Bundle of composition drafts and parts of the complete score with a (later) autograph numbering of leaves 1–83, partially only written on one page and still preserving the older numeration of leaves and pages. The cover bears a label (written in a different hand) with the indication: “Le Villi / Musica del M° Puccini / Partitura”, and the annotation: “Fogli 83 / Nbre e Xbre / [83 leaves / November and December / 18]83 / Lucca” (probably added later). Inside is an ornate book-plate (ex libris) “Petri Ginori-Conti”. The recto of the first leaf (the verso of which is blank) is a second title page for the entire bundle which states in a different hand: “Le Villi / Opera in un Atto / di / G. Puccini”. Across the top, Puccini wrote: “Teatro dal Verme Giugno 1884”, with the indication of the cast of the first performance (including the names of the collaborating maestri) and signed his own name twice.
This is obviously a compilation of composition drafts, with portions in full score, organized and numbered by Puccini, and given as a present (earlier than 1900) to Marchese Carlo Ginori-Lisci (see NOTES to 68). Puccini apparently wanted the position of the manuscripts in this bundle to follow the course of the opera, but several pages are mistakenly out of order. With the exception of three leaves (see No. 8 below), all of the pages date from Puccini’s work on the original version of the opera in the summer and autumn of 1883.
The bundle consists of the following different paper sizes:
| Type A: | 8° oblong, 21 × 15.5 cm, 10 staves |
| Type B: | 4° oblong, 28.5 × 22 cm, 10 staves |
| Type C: | 8° oblong, 21.8 × 15.8 cm, 8 staves |
| Type D: | 4° 28.5 × 22 cm, 10 staves |
| Type E: | 4° 32.5 × 28.5 cm, 20 staves |
| Type F: | 4° oblong, 25.5 × 19.5 cm, 10 staves |
| Type G: | 4° 30 × 22cm, 24 staves |
| Type H: | 4° 30 × 22cm, 24 staves |
The bundle is comprised of the following components:
Leaves 2-3r. (paper Type A): Fragment of a draft for Guglielmo’s “Scena” (No. 8, fig. 42-7 – fig. 42+23). Leaf 2 is diagonally torn, bearing some deletions and reordering in the music. Leaf 3v. consists of two bars, with the clarification of the accidentals (“6 bemolli [6 flats]”) and the following words in large calligraphy: “assioma”, “aspromonte asola asola”, “ascoli / piceno”, “VV Garibaldi” / “MORTE AI PRETI”.
Leaves 4-8bis (paper Type B): Draft for the “Coro d’introduzione” with the tempo indication “All° Moderato”, in 4/4 alla breve (No. 2 up to fig. 6+8).
Leaves 9–14r. (paper Type C for 9-12, Type B for 13-14r.): Draft for the “Coro d’introduzione” (No. 2, fig. 7 – fig. 12+13, then broken off), with autograph title “Le Willis”, and “Tempo di Walzer” written above the first bar of music. Leaf 14v. only contains two bars.
Leaves 15-16 (paper Type D): Fragment of a draft for the orchestral postlude of the “Coro d’introduzione” (No. 2, from fig. 13+14). At the end of the first system on leaf 16, Puccini wrote: “Segue Duetto Amorino” (i.e. No. 4); then follows a draft for the ending of the first part of the “Coro d’introduzione” (= fig. 7-6/1).
Leaf 17r. (v. and the following leaf is blank; paper Type D): Draft of the chorus part in the waltz of the “Coro d’introduzione” (No. 2, fig. 8+8 - fig. 9+3). The draft is clearly marked as an insert for leaves 10r. and 11r., marked exactly where these chorus parts had been omitted.
Leaves 18–19r. (paper Type C): Draft for the “Preludio” (No. 1), partly notated on three staves per system. Leaf 19v. consists of one bar of music and in large block letters the young Puccini’s exclamation: “VV V.E.R.D.I.”.
Leaves 20-25r. (paper Type B): Draft for the duet (No. 4). Leaf 20r. (v. blank) serves as a title page with the autograph indication: “Scena IIa — Giacomo Puccini / Ottobre 1883 / Lucca / Le Willi [sic] / Duettino Sop: Tenore”. This spelling of the title of the opera is repeated at the top of leaf 21r. as “Duettino Le Willi”.
Leaves 26-28 (paper Type E): Draft of Anna’s “Scena e Romanza” (No. 3). Autograph heading: “Parte Ia Scena Anna — Le Willis / G. Puccini”. As with 6.B.1, the voice part is incomplete from fig. 14+12. The music is worked out until fig. 17, followed by 20 bars continued differently and broken off. This manuscript certainly dates from August 1884, when Puccini composed this number (see NOTES).
Leaves 29-38 (paper Type F for 29-36, Type B for 37-38): Draft for No. 5 (“Preghiera”). Autograph heading: “Scena IIIa Preghiera Le Willis / Baritono Sop: Tenore e Coro”. Leaves 37-38 (fig. 27 of the current Ricordi edition) were inserted into the original sequence of leaves 29-43, replacing the earlier leaves of Type F paper.
Leaves 39-42r. (paper Type F): Draft for No. 6 (“L’Abbandono”), lacking the choral parts (added only in the summer or autumn of 1884; see 60.B.1/6). Autograph heading: “Ottobre 1883 / GPuccini — Nebulosa (Intermezzo Sinfonico) — Le Willi”. At the end, Puccini wrote: “Segue Allegro (Tregenda) delle Willis / attacca subito”.
Leaves 42v.-50 (paper Type F): Draft for No. 7 (“La Tregenda”). Autograph heading: “(Seguito dell’ Intermezzo Sinfonico) / Tregenda — Le Willi”.
Leaves 51-60 (paper Type G): Autograph full score of No. 6 (“L’Abbandono”), without the choral parts (added only in the summer or autumn of 1884). Autograph heading: “Le Willis — Nebulosa (Intermezzo Sinfonico)”.
In 60.B.1/7, this music is in a copyist’s hand in place of this original autograph.
Leaves 61-62 (paper Type G): Fragment of the full score of the “Tregenda” (No. 7, fig. 38+22 – fig. 40-7).
Leaf 63r. (v. blank; with another leaf without any pagination) (paper Type G): First page of a full score for the “Tregenda” prepared for notation. The leaf is headed: “Tregenda delle Willis” and signed “GPuccini”. With the exception of the names of the instruments, the key and meter signatures, and the indication of an initial dynamic of fortissimo and the words “con fuoco”, the staves are blank.
Leaves 64-83 (paper Type H): Full score of No. 10 (“Gran Scena e Duetto Finale”). After fig. 54-1 (leaf 68v.) the continuation up to fig. 54+6 is crossed out, and Puccini wrote: “An[dan]te Come nel Duetto (Scena) N.° 3.” At this juncture, leaves 69-71r. (written on two double leaves of the same paper type) have been inserted to effect Anna’s reminiscence from the earlier duet (No. 4, fig. 20 – fig. 21). Leaf 83v. consists entirely of a handwritten statement, dated 13 June 1884, acknowledging the obligatory presentation of the manuscript to the Prefettura di Milano. This is certainly the original autograph full score of No. 10, dating from December 1883. The official submission made only two weeks after the first performance leads one to believe that the version of the final scene preserved in this manuscript was the performing version used in the first production.
Summer and autumn 1883
60.A.I.1.a
N.IV.13
)Torn part of a leaf (written on one page), but certainly 4° (32.5 ×52 cm) with 24 staves. 9 bars.
This is obviously a sketch for the "Preludio", No. 1, fig. 1-6/1. (Hopkinson 1968, p. 64, old shelf mark XVII, and Mostra 1974, p. 22, No. 13, list it as a separate orchestral piece.)
This manuscript certainly stems from Puccini's work on the original version (1883).
1883
60.A.II.13.a
Carta XXI
)(Critica, pp. 21-22, No. C 5): 1 leaf (written on one page), 4° oblong format (26 x 2 cm) with 10 staves.
22-bar sketch for the end of the "Coro d'introduzione" and the following orchestral postlude (No. 2 fig. 13-7/+14).
This manuscript certainly stems from Puccini's work on the original version in 1883. 31 served as the model for the dance motif.
1883
60.A.II.3.a
Carte XII-XIII
)(Critica, p. 21, No. C 1): 1 double leaf (written on 3 pages), 4° (33 × 24 cm) with 20 staves.
19 bars of aful score draft for the beginning of the "Coro d'Introduzione" (No. 2 through fig. 3-15).
In 60.B.1/2, 2 x 4 bars of repetitions are cut.
This manuscript certainly stems from Puccini's work on the original version (1883).
1883
60.A.III.14.a
Last 5 staves of the last page of a double leaf, 4° (32 x 24 cm) with 20 staves, written upside down.
Sketch for the beginning of the "Scena e Romanza Anna" (No. 3, bars 1-4).
This manuscript certainly dates from the summer of 1884, when Puccini inserted this scene. Immediately before it is 60.A.IX.46.a.
Summer 1884
60.A.III.14.b
Carta XXII
)(Critica, p. 2, No. C 6): 1 leaf, 4° (32 x25 cm) with 20 staves.
Autograph heading: "Scena Ia (Anna) Le Willis GPuccini".
Full score draft for the beginning of the "Scena e Romanza Anna" (No. 3, bars 1-12). It was changed in 60.B.1/3.
This draft certainly dates from the summer of 1884.
Summer of 1884
60.A.III.14.c
Location: Last in Sotheby's auction of 16/17 May 1991, catalogue No. 3821 double leaf, 2° with 20 staves.
Composition draft for Anna's romanza with cuts and corrections. On the title page, in Puccini's hand, is the designation: "Le Willis GPuccini / Scena 2° / (Anna) / Riduzione Pianoforte e Canto / Agosto 84 / Milano".
Perhaps this is an elaborated version of 60.A.1/8.
The last page contains other sketches, according to Sotheby's catalogue: "probably in the hand of Michele Puccini".
August 1884
60.A.III.18.a
Location: Missing (property of an heir of Albina Del Panta; see 60.D.2).This manuscript is known from the facsimile in Puccini com'era, p. 66, reproduced probably only as a detail, consisting of 6 bars on 3 staves showing only Roberto's vocal line written on the middle stave, above which Puccini indicated "Recitativo che precede il duetto" (= recitative before No. 4 of the current version, fig. 18-8/3).
The draft probably dates from the summer or autumn of 1884, providing the transition from Anna's then newly composed romanza to the duet. The elaboration is found in the autograph full score of the romanza (see 60.B.1/3).
Summer or autumn of 1884
60.A.IX.0.a
Carta XXVIII recto
)(Critica p. 23, No. C 12): Upper part of the third page of a double leaf, 4° (32 × 25 cm) with 12 staves.
7-bars long unidentified sketch. The other parts of the double leaf contain 60.A.IX.51.a, 60.A.IX.52.a, and 60.A.IX.52.c. Therefore, these 7 bars were probably intended for the expansion of the "Scena finale", dating from the summer or autumn of 1884.
Summer or autumn of 1884.
60.A.IX.46.a
Carte XXV and XXVI
)(Critica, p. 2, No. C 9): 1 double leaf, 4° (32 x 24 cm) with 20 staves.
Draft and sketch for the expansion of the "Scena finale" (No. 9, fig. 46+6 - fig. 47-8, fig. 49-1 - fig. 50+6, and fig. 50+13/20). The first two pages comprise a nearly complete composition draft (through fig. 49+13), but the rest of the manuscript is very sketchy and incomplete. Roberto's part is missing from the sketches; it is also lacking in the corresponding original ful score (see 60.B.1/11), probably because Fontana had not yet provided Puccini with the necessary new text.
Without a doubt, this double leaf is the major part of the expansion of the originally much shorter "Scena finale", composed in the summer or autumn of 1884; compare also 60.C.1/0.
60.A.III.14.a is written at the end of p. 4 (upside down).
Summer or autumn of 1884
60.A.IX.46.b
Carta XXIV
)(Critica, p. 22, No. C 8): 1 leaf (written only on one page), 4° (32 × 25 cm) with 20 staves.
Full score draft for the "Scena finale" (No. 9, fig. 46+6/11).
This is certainly the beginning of the full score of the expansion of the original "Scena finale" dating from the summer or autumn of 1884.
Summer or autumn of 1884.
60.A.IX.47.a
Carta XXXI verso
)(Critica, p. 23, No. C 18): Second page of a leaf, 2° (38 ×28 cm) with 24 staves.
Sketch for Roberto's romanza "Torno ai felici di", specifically, the orchestra accompaniment of fig. 47+10/15 in No. 9.
Most probably written in January/February 1885.
60.A.IX.52.b is written on the first page of this manuscript.
January-February 1885.
60.A.IX.47.b
Location: Last offered by sale by Oisenat, Fontainebleau, 16/11/20194 pages, 4° oblong format with 21 staves.
This is a draft of Roberto's romanza, "Torna ai felici di" (fig. 47-8 - fig. 49-2 in No. 9), minus one bar at the beginning (fig. 47-2), with four additional bars (after fig. 49-20) and an ending of only three bars (after fig. 49-15). Parts of the lyrics are missing. The end is signed and dated "G. Puccini / 21/2/85"; at the bottom of the second page is the handwritten indication "per l'autenticazione Ferdinando Fontana".
This is certainly the manuscript described by Natale Gallini in Approdo musicale 1959, p. 44-46. Accordingly, Galliani obtained the manuscript in 1914 from Fontana, who explained how the piece originated rather spontaneously during the La Scala performances in late January or February 1885. This is probably Puccini's first draft of the romanza, dated when Puccini actually gave the manuscript ot Fontana. Therefore, the date on the manuscript does not signify the precise date of composition.
60.A.IX.47.c
1 double leaf, 2° with 20 staves (3 pages of music).
Complete draft of Roberto's romanza "Torna ai felici di", altogether however only 75 bars, as in 60.B.1/13. The slightly altered definitive version (No. 9, fig. 47-8 - fig. 49-2) was first produced for 60.E.4.
Without a doubt, this is the developed version of the draft 60.A.IX.47.b.
60.A.IX.49.a
Carta XXIX
)(Critica, p. 23, No. C 15): 1 leaf, 2° (38 ×28cm) with 24 staves.
Full score draft for the expansion of the "Scena finale", dating from the summer or autumn of 1884 (probably fig. 49+15/25 in No. 9, minus the voice part - the lyrics for which Fontana might not yet have provided; see also 60.A.IX.46.a).
Summer or autumn of 1884
60.A.IX.51.a
Carta XXVII
)(Critica, p. 22, No. C 11): First leaf of a double leaf, 4° (32 x 25 cm) with 12 staves.
Draft for the expansion of the "Scena finale", dating from the summer or autumn of 1884 (No. 9, fig. 51-8/+ 20, though different and fragmentary toward the end, with the voice part omitted - the lyrics for which Fontana might not yet have provided; se also 60.A.IX.46.a). On the second leaf are 60.A.IX.0.a, 60.A.IX.52.a, and 60.A.IX.52.c.
Summer or autumn of 1884.
60.A.IX.51.b
Carta XXX
)Critica, p. 23, No. C 16. 1 leaf (written on one page), 2° (38 x 26.5 cm, but certainly originally 28 cm due ot the torn margin) with 24 staves.
Full score draft for the expansion of the "Scena finale" dating from the summer or autumn of 1884 (No. 9, fig. 51-7/4, minus the voice part - the lyrics for which Fontana might not yet have provided; see also 60.A.IX.46.a).
Summer or autumn of 1884.
60.A.IX.52.a
Carta XXVIII recto
)(Critica, p. 23, No. C 13): Lower part of the third page of a double leaf, 4° (32 x 25 cm) with 12 staves, 15 bars in all.
Sketch of the melodic line for the recapitulation of Roberto's "Per te, quaggiù, sofferse ogni amarezza" (see 60.E.1, pp. 96-97) composed for the expansion of the "Scena finale" in the summer or autumn of 1884 (No. 9, before fig. 52-12, but cut from 60.E.4).
On the other parts of the double leaf are 60.A.IX.51.a, 60.A.IX.0.a, and 60.A.IX.52.c.
Summer or autumn of 1884.
60.A.IX.52.b
Carta XXXI recto
)(Critica, p. 23, No. C 17): First page of a leaf, 2° (38 × 28 cm) with 24 staves.
Full score of a draft for the expansion of the "Scena finale" dating from the summer or autumn of 1884 (No. 9, fig. 52-3/1).
60.A.IX.47.a is written on the second page of this manuscript.
Summer or autumn of 1884.
60.A.IX.52.c
Carta XXVIII verso
)(Critica, p. 23, No. C 14): Fourth page of a double leaf, 4° (32 × 52 cm) with 12 staves.
Draft for the expansion of the "Scena finale" dating from the summer or autumn of 1884 (No. 9, fig. 52+10/16).
On the other parts of the double leaf are 60.A.IX.51.a, 60.A.IX.0.a, and 60.A.IX.52.a.
Summer or autumn of 1884.
60.A.VIII.41.a
Location: Last in Sotheby's auction of 16/17 May 1991, catalogue No. 382.1 leaf, 16.5 x 8.5 cm, cut from a larger leaf.
Sketch for the beginning of the Preludio to Guglielmo's Scena (No. 8) on two staves with the indication "Marcia Funebre". The verso contains an unidentified sketch.
Since Puccini did not revise this Preludio later, the sketch could date from his work on the original version, i.e. from the autumn of 1883.
Autumn of 1883.
60.B.1
N.II.13
)Full score. 180 + 7 leaves, 2°, for the most part written on both sides, with a much later stamped pagination. The dimensions of the papers vary from the different phases of the composition. Some of the old page numbers in Puccini's hand are recognizable. The numeration of the musical components and the rehearsal numbers are partly in another handwriting, and, therefore, were added or corrected later. Many of the autograph tempo indications are obviously Puccini's later instructions for Ricordi's copyists.
The autograph consists of the following parts (for clarity, the later stamped pagination is used below):
Leaves 1-5 = 10 pages with 24 staves, bearing the autograph heading: "Preludio N 1. Le Villi".
On leaf 1r. at the lower right margin in a different handwriting: "No. 20 Presentato li 13 Xmbre [December] 1883. / p La Presidenza / A. Ziglioli"
This note by the jury of the Sonzogno competition reveals that these leaves are part of the original version of the opera.
Leaves 6-36 = 62 pages with 20 staves. On leaf 6r. (v. blank) is the heading in a different handwriting: "N. 2. Coro d'Introduzione". Leaf 7r. bears the autograph heading: N. 2 Le Wilis Parte Ia Scena Prima Coro d'introduzione".
Leaves 6–36 = 62 pages with 20 staves. On leaf 6r. (v. blank) is the heading in a different handwriting: “N. 2. Coro d’Introduzione”. Leaf 7r. bears the autograph heading: “N. 2 Le Willis Parte Ia Scena Prima Coro d’introduzione”.
Although the music substantially belonged to the original version, it can be assumed that this section of the autograph was newly written during the revisions made from June to October 1884. Portions of the voice parts are missing, probably because they were already present in the existing original material.
Leaves 37–51 = 30 pages with 20 staves, leaf 45v. is cancelled. The first page bears the autograph heading: “Scena IIa (Anna)”.
On leaf 51v., after the end of the music is the autograph instruction: “attaca duetto / Sop. Ten. / Scena 3a”. On leaf 52r. (which actually belongs at the beginning of the piece) Puccini wrote: “Partitura / N. 3 / Le Willis / Scena IIa (Anna) / Giacomo Puccini / Milano Agosto 1884”. The verso consists of three cancelled bars.
Leaves 53–62 = 20 pages with 24 staves. The first page bears the autograph heading: “N. 4 Scena IIIa”.
On leaf 53r. the left margin still bears the earlier autograph heading: “Duetto (Sop. e Ten.) Scena 2a”; at the lower margin: “N 4” written above an earlier “3”. On leaf 62v., after the end of the music is the indication: “Segue Scena 4a [written above “3a”] Preghiera”.
This number obviously is from the original version.
Leaves 63–78 = 32 pages with 24 staves. The first page bears the autograph heading (with new numbers written above): “N 5 Scena 4a Preghiera Bar: Sop: Ten: e Coro”.
On leaf 78v. at the right margin is the indication: “Fine della 1a Parte”.
This number is obviously from the original version.
Leaf 79r. (torn part of a leaf which probably contained 20 staves).
Autograph heading: “(Nebulosa) Intermezzo sinfonico Le Willis al segno #”.
These are the choral parts for the first portion of the intermezzo, dating from the summer or autumn of 1884. The original version contained no music for the chorus (see Carteggi 1958, No. 8 of 30 August 1884).
Leaves 80-89 = 20 pages with 20 staves. Autograph heading: “Ia parte del N° 6° Le Willis (Alphonse Karr)”.
The music is in a copyist’s hand, with autograph expression marks added by Puccini. At the end is his autograph signature and date: “Lucca 10.11.83”.
The mention of Alphonse Karr’s name in the heading is very significant (see NOTES). It probably refers to the poems included in the printed editions of the piano-vocal score and the libretto preceeding both parts of the intermezzo.
Leaves 90-109r. (v. blank) = 39 pages with 20 staves.
Autograph heading: “N 7 [earlier: “6”] Tregenda Le Willis”.
The music is almost completely in a copyist’s hand, with autograph expression marks. At the end is Puccini’s autograph signature and date: “21.11.83”; leaf 108 (consisting of 24 staves) is also in Puccini’s hand.
In November 1883, Puccini obviously had the intermezzo copied (i.e. 60.B.1/7 and 60.B.1/8), but not with the intention of inserting it in his autograph, which he submitted to the jury of the Sonzogno competition. It is clear that both of the copyist’s scores were later inserted in the full score in place of the autograph pages (see also NOTES).
Leaves 110–123 = 28 pages (through leaf 113 with 24 staves, thereafter with 20 staves), bearing the autograph heading: “Preludio e Scena Baritono” (earlier headed “Parte Seconda N. 6”, later changed to “7”, then to “8”).
The change of music paper one bar after Guglielmo’s entrance suggests that Puccini rewrote the full score from this juncture during the summer or autumn of 1884, probably necessitated by some changes in the accompaniment to the aria (see 60.B.1/10).
Leaf 124 (24 staves) + 1 unnumbered page (20 staves), comprising an insert of alterations in Guglielmo’s aria. The rehearsal letters and page numbers probably relate to the original version, which no longer exists. These changes, therefore, obviously were made earlier than 60.B.1/9, but most likely during the summer or autumn of 1884.
Leaves 125-153 = 58 pages (two of which are completely cancelled and portions of several others are partly cancelled); through leaf 132 with 20 staves, thereafter (from fig. 46+6) with 24 staves. The first page bears the autograph heading: “Le Willis N°: 9 [earlier “8”] Coro”.
The change of music paper marks the beginning of the much expanded score, rewritten in the summer or autumn of 1884. The first part (up to leaf 132) stems from the score of the original version. Since much of Roberto’s vocal line is missing, Fontana’s additional text obviously did not yet exist.
Leaves 154-180 = 54 pages with 26 staves (music paper from the house of Ricordi), bearing the autograph heading: “Scena VIIa Le Willis”, as well as the indication “N. 10 / Gran Scena e Duetto finale” added in a different hand. At the end is Puccini’s autograph signature and date: “San Martino in Colle 28 8bre [October] 84”. In this form, the music dates from the summer or autumn of 1884. On leaf 180v. is the acknowledgement of the presentation of the manuscript to the Prefettura di Milano dated 14 January 1889.
Leaves 1-7r. (v. blank) = 13 pages with 24 staves. This manuscript, probably written in late January or early February 1885, bears the non-autograph heading: “Puccini Le Villi Atto 2° Romanza di Roberto” (see NOTES).
This entire autograph full score represents the state of composition of the opera from February 1885 (including the addition of Roberto’s romanza); it does not contain the later revisions.
1883-1889
60.C.2
Location: Private collection in ItalyChorus parts used for the first performance, consisting of 10 copies each for "Soprani" and "Tenori 1mi e 2di", and 4 copies for the "Bassi".Note: *Mentioned and concisely described in Giazotto 1992, pp. 286-287, who believes to have recognized Puccini's autograph signature on one of the scores. Written by several copyists, most of these manuscripts also bear names - probably members of the chorus.
The men's parts only contain old Nos. 2 and 4 (now Nos. 2 and 5 in the current Ricordi edition); the women's parts also include old No. 7 (now Nos. 9 and 10 in the current Ricordi edition). This probably means that in the original version, the finale had no male chorus; 60.A.1/15 does not provide any information about that.
Not known.
60.C.3
11 pages (9 pages of music in piano-vocal score), 4° oblong format with 10 staves. Title: "Le Willis / Duetto Tenore e Soprano / Musica / Del Maestro Giacomo Puccini" (= No. 4).
Following the title page, on an empty page of music paper written around the left and top margins, in a different hand, is some information about the former owners of the manuscript: "Siena li 18. Dicembre 1903 la Contessa Emilia Sanpietro Ved[ova] Caraffa all'Avvto Giovanni Battista Careri" (see NOTES to 40 and 41). The last page bears Puccini's autograph signature, location, date and dedication: "Giacomo Puccini / Lucca 22.6.84 | Alla Signorina Emilia Sanpietro / Giacomo Puccini / Milano 4.8.84".
This copyist's score contains a few indications of the instrumentation, as well as some minor errors; for the most part it agrees with the autograph full score of the original version (60.B.1/4). It was probably intended as the model for a planned edition of the duet to be printed as a separate number.
4 August 1884.
60.D.1
| Copied source | Portion | Bibliographic reference | Page number |
|---|---|---|---|
| 60.A.1 |
Turner 1983
J. Rigbie Turner, Four Centuries of Opera: Manuscripts and Printed Editions in The Pierpont Morgan Library. New York: Dover, 1983. |
87 |
60.D.2
| Copied source | Portion | Bibliographic reference | Page number |
|---|---|---|---|
| 60.A.III.18.a |
Marchetti 1973
Arnaldo Marchetti (ed.), Puccini com'era. Milan: Curci, 1973 |
66 |
60.D.3
| Copied source | Portion | Bibliographic reference | Page number |
|---|---|---|---|
| 60.C.2 | Title page of a tenor part |
Giazotto 1992
Remo Giazotto, Puccini in casa Puccini. Lucca: Akademos, 1992. |
286 |
60.E.1
First Italian edition:
Le Villi. Opera-Ballo in due atti di Ferdinando Fontana. Musica di Giacomo Puccini. Opera completa per canto e pianoforte. Riduzione di Carlo Chiusuri.
[Without copyright date).
Ricordi, Milan etc., 1884.
PN 49457, 124 pages, 4°.
Registered at the Prefettura di Milano on 9 February 1885 (I-Rsc copy 101.A.24).
For the first performance, a combination of handwritten and copied material had been used. According to MRL, the production of this printed piano-vocal score of the opera, heavily reworked in the meantime (see NOTES), began on 14 October 1884. According to MRK, the printing of the first 300 copies took place in December 1884. This edition was the basis for the second performance of the opera in Turin (on 27 December 1884) and the third in Milan (24 January 1885). It contains no numbering for the single pieces and bears no rehearsal numbers.
During the printing, it is clear that Puccini still made several changes, as the edition (compared with the autograph 60.B.1, which already had been changed in respect to the original version) shows some variants in the text and ni the vocal parts. Additionally, there are the following differences of considerable importance:
| Fig. 7+20/27: | New text and melody for the Sopranos in No. 2 |
| Fig. 22+12/25: | Chorus in the "Preghiera" (No. 5) distributed to all voices instead of two-part tenors only. |
| Fig. 47-7 - fig. 49-2: | Roberto's romanza is missing, as it was written later (see 60.E.2). |
| From fig. 57+17: | Reduction of the chorus in No. 10. |
Copies
| I-FnBiblioteca Nazionale Centrale, Firenze | Mus.i.663 |
1.85 | |
| I-McConservatorio di musica "Giuseppe Verdi", Milan | Spartiti 1012 |
1.85 | registered 9 March 1885 (due to a re-binding of this copy, this registration date mentioned by Hopkinson is no longer visible) |
| I-RscConservatorio di Santa Cecilia, Rome | G.21.E.33 |
illegible | |
| I-RscConservatorio di Santa Cecilia, Rome | 101.A.24 |
1.85 | |
| GB-LblThe British Library, London [formerly the British Museum] | F.860 |
1.85 | registered 1 April 1885 |
| US-BEmUniversity of California Music Library, Berkeley, California | M 1503.P75.V5 1884 |
4.86 |
60.E.2
Second Italian edition:
[Without copyright date].
Ricordi, Milan etc., 1885.
PN 49457, 130 pages, 4°.
According to MRK, the edition was printed in March 1885 (see also Quaderni 1992 II, No. 11) and represents the state of composition after the performances at La Scala in early 1885. Like the previous edition, it has neither a numbering of the single pieces nor the rehearsal numbers.
Apart from smaller variants in the vocal parts, the edition displays the following differ- ences of considerable importance as compared to 60.E.1:
| Fig. 47-7 – fig. 49-2: | Insertion of Roberto’s romanza “Torna ai felici dì” (79 bars in No. 9, see 60.B.1/13). |
| Fig. 51+13/16: | Expansion of the former two bars in Roberto’s “Scena” (No. 9). |
| From fig. 57+17: | Filling out of the choral setting in No. 10 (as in 60.B.1/12). |
| I-NcConservatorio di musica "San Pietro a Majella", Naples | 23.5.45 |
5.85 | |
| I-NcConservatorio di musica "San Pietro a Majella", Naples | C.S.2.5.80 |
5.85 | |
| GB-LblThe British Library, London [formerly the British Museum] | F.860.xx |
5.85 | registered 30 March 1981 |
| US-NYpNew York Public Library, New York | MS |
5.85 | registered 19 February 1970 |
60.E.3
Third Italian edition:
[Without copyright date].
Ricordi, Milan etc., 1888.
PN 49457, 130 pages, 4°.
A copy mentioned by Hopkinson (but one he was unable to see for himself) as being located in the Conservatorio “Luigi Cherubini” in Florence, is not to be found there today. There is a copy in a private collection in England with the blind stamp 10.88. Also, MRK reports 30 October 1888 as date of printing. According to the publisher’s name on the title page, the edition could have been published no earlier than June 1888, for the merging of the houses of Ricordi and Lucca, already mentioned in the edition, occured on 1 June 1888. As with the previous editions, this one has neither a numbering of the single pieces nor the rehearsal numbers. It includes the following change compared to 60.E.2:
| After fig. 56+8: | The duet of Anna and Roberto in No. 10 was expanded by 9 bars, replacing one bar of the orchestra. |
| I-PAcConservatorio di musica (Biblioteca nazionale Palatina), Parma | K.2.33 |
illegible (according to Hopkinson 8. or 9.88) |
60.E.4
Fourth Italian edition:
[Without copyright date].
Ricordi, Milan etc., 1891 (?).
PN 49457, 126 pages, 4°.
Puccini obviously expected the swift publication of the new edition as early as the beginning of 1890 (see Carteggi 1958, Nos. 33 and 36). Therefore, this edition could be dated much earlier than is suggested by the earliest known blind stamp. In any case, all performances later than autumn 1889 were given in this version (see NOTES). MRK reports 28 October 1891 as the date of printing.
In this edition, the numbering of the single pieces (Nos. 1-10) appears in print for the first time.
Apart from smaller variants, the edition contains the following differences of considerable importance compared to 60.E.3:
|
Fig. 21+13/20: |
The orchestral accompaniment for the duet of Anna and Roberto (No. 4) was changed. |
|
Fig. 21+25/28: |
The vocal lines for Anna and Roberto at the end of the duet (No. 4) were extended and the passage was expanded by two bars in all. |
| After fig. 49-20: | 3 bars in Roberto’s romanza (in No. 9) were cut. |
| Fig. 49-14/11: | These 4 bars were added to Roberto’s romanza (in No. 9) . |
|
Fig. 49-11/2: |
The orchestral postlude for Roberto’s romanza (in No. 9) was expanded from 4 to 10 bars. |
|
After fig. 52-13: |
97 bars of Roberto’s “Scena” (in No. 9: “Per te, quaggiù, sofferse ogni amarezza”) were cut and replaced by 8 new bars for orchestra. |
| From fig. 57+17: | Return to the reduced choral setting as in 60.E.1 (in No. 10). |
|
From fig. 59+46: |
The orchestral finale was expanded by 4 bars (fig. 59+46/47 and fig. 59+50/51). |
| I-RscConservatorio di Santa Cecilia, Rome | G.25.A.28 |
1.25 | |
| I-TcoConservatorio di musica "Giuseppe Verdi", Turin | OP180 |
7.92 | |
| A-WnÖsterreichsche Nationalbibliothek, Vienna | M.S.12894 |
2.93 | |
| D-BStaatsbibliothek zu Berlin - Preußischer Kulturbesitz | O.1770 |
7.04 | |
| D-BStaatsbibliothek zu Berlin - Preußischer Kulturbesitz | O.1770/1 |
7.04 | |
| I-LmpMuseo di casa Puccini, Lucca |
|
8.96 | |
| F-PnBibliothèque nationale de France, Paris | D.9963 |
8.96 | |
| GB-LblThe British Library, London [formerly the British Museum] | F.860.yy |
8.96 | |
| US-NYpNew York Public Library, New York | JMF 76-149 |
1.23 | registered 6 April 1976 |
| US-WcLibrary of Congress, Washington, DC | M 3.3.P8V3 |
4.09 | registered 19 December 1910 |
60.E.4a
First German edition:
Die Willi’s. Oper mit Ballet in zwei Acten ... Für die deutsche Bühne übertragen von Ludwig Hartmann ...
[Without copyright date].
Ricordi, Milan etc., 1892.
PN 95642, 122 pages, 4°.
Registered at the Prefettura di Milano on 22 November 1892 (I-Rsc copy 103.C.2).
This edition was published for the first performance of the opera in German on 29 November 1892 in Hamburg. According to MRL, production began on 20 August 1892. The publication was announced in the Gazzetta musicale of 20 November 1892; MRK reports 19 November 1892 as the date of printing.
The edition adopts the cuts and expansions of 60.E.4, but contains neither most of the smaller changings of dynamics and expression marks nor the numbering of the single pieces.
Copies| I-FnBiblioteca Nazionale Centrale, Firenze | Mus.i.669 |
BS 11.92 | |
| I-McConservatorio di musica "Giuseppe Verdi", Milan | Spartiti 1011 |
BS 11.92 | |
| I-RscConservatorio di Santa Cecilia, Rome | 103.C.2 |
BS 11.92 | |
| I-RscConservatorio di Santa Cecilia, Rome | 5.E.26 |
BS 11.92 | |
| I-RscConservatorio di Santa Cecilia, Rome | G.21.F.4 |
BS 11.92 | |
| D-BStaatsbibliothek zu Berlin - Preußischer Kulturbesitz | O.1770 b |
BS 11.92 | |
| D-MbsBayerische Staatsbibliothek, Munich | 4° Mus.pr.2094 |
BS 11.92 | |
| GB-ObBodleian Library, Oxford | Mus.22 d.839 |
BS 11.92 | registered 26 February 1968 |
| US-BpBoston Public Library, Boston, Massachusetts | M.402.45 * |
60.E.4b
First English edition:
Le Villi (The Witch-Dancers). An Opera in two Acts ... English Version by Percy Pinkerton.
Copyright 1897.
Ricordi, London etc., 1897.
PN 100937, 103 pages, 4°.
The edition certainly was published for the first performance in English on 24 September 1897 in Manchester, though MRK reports printing only in 1898. According to MRL, production began on 19 June 1897. Like 60.E.4a, the edition has no numbering of the single pieces. Strangely, it bears its own version of the final chorus (from fig. 57+17) as a conventional multi-part setting.
Copies| GB-LblThe British Library, London [formerly the British Museum] | F. 860. c |
without BS | registered 23 September 1897 |
| US-NYpNew York Public Library, New York | MS |
without BS | registered 26 November 1932 |
60.E.4c
Fifth Italian edition:
[Without copyright date and not mentioning the arranger’s name].
Ricordi, Milan, Ripristino 1944.
PN 49457, 126 pages, 4°.
This edition, currently still available, is identical with 60.E.4, with the exception of one small detail: the tempo indication at fig. 41 is “Allegretto deciso” instead of “Allegretto”, as in the earlier editions (60.B.1 and 60.E.4d both state: “All° deciso”). In addition to having numbers for the individual pieces, this edition is the first to include the rehearsal numbers. This edition, like all the previous ones, is based on the engraved plates of the very first edition, changed throughout only at the respective places. Gherardi 1977, p. 272, refers to the La Scala performance of 1944 as a possible occasion for the reprint.
60.E.4d
Le Villi. Partitura.
[Without title page, but engraved].
Copyright 1944.
Ricordi, Milan, 1944.
PN 126797, 146 (Act 1) + 201 pages (Act 2), 2°.
Additional PN 124947 and 124949, respectively, for the two movements of the “parte sinfonica”.
This full score was not deposited in any of the copyright libraries. It is still only available for rental for performances.
According to the position in MRL, the plate number must have been assigned ca. early October 1944 (together with PN 126798 for the orchestral parts). As with 60.E.4c , the La Scala performance of 1944 probably was the occasion for this first reproduction of the full score.
Apart from a few details, it corresponds with 60.E.4 / 60.E.4c .
Edwin F. Kalmus, Boca Raton, Florida, publishes a photographically reproduced copy of this full score (for sale and rental, without PN and year). The cover bears the number A 4604.
60.E.5
Critical edition:
Le Villi, a cura di Martin Deasy
Un volume: partitura e commento critico incluso
Ricordi, Milan, 2020
PN NR 141755, XXXIII + 425 pages.