Sources
55. Capriccio sinfonico
55.A.1
Location:Missing (formerly in the possession of Natale Gallini, Milan [see LITERATURE]).
2 pages, 2°, consisting of composition sketches for different passages, with numerous annotations, including several caricatures of Ponchielli. This manuscript was purportedly given as a present from Puccini to Gallini’s brother Pietro.
According to Gallini, at the end of the second page Puccini wrote “maestoso quasi mastodontico” and the line (set to music) “Giacomo Puccini ha finito i quattrini”, as well as the words “un cavouritt” (a two-lire coin of that time). However, 55.D.1 shows that Gallini’s description is not quite correct. Instead of “maestoso quasi mastodontico” Puccini actually wrote “Grandioso quasi mastodontico” above the setting of his own name to music marked fortissimo, with the indication “Colla / Massima / Enfasi”.
55.A.10
N.IV.18 g
)1 leaf, 2° (36.5 × 27 cm) with 20 staves comprising 42 bars in F major, 3/4.
Composition sketch for the finale (starting from bar 400 of the definitive version), which Puccini subsequently changed in the final composition.
See Mostra 1974, p. 25, No. 18 g (= Hopkinson 1968, p. 64, former shelfmark XIX; contrary to Mostra 1974, the former shelfmark actually was XVIII b for the recto and XIX for the verso).
55.A.2
N.IV.18 a
)1 leaf, 2° (36.5 × 26.5 cm) with 20 staves comprising 63 bars with the tempo indication “And[an]te Moderato”, F major, 3/4.
Composition draft from the beginning to bar 53, corresponding to a great extent to the definitive composition, followed by a sketch of 6 bars in 2/4, which probably do not pertain to this piece.
Described in Mostra 1974, p. 25, No. 18 a (= Hopkinson 1968, p. 64, former shelfmark XVIII).
55.A.3
N.IV.18 b
)1 double leaf, 2° (44 × 29 cm) with 30 staves. 23 bars.
Full score draft of the opening passages (bars 12-24 and 47-56), corresponding to a great extent to the definitive composition.
See Mostra 1974, p. 25, No.18 b (= Hopkinson 1968, p. 64, former shelfmark XXV).
55.A.4
N.IV.17
)1 double leaf (only written on the beginning), 2° (37 × 26.5 cm) with 20 staves comprising 7 bars in F major, 6/8.
Composition sketch for the beginning of the fast middle section.
See Mostra 1974, p. 23, No. 17 (= Hopkinson 1968, p. 64, former shelfmark XVI).
55.A.5
N.IV.18 c
)1 double leaf (written on 2 pages) and 2 single leaves (the second leaf is only written on 1 page), 2° (44 × 29 cm) with 30 staves. The pages contain a total of 118, 120, and 82 bars respectively and some cancelled bars. Tempo indication: “Allegro Vivo”, F major, 3/8, later 3/4.
Composition draft for the fast middle section and the beginning of the recapitulation of the main movement, with considerable differences from the definitive composition, partially written in a very sketchy handwriting.
See Mostra 1974, p. 25, No. 18 c (= Hopkinson 1968, p. 64, former shelfmarks XXII–XXIV).
55.A.6
N.IV.18 d
)1 double leaf, 4° (34 × 25 cm) with 12 staves comprising 89 and some cancelled bars. 3/8, with a transition at the end to 3/4.
Variant of the composition draft of the end of the fast middle section for the transition to the recapitulation of the main movement.
See Mostra 1974, p. 25, No. 18 d (= Hopkinson 1968, p. 64, former shelfmark XV).
55.A.7
N.IV.18 e
)1 double leaf, 2° (37 × 27 cm) with 20 staves comprising 131 and some cancelled bars.
Another variant of the composition draft for the end of the fast middle section and for the recapitulation of the main movement.
See Mostra 1974, p. 25, No. 18 e (= Hopkinson 1968, p. 64, former shelfmark XX).
55.A.8
N.IV.19
)1 leaf (verso blank), 2° (37 × 27 cm) with 20 staves comprising 11 bars in 3/4.
Variant of the composition draft for the beginning of the recapitulation (abandoned for the definitive composition).
See Mostra 1974, p. 27, No. 19 (= Hopkinson 1968, p. 64, former shelfmark XXI).
55.A.9
N.IV.18 f
)2 torn double leaves, but certainly 2° (44 × 29 cm) with 30 staves (written on 2 pages on the first and on 3 pages on the second double leaf), and 1 double leaf 2° (37 × 27 cm) with 24 staves. 29 + 20 bars.
Several overlapping full score drafts for the recapitulation of the main movement (bars 377-396 and 419-428 of the definitive version), which Puccini subsequently changed in the final composition.
See Mostra 1974, p. 25, No. 18 f (= Hopkinson 1968, p. 64, former shelfmarks XXXI, XXXII, and XXVI) and Fellerer 1937b, p. 688, who reproduced bars 6-10 from N.IV.18 f 1 in a piano reduction.
55.B.1
Full score.
55 pages numbered in a different hand, 2° with 24 staves (p. 7 consists of 18 staves). Several pages are stamped: “Conservatorio di Musica Milano”.
The cover bears Puccini’s indication (certainly added later): “Originale / Capriccio Sinfonico / GPuccini”. The music contains many autograph corrections (some of which were made at a later date), and autograph indications of corrections to be made: i.e. p. 52 “correggere parti / 1893 / GP.”; p. 54 “correggere violini Ii 2i / viole celli nelle parti / GPuccini 1893”; p. 55 (one new bar pasted in for all instruments) “copiare sulle parti questa battuta / 23 Marzo 1893 GP”. At the end of the work, the manuscript is signed and dated: “Giacomo Puccini / Milano / Luglio 1883”.
According to Puccini’s own indication on the manuscript, this is his original full score, which he borrowed from the library of I-Mc after the first performance and did not return (see NOTES). The alterations in the score dating from March 1893 were certainly made in view of a new performance which took place on 9 April 1893 in Venice (see PERFORMANCES and NOTES).
In addition to several modifications of expression marks and other minor corrections, the manuscript includes the following larger changes:Note: *The bar numbers in this list refer to 55.E.2.
The addition of two “cornette” in the Tutti to fortify the brass instruments, as well as the addition of a “cassa [bass drum]” in bars 58, 392, and 437/438.
The replacement of seven bars (35-41) with three new ones (written on a new leaf with 18 staves; the original leaf was removed).
Changes in the voice leading and small additions to the orchestration in bars 424, 432/433, and 439-441.
55.B.2
D 28 c-e
)Instrumental part for 2 trumpets in B flat, consisting of 3 pages, 4° with 10 staves.
The manuscript only consists of bars 392-396 and 409-411 (bar numbers from 55.E.2), with the bars before, between, and afterwards indicated as “Tacet”. Since 55.C.1 contains no additional trumpets in B-flat at those junctures, it can be surmised that Puccini added them for the performance in Turin on 6 July 1884 (see NOTES) to intensify the ending of the piece. The manuscript is written on music paper from the company “Tip. Bellardi e Appiotti”, manufactured in Turin. It is not completely clear that this is an autograph manuscript, but the handwriting is very similar to Puccini’s and certainly not written by a professional copyist.
55.B.3
Location:Missing, last in Sotheby’s auction of 16/17 May 1991, No. 382 (photocopy in I-Lgp): 1 leaf, 4° with 10 staves.
Auction Date: 16/05/1991
1 leaf, 4° with 10 staves.
The recto bears the autograph heading: “Piatti / Puccini”; the verso comprises the complete instrumental part for the cymbals (also in Puccini’s hand).
In addition to obviously being the cymbal part for the first performance of the Capriccio sinfonico on 14 July 1883, corrections in Puccini’s hand call for an extra bass drum (cassa) in 5 bars (147, 283, and 409-411), as well as a tam-tam in bar 147 (the bar numbers refer to 55.E.2).
Since these corrections are not included either in 55.C.1 or in 55.B.1, they were probably inserted (like 55.B.2) for the performance in Turin on 6 July 1884 (see NOTES).
55.C.1
Manoscritti 30/11; old number 138 A
)Fair copy of the full score probably in the handwriting of Puccini’s brother Michele, with autograph additions by the composer — especially indications of expression marks. It consists of 77 pages, 4° (33 × 24 cm) with 20 staves and pagination in a different hand. The autograph title page (probably added later) states: “Milano Luglio 1883 / Giacomo Puccini”; the last page bears Puccini’s autograph dedication to the director of the conservatory, Antonio Bazzini.
Puccini probably asked his brother to make this fair copy because of the chaotic appearance of 55.B.1; it was also probably intended for further performances. The information that Puccini intended to have a second copy made, for which he borrowed his original full score (55.B.1) from I-Mc, is documented in a letter Puccini sent to Ponchielli on 29 October 1883 (published in Le Apuane, November 1986, p. 56), and also in a letter to Mascagni from November 1883 (published in Rassegna musicale Curci, January 1992, p. 25).
55.D.1
| Copied source | Portion | Bibliographic reference | Page number |
|---|---|---|---|
| 55.A.1 | partial detail |
Weaver 1977
William Weaver, Puccini the Man and his Music. New York: Dutton, 1977. |
p. 12 |
55.D.2
| Copied source | Portion | Bibliographic reference | Page number |
|---|---|---|---|
| 55.A.2 | p. 1 |
Mostra 1974 Mostra Pucciniana. Catalogo della mostra. Lucca, Nuova Grafica Lucchese, 1974. | p. 24 |
55.D.3
| Copied source | Portion | Bibliographic reference | Page number |
|---|---|---|---|
| 55.A.5 | p. 1 |
Mostra 1974 Mostra Pucciniana. Catalogo della mostra. Lucca, Nuova Grafica Lucchese, 1974. | p. 26 |
55.D.4
| Copied source | Portion | Bibliographic reference | Page number |
|---|---|---|---|
| 55.B.1 | p. 1 |
Specht 1931
Richard Specht, Giacomo Puccini. Berlin: Hesse, 1931. |
opposite p. 33 |
55.D.5
| Copied source | Portion | Bibliographic reference | Page number |
|---|---|---|---|
| 55.B.1 | last page |
Marchetti 1968
Leopoldo Marchetti (ed.), Puccini nelle immagini. Torre del Lago, Museo di Torre del Lago, 1968 [first shorter edition: Milan, Garzanti, 1949]. |
No. 37 |
55.D.6
| Copied source | Portion | Bibliographic reference | Page number |
|---|---|---|---|
| 55.C.1 | title page |
Puccini, Signorini, and Bajoni 1989
Simonetta Puccini, Franco Signorini, and Maria Grazia Bajoni, eds. Puccini a Milano. Milan: Istituto di studi pucciniani, 1989. |
55.D.7
| Copied source | Portion | Bibliographic reference | Page number |
|---|---|---|---|
| 55.C.1 | beginning of the Allegro vivace |
Sartori 1964
Claudio Sartori, “L’alunno Giacomo Puccini”. In Annuario del Conservatorio di musica “Giuseppe Verdi” di Milano 1963/64, 57-71. |
Tav. V |
55.E.1
First Italian edition:
Capriccio Sinfonico di G. Puccini. Riduzione per Pianoforte a 4 mani di G. Frugatta. A.S.A. il Principe Carlo Poniatowski.
F. Lucca, Milan, 1884.
PN 38150, 31 pages, 4°.
Registered at the Prefettura di Milano 15 April 1884 (I-Rsc B.592.60).
Copies| I-FnBiblioteca Nazionale Centrale, Firenze | Mus.273.43 |
||
| I-McConservatorio di musica "Giuseppe Verdi", Milan | A-23-11-24 |
||
| I-RscConservatorio di Santa Cecilia, Rome | B.592.60 |
15 April 1884 |
|
| I-RscConservatorio di Santa Cecilia, Rome | B.895.21 |
deposited by F. Lucca, March 1884 |
|
| GB-LblThe British Library, London [formerly the British Museum] | h.3290.c.(25.) |
registered 4 June 1884 |
55.E.2
Capriccio Sinfonico for Orchestra. Revised and edited by Pietro Spada. [Full Score].
Elkan-Vogel, Bryn Mawr, PA., USA 1978.
PN 466-00026, 75 pages, 4°.
Reproduction of a copyist’s handwriting.
The edition is based on 55.C.1 and not on Puccini’s revised autograph (see 55.B.1).
55.E.3
Capriccio Sinfonico (Revisione di M. Panni). Partitura.
Copyright 1975.
Ricordi, Milan, 1989.
68 pages, 2°.
Reproduction of a copyist’s handwriting.
Catalogued in MRL 10 March 1975 with PN 132341, the instrumental parts with PN 132342; however, the edition has no plate number.
Available only on rental.
As with 55.E.2, this edition is based on 55.C.1 and not on Puccini’s revised autograph (55.B.1).
55.E.4
Capriccio sinfonico. Edited by Dieter Schickling.
Carus Verlag, Stuttgart, 2006.
PN CV 16.205.
Critical edition based on 55.B.1.
55.E.4a
Preludio a orchestra. Edited by Dieter Schickling.
In Giacomo Puccini, Composizioni per Orchestra. A cura di Michele Girardi, Virgilio Bernardoni, and Dieter Schickling.
Edizione Nazionale delle Opere di Giacomo Puccini, series II: Musica strumentale, vol. 1.
Carus Verlag, Stuttgart, 2015.
PN CV 56002, pp. 75-135.
Reprint of 55.E.4.