Giacomo Puccini Sr

Giacomo Puccini Sr (b Celle dei Puccini, Lucca, bap. 26 Jan 1712; d Lucca, 16 May 1781). Composer. He lost his father, Antonio Puccini, at an early age and, together with his brother Michele (b Celle dei Puccini, Lucca, bap.

26 Dec 1714; d Lucca, 27 Sept 1782), who became a churchman and a musician, settled in Lucca in 1719 where he began to study music. In 1732–4 he completed his studies with Carretti in Bologna, where he met Padre Martini, with whom he corresponded for many years. From 1739 until his death he was director of the republic’s cappella di Palazzo, and from 1740 organist at the cathedral of S Martino as well as being maestro di cappella and organist at the other principal churches in Lucca. A vivid picture of his frenetic activity as a composer, director and organizer of musical events in and around Lucca emerges from his diary, the Libro delle musiche annue ed avventizie (1748–58, in I-La). From 1743 he was a member of the Bologna Accademia Filarmonica. Pietro Guglielmi was one of his pupils.

Giacomo’s output is mostly of sacred music, of various kinds, for a wide variety of ensembles. The most solemn occasions were those for the annual feast of S Croce, with Mass and Vespers for two choirs and two instrumental groups, augmented by the mottettone, a grand composition for two choirs and two orchestras (one from 1753 has survived). His style is distinguished by good vocal writing and counterpoint and uses the Baroque technique of contrasting diverse vocal and instrumental groupings, always with marked rhythm. The treatment of the text shows considerable variety, alternating fugal with homophonic sections and brilliant, fast movements with slow, expressive ones, with frequent recourse, in the soloists’ parts, to aria style, and, in the obbligato writing, to concerto style. He also composed dramatic music for the tasche (elections of the government of Lucca, usually held every two years). The tasca, in three parts or giornate, each by a different composer, had librettos in praise of liberty drawn from classical history. Musically they consisted of a symphony, a series of recitatives and arias, and some choral pieces. The orchestra was made up of strings and basso continuo, with the addition of an increasing number of wind instruments. The arias were in the standard contemporary forms, but were particularly notable for the variety of vocal styles and their adherence to the texts.