Sources
84ⁱ. Il Tabarro

84ⁱ.A.86.a

I-TLp

Part of the composition draft for the second version of Michele’s monologue,“Nulla, silenzio."Note: These are obviously the three folios mentioned in the Inventario: Archivio Puccini in Torre del Lago of 1980, p. 10, as “appunti musicali per ‘Il Tabarro’”; they are no longer listed in the Inventario of 1992.Probably 1 double leaf, 4° (the exhibit of this manuscript at Puccini’s Villa only reveals half of the manuscript, which otherwise was inaccessible; only fig. 87+4/5 were visible).

84ⁱ.B.1

I-Mr
 (

N.III.14

)

Full score.
142 leaves, numbered with a later stamped pagination.
The manuscript also preserves the original numbering of double leaves in Puccini’s hand of 1-27 (leaves 1-54) and 28-67 (leaves 62-141) as well as a page numbering in Puccini’s hand of 1-13 (leaves 55-61).
The rectos all have the stamp of the Prefettura di Milano.
Leaf 142r. contains the acknowledgement of the presentation of the manuscript at the Prefettura di Milano of 27 December 1918.
The music paper has 28 staves and three lines for the percussion instruments. It is pre-printed with the names of the instruments and Puccini’s monogram, but without the opera’s title. It is the same type of paper that was used for the full score of La Rondine (see 83.B.1); on several of the pages the title La Rondine can even be recognized.
Puccini took pains to notate it in a particularly legible and clear calligraphy, with only a few corrections. There are almost no metronome indications. The rehearsal numbers are in a different handwriting, but up to Michele’s monologue they were obviously entered before Luigi’s aria was inserted (see below).

In the following summary, the stamped numeration is used:
On the bottom of leaf 1r., Puccini wrote: “Il Tabarro / (Houppelande) — 21.4.[1]916 / Torre del Lago / GPuccini.”
Leaves 55-61r. (v. blank) contain Luigi’s aria “Hai ben ragione” (fig. 44 – fig. 46+5), composed later; preceded by 2 bars (“a domani ra-”) which erroneously have not been deleted. Near the end of February 1917, Puccini sent Ricordi this insert (see NOTES), so it probably had been composed and orchestrated in that month. 
Leaf 99v. is blank and crossed out (= after fig. 70+9). This may mark the interruption of instrumentation, in summer of 1916, and its resumption at the beginning of September (see Epistolario 1982, no. 140, contrary to Adami, certainly to be dated from 1916; see also NOTES).
On leaf 141v. at the end of the music, at the bottom, Puccini wrote: “Torre del Lago 25 nov: [1]916 / bel tempo [fine weather] GPuccini.”

84ⁱ.B.2

I-TLp

2 bars for the woodwinds to insert a 2/4 bar (before former fig. 90-4; see 84.E.2), indicated in Puccini’s hand as “Battuta in due 2/4 pag. 114” (the page number refers to 84.E.2a).
This modification, later omitted again, originated in the first months of 1919.

84ⁱ.B.3

I-Mr

Full score of Michele’s new monologue, “Nulla, silenzio!,” written on the same music paper Puccini used for the full score of Turandot and probably composed in late 1921 (see NOTES).
There is a pagination of 1-8 in Puccini’s hand. 
The composition extends as far as what is now fig. 88+1; then, in another handwriting: “Segue [fig.] 88”; for the continuation see 84ⁱ.B.4.

84ⁱ.B.4

I-Mr
 (

N.II.17

)

Autograph and non-autograph changes in a copy of 84.E.2a.
The cover bears the indication: “con ultimi accomodi dell’autore [with the authors’s final changes].”
On pp. 107-114 (= fig. 86 – fig. 90), Michele’s monologue, “Scorri, fiume eterno,” is deleted in Puccini’s hand and the new monologue, “Nulla! Silenzio!,” is inserted in a copyist’s handwriting (presumably following 84ⁱ.B.3).
To facilitate matters, printed pages from the full score containing the end of the new monologue (missing in 84ⁱ.B.3) were inserted in this copy with the new text affixed to the old one and with changes of the instrumentation in Puccini’s hand. This copy, certainly intended for the engravers, is probably the continuation of 84ⁱ.B.3.
Furthermore, printed full score pages were inserted with the complete new monologue, the text and corrections in Puccini’s hand, as well as a proof printing of the new monologue with numerous corrections in another handwriting.Note: In an unpublished letter to Guido Zuccoli of 15 December 1921 (sold by the music antiquarian Voerster, Stuttgart), Puccini requested some corrections in the woodwinds, which he had forgotten to make. 

84i.b.4, together with the preceding manuscript 84ⁱ.B.3, was obviously the model for the new edition of the full score (84ⁱ.E.3b).

Not Known
Not Known

84ⁱ.E.1

First Italian edition:
In: 84.E.1, pp. 1-114.
On the title page for Il Tabarro: (da “La Houppelande” di Didier Gold)/ Libretto di Giuseppe Adami.

Compared with the autograph full score 84 i .B.1, the first printing of the piano-vocal score shows only one substantial difference (apart from some slight changes of details):

fig. 41-8/5: The orchestral postlude to Frugola’s song about her cat was expanded by these 4 bars.
Copies

See 84.E.1.

84ⁱ.E.2

In: 84 i .E.2, pp. 1-114.

Later also published separately (announced in Musica d’oggi of October 1921, p. 299): USA holdings: see NUC NP 0634328.
According to MRL, the plate numbers for the piano-vocal scores (and for the piano solo versions) of the separate editions of the three operas were established on 1 June 1921.

Apart from some corrections of expression marks and of obvious publisher’s errors in the first edition, there are the following more important changes, compared to 84 i .E.1:

fig. 57 – fig. 72: The duet of Giorgetta and Luigi and the beginning of the dialogue of Giorgetta and Michele were transposed up one half tone (see Budden 1998b, 13-15).
fig. 72: The entry of the orchestra was advanced to the last bar of Giorgetta’s singing (which was originally unaccompanied).
In fig. 83-2: 1 bar (the repetition of Michele’s “quando tu m’amavi”) was cut.
Former fig. 86-3/1: Changes of meter: 2/4 + 4/4 + 4/4 instead of 4/4 + 2/4 + 4/4.
Former fig. 86 – fig. 87: 10 bars were cut in Michele’s monologue (from “Passa, fiume eterno” to “hai segnata la fine!”)
Former fig. 88+1 – fig. 89+2: 9 bars in Michele’s monologue (from “Sono i lamenti ... che portasti” through “dei tuoi morti?”) were cut.
From former fig. 89+3: Michele’s notes were raised, with his vocal line and its rhythm altered, and an additional 2/4 bar was inserted before the former fig. 90-4.
In fig. 96+2: Giorgetta’s exclamation “Michele!” was inserted, so that she calls him twice.
Before fig. 97: 2 bars for Giorgetta were cut (“No, ho avuto paura”).
Before fig. 100: 2 bars for Giorgetta were cut after her outcry (“atroce dolore! È morto il mio amor!").

84ⁱ.E.2a

Il Tabarro. Partitura. [Engraved conductor’s score without title page].
Copyright 1918.
Ricordi, Milan, 1919.
PN 117710, 125 pages, 2°.

According to MRL, production began on 19 February 1919. Apart from a few details of the expression marks, this full score agrees with 84ⁱ.E.2.

Copies
I-Lgp

84ⁱ.E.2a
GB-Lbl

I.411.b.

registered 15 January 1976
US-Wc

M 1500.P97T3

registered 8 January 1947

84ⁱ.E.2b

First German edition:
In: 84.E.2a, pp. 1-106.
On the title page for Der Mantel: (nach “La Houppelande” von Didier Gold). Text von Giuseppe Adami. Ins Deutsche übertragen von A. Bruggemann [sic].

Musically the edition agrees nearly completely with 84ⁱ.E.2.

It was also published separately: 
Copyright 1918 and 1920.

Although this separate edition with Michele’s old monologue was announced in Musica d’oggi of February 1921, 63, according to MRK the only printing dates were on 31 May 1939 and 26 February 1943, which agrees with the blind stamps of the known copies. It was only in 1957 that the German edition was brought to the status of the authentic version of the score (see 84ⁱ.E.3f).

Copies

see 84.E.2a. For a list of copies of the separately published edition of ll Tabarro, see below:
I-Lgp

84ⁱ.E.2a
I-Rsc

G.18.A.6

 BS 2.43
D-Mbs

4° Mus.pr.4763

 without BS
US-NYp

JMF 76-702

 without BS

84ⁱ.E.2c

First French edition:
La Houppelande (d’après le drame en un acte de Didier Gold). Livret de Giuseppe Adami.
Version française de Didier Gold.
Copyright 1921.
Ricordi, Milan etc., 1921.
PN 118000, 114 pages, 4°.

MRL records 15 September 1921 as the beginning of production for all French editions of the Trittico operas. According to the blind stamps, all of them were already published in October 1921, and indeed (according to MRK) were printed on 31 October 1921 (see 84ⁱⁱ.E.2c and 84ⁱⁱⁱ.E.2c). They were obviously prepared in anticipation of a contemporary French performance, after earlier plans for such a performance had failed.Note: See Puccini’s unpublished letters to Clausetti (I-Mr, Carteggio Puccini-Clausetti) of 12 July and to Sybil Seligman (MEL) of 21 July 1919. According to Loewenberg 1943 (705), however, the first performance of the Trittico in the French language was not until January 1923 in Ghent (Belgium). Prior to that, only Gianni Schicchi had been sung in French in several more prominent theatres (see 84ⁱⁱⁱ).
Apart from a few details, the edition agrees with 84i.E.2.

Copies
I-Fn

Mus.i.836

 BS 10.21
I-Lgp

84ⁱ.E.2c

 BS 10.21
I-Mc

Spartiti 1000

 BS 10.21
I-Rsc

G.21.F.24

 BS 10.21
US-Wc

M 1503.P977T3

 BS 10.21

84ⁱ.E.3

Third Italian edition:
Il Tabarro (da “La Houppelande” di Didier Gold). Libretto di Giuseppe Adami.
Copyright 1918 (some copies 1918 and 1919).
Ricordi, Milan etc., 1924.
PN 117404, 116 pages, 4°.

The edition contains Michele’s new monologue (see NOTES) and apart from that agrees with 84ⁱ.E.2.
MRK records 30 April 1924 as the first printing date.

Copies
I-Lgp

84ⁱ.E.3

 BS 6.24 + Ripristino 1944
I-Mc

Spartiti 1000 a

 Ripristino 1944
I-Mc

Spartiti 1001 (-)

 BS 10.25
I-Nc

85.2.36 (-)

 Ripristino 1944
GB-Lam

021759

 BS 9.32
GB-Lcm

without shelf mark

 BS 9.32

USA holdings: see NUC NP 0634324, 0634325, 0634329, 0634332, 0634333, 0634334

84ⁱ.E.3a

Second French edition:
Copyright 1921.
Ricordi, Paris (1922 at the earliest).
PN 118000, 116 pages, 4°.

The only known copy of this score raises the question of whether this version should even be designated as a particular edition at all, for it is only a copy of 84ⁱ.E.2c (BS 10.21), with the pages of Michele’s new monologue, “Nulla! Silenzio!,” inserted. However, since these new pages (99-105) are not manuscript but fully engraved, and since the pagination after the insert to the end of the opera (altered to pp. “106-116,” instead of the erased page numbers “104-114”) was also engraved, Ricordi must have produced more than this single copy preserved in F-Pn.
It is safe to assume that additional copies (perhaps only as many as would be required) were printed with the new monologue for a production of the opera in Paris, which Puccini and his publisher tried in vain for a long time to secure (see Puccini 1981, no. 104, of July 1922).

Copies
F-Pn

𝄞 6458

84ⁱ.E.3b

Il Tabarro. Partitura.
Copyright 1918.
Ricordi, Milan, 1927 (?)
PN 117710-120480, 129 pages, 2°.

Apart from Michele's new monologue, this edition agrees with 84ⁱ.E.2a.
Probably issued at the same time as the orchestral score for public sale.

Copies
I-Lgp

84ⁱ.E.3b

84ⁱ.E.3c *

Formerly catalogued as 85.E.3 in Schickling 2003.

According to MRL, production began on 11 February 1927. MRK records 31 May 1927 as printing date.
Apart from Michele’s new monologue (on pp. 107-118 instead of pp. 107-114), this edition was printed from the plates of 84.E.2a.

Copies
I-Fn

Mus.O.79

 BS 4.27
I-Mc

Part. op.a-14

 BS 4.27
I-Nc

58 B.2.52

 BS 4.27
I-Rsc

G.24.F.10

 BS 4.27
D-B

O.63895

 BS 4.27
D-Mbs

8° Mus.pr.1107

 BS 4.27
GB-Lbl

E.1204.f.

 BS 4.27

registered 3 January 1930
US-NYp

JME 75-165

 BS 4.27

registered 26 November 1975
US-Wc

M 1500.P97T3 1927

 BS illegible

registered 5 May 1927

Other USA holdings: see NUC NP 0634327, 0634330, 0634337

84ⁱ.E.3d *

Previously catalogued as 85.E.3c in Schickling 2003. 

Partitura. Nuova edizione riveduta e corretta.
Copyright 1918, 1917.
Ricordi, Milan, 1956.
PN P.R.118, 129 pages, 4°.

Except for the new plate number, this edition was printed from the plates of 84ⁱ.E.3c and is identical with it.

84ⁱ.E.3e *

Previously catalogued as 85.E.3d in Schickling 2003.

Istrumentazione per orchestra ridotta di Ettore Panizza.
Ricordi, Milan, 1954 (?).
PN 128837, 129 pages, 2°.
Corresponding orchestral parts with PN 128838.

Catalogued in MRL on 19 May 1954, this score and parts are only available from the publisher on rental.

Orchestra: 2 Flutes (also Piccolo), Oboe, 2 Clarinets, Bassoon, 2 Horns, 2 Trumpets, Trombone, (same percussion as in the original), Strings.

It is remarkable that this reduced orchestration was published so many years after Puccini’s death. Around the same time, Ricordi also issued reductions of La Bohème (67.E.5i) and the other operas of Il Trittico (84ⁱⁱ.E.3e and 84ⁱⁱⁱ.E.2f). During Puccini’s lifetime, similar orchestral reductions for small theatres only existed for Madama Butterfly (74.E.7b) and La Fanciulla del West (78.E.3b).

84ⁱ.E.3f *

Previously catalogued as 85.E.3e in Schickling 2003. 

First English edition:
The Cloak (Il Tabarro) ... English Version by Joseph Machlis.
Copyright 1927, later also 1918 and 1956.
Ricordi, New York, 1956.
PN 129116, 116 pages, 4°.

Catalogued in MRL on 4 July 1955. However, Loewenberg 1943 (705) lists performances sung in an English translation by Herbert Withers as early as 1935 and 1937, but a score including that translation was apparently never printed.

Copies
I-Lgp

84ⁱ.E.3f
GB-Lbl

F.860.r.

registered 17 May 1956
US-NYp

MS

registered 7 May 1969
US-Wc

M 1503.P977T32 1956

registered 6 June 1956

84ⁱ.E.3g *

Formerly catalogued as 85.E.3f in Schickling 2003. 

Second German edition:
... Die Arie “Nulla, silenzio” ins Deutsche übertragen von M. Schaetzle.
Copyright 1918, 1957 (some copies do not have the latter date).
Ricordi, Lörrach (some copies state: Milan), 1957.
PN 118098, 110 pages, 4°.

Apart from the substitution of Michele’s monologue, the edition completely agrees with 84ⁱ.E.2b.

Copies
D-B

Kp 266/1
I-Lgp

84ⁱ.E.3g

84ⁱ.E.3h

Fourth Italian edition:
Opera in un atto ... English version by Joseph Machlis ... A cura di Mario Parenti (1960).
Copyright 1918, 1946, 1956 (the latter date is for the English translation).
Ricordi, Milan, 1960.
PN 129782, 120 pages, 4°.

Italian and English text.

This edition contains a few changes in comparison with 84ⁱ.E.3, adopted from the full score editions 84ⁱ.E.2a/84ⁱ.E.3c. It was catalogued in MRL on 8 May 1958.
Ricordi also distributes this edition on rental with a new German translation by Gunter Selling (made sometime after 1977), written by hand above the Italian text. According to MRL, this German version was assigned the PN 136542 on 7 March 1994, but it still has not been printed.

Nota