Appendix III.5.A.1
I-PSCmp
Museo Puccini, Celle di Pescaglia, Lucca
(
Carta III; see Critica 1976, 18-19.
)
First leaf of a double leaf, 4° (32 x 28 cm) with 12 staves. On the second leaf, there is Appendix III.6.
These realizations of figured basses from two trio sonatas by Arcangelo Corelli, in Michele Puccini Jr’s handwriting, are also found in TMP. Since they bear corrections in a different handwriting throughout, they were certainly written and submitted as an academic exercise.
Originally, the double leaf I-PSCmp (Carta III/IV) was obviously inserted in the double leaf with the old indication D 17 i–n of TMP. On p. D 17 l of TMP, there is the beginning of the piece next described as “a”, where these initial bars are missing.
The fragmentary realizations consist of:
1)
Realization of the figured bass for the last 10 bars from the final Grave of the Preludio of Arcangelo Corelli’s Trio Sonata, Op. 4 No. 10, in E minor, 4/4 (Critica 1976 No. A 2). At the end, there is the date: “1 Maggio 1885”. Earlier complete versions with and without the realization are found in TMP (old indications: B 11 a and D 20 a).
2)
Allemande: Realization of the figured bass of the Allemanda from Arcangelo Corelli’s Trio Sonata, Op. 4 No. 2, G minor, 4/4 alla breve, 23 bars (Critica 1976 No. A 3).
A slightly different version of this exercise is found in TMP (old indication: D 9 e/f).
3)
Grave: Realization of the figured bass of the final Grave of the Allemanda from Arcangelo Corelli’s Trio Sonata, Op. 4 No. 2, G minor, 4/4 alla breve, 5 bars (Critica 1976, No. A 4). Earlier versions are found in TMP (old indications: B 18 a and D 9 b).
4)
Corrente: the first 2 bars of the bass from the Corrente of Arcangelo Corelli’s Trio Sonata, Op. 4 No. 2, G minor, 3/4 (Critica 1976, No. A 5). Complete versions of this movement with Michele’s realizations are found in TMP (old indications: B 18 a/b, D 9 b/g, and D 17 m/n).