Sonata D-major Flute and Bc - Caputi A.

edited by Renata Cataldi and Enrico Balano

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Sonata D-major Flute and Bc
Sonata D-major Flute and Bc

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CSS-68

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The name of Antonio Caputi (1720/30 - after 1800) does not appear in any of the musical dictionaries. What information I am able to give here has come from research I have carried out, largely on archive documents, in order to provide some background for this first edition of the Flute Sonata in D. He was a Neapolitan nobleman, born into the family of the Dukes of Ferrarise. He made his composing début with the opera Ulisse in Cuma, given in 1748 in the Teatro San Carlo di Napoli, and music remained for him a scholarly leisure pursuit. We learn from Prota-Giurleo that in 1772 the Giunta de'teatri, which ran the opera house, appointed Caputi to carry out a reform of the orchestra. The terms of the reform had been outlined by Jommelli and Cafaro and involved making a thorough overhaul of the membership, with some new appointments.

The Giunta had decided not to engage a professional musician such as a Maestro di Cappella to do the job, because if it had, the operation would have been worthless. Instead they wished to call on one of the leading dilettanti, who would proceed impartially , and they could wish for none better than Don Antonio Caputi, who was highly accomplished in music, experienced and of the utmost rectitude (U. Prota-Giurleo, La grande orchestra del Real Teatro San Carlo nel Settecento, Napoli 1927). We find confirmation for Caputi's high social standing in the title pages of his compositions, where his name often appears with elaborate attributes (this sonata is presented as del Illustrissimo Signor Don Antonio Caputo).

According to archive documents, in 1780-81 Caputi had to occupy himself with family affairs. On the death of his brother Manilio, Duke of Ferrarise, he became the guardian of his young nephew Agostino, who inherited the title. We also learn that the family home was at Santa Lucia sopra Monte, in Naples.

As a composer, active in Naples and probably also in other European cities, he wrote works in several different genres. We have compositions by him of secular vocal music and instrumental sonatas and concertos, in many of which the flute plays the leading role. This indicates a specific competence in this instrument, and he may in fact have been a flautist himself.

The manuscript of the Sonata a Traverso solo, e Basso presented here came to light in the Conservatorio San Pietro a Majella, Naples. The sonata is made up of three brief movements, all in D major, each with its own specific features: Larghetto e cantabile in 4/4, followed by Allegro, also in 4/4, and then Allegretto in 3/8. The style is idiomatic and well conceived for the solo instrument: the melodic motifs tend to rise and fall stepwise or using octave leaps, while the rhythmic pattern is rich and varied, with a predominating triplet movement which was characteristic of instrumental writing in the second half of the 18th century.

The manuscript is quite accurately written out and poses no particular editorial problems. Below I give the few interventions I have had to make. This edition benefits greatly from the realization of the continuo by Enrico Baiano, whom I wish to thank for his precious and authoritative contribution.

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Composer(s):

Publisher(s):

Publishernumber:

CSS-68

Instrument(s):

ISBN:

9790215318359

Number:

199119

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