GIACOMO (JACOPO) PUCCINI is the founder of the family of musicians who gave Italy five generations of composers before the advent of his eponymous great-grand- son, the genius master of the Italian opera. Born in the beginning of the eighteenth century in the town of Lucca, Tuscany, he studied in Bologna under Giuseppe Carretti, who was Мaestro di Cappella at the local Basilica of San Petronio. In Bologna Puccini made friends with the renowned composer, theoretician, musician and instructor Padre Martini, with whom some time later Mozart

also studied. After returning to Lucca in 1739, he became organist at the San Martino cathedral and gained prominence as an excellent organ player. Later he received the title of Maestro di Cappella to the Most Serene Republic of Lucca. He belonged to the Accademia Filarmonica of Bologna and was an accomplished and skilled instructor. His compositional style incorporates elements of both the Baroque and early Classic periods. He wrote a number of dramatic and sacred music works – such as his Te Deum for four voices and instrumental ensemble, a Domine for four voices, masses, and psalm settings. Between 1733 and 1780 wrote music for thirty one servizi ecclesiastici (church services) for the annual Festa della Esaltazione della Santa Croce (“Feast of the Exaltation of the Holy Cross”). Some of Puccini’s works, including a processional motet in eight voices, continued to be in performance well into the early nineteenth century. An eight-part Requiem by Jacopo Puccini was performed at the Vienna Musical Exposition of 1892, together with music by his son Antonio, grandson Domenico, and great-grandson Michele (the father of famous Giacomo Puccini).

MESSA A TRE was created in 1760 in three movements – Kyrie, Gloria and Credo. The original title read: Messa Piena a 3 voci, cioè Canto, e due Alti /Con violini a beneplacito Unis/ Per il Concerto di S. Giovannetto/ di Giacomo Puccini. The mass was scored for a three-voice female choir (two soprano and one alto parts or on soprano and two altos), two violins, playing in unison, cello and basso continuo. It was written for a concert in honour of San Giovanetto (Saint John). The same year saw the creation of the eight-voice Requiem. The ternary structure emphasized in the number of the movements, the vocal and the instrumental parts may probably reflect an implied reference to sacred numerological symbolism, characteristic of the Baroque and suggestive of the Holy Trinity.