A Dictionary of Music and Musicians/Capriccio
CAPRICCIO (Ital.; Fr. caprice), (1) This name was originally given, according to Marpurg, to pieces written for the harpsichord in a fugued style, though not strict fugues. It was also sometimes applied to actual fugues, when written upon a lively subject; and the composition was consequently for the most part in quick notes. Examples of this kind of capriccio can be found in Handel's 'Third set of Lessons for the Harpsichord' (German Handel Society's edition, part 2), and in the second of Bach's 'Six Partitas.' Bach also uses the word as synonymous with 'fantasia,' i.e. a piece in a free form, in his 'Capriccio on the departure of a beloved brother.' (2) In the middle of the last century the term was applied to exercises for stringed instruments, such as would now be called 'études,' in which one definite figure was carried through the composition. (3) In the present day the word Caprice is usually employed, and the name is applied to a piece of music constructed either on original subjects, and frequently in a modified sonata- or rondo-form (as in Mendelssohn's 'Three Caprices,' op. 33, or Sterndale Bennett's Caprice in E), or to a brilliant transcription of one or more subjects by other composers. As an example of the latter kind may be named Heller's 'Caprice brillant sur la Truite de Schubert.' Although, as already mentioned, the sonata- or rondo-form is frequently adopted for the caprice, there is, as implied by the name, no limitation in this respect, the composer being at liberty to follow his inclinations.
[ E. P. ]