JUDITHA TRIUMPHANS (RV 645) by ANTONIO VIVALDI Sacrum Militare Oratorium Accademia Musicale Chigiana, Siena [facs. 1948] JUDITHA ABRA, EIUS ANCILLA HOLOFERNES SERVUS HOLOFERNES [Vagaus]* OZIAS, SUMMUS SACERDOS CHORUS MILITUM FURENTIUM IN ACIE CHORUS VIRGINUM CANENTIUM IN BETHULIA * See p.124 of Autograph, our Mvt.2.14 Pars Prior ** Movement 1.01 - Chorus ** In the files the movements are listed without the decimal point, for easier manipulation with the existing programs. Thus this movement is "101", the 10th movement "110", etc.. Several movements have two versions (i.e. 105A, 105B, 121A, and 121B) and some of our programs (i.e. autoset) will not handle movement numbers with 4 digits or 3 digits and a letter. So when manipulating those files I left off the letters and renamed them after they had gone through the programs necessary to process and print out the music. The manuscript has 10 staves. The top one is labeled 2 Trombe, the 2nd one 2 Hautbois, and the 3rd one 2 Violini. The 4th staff is in alto clef and I presume it is for the viola but it is not labeled. The next four staves seem to be for the chorus but they are not labeled. The 5th one is in soprano clef, the 6th in alto, the 7th in tenor, and the 8th is in bass clef. The 9th staff is labeled Timbali. The bottom one is unlabeled and includes a few figures. I have entered the oboes at the top of the page followed by the trumpets and the timpani (as in modern notation) then the upper strings, chorus, and last of all the bass line which I called [Continuo]. Modern clefs were used for the instrumental and vocal parts. I HAVE FOUND IT DIFFICULT TO CHECK THE SPELLING IN THE AUTOGRAPH. Much of the punctuation and capitalization of words is different in our edition than in the Ricordi one. Ricordi has frequently repeated text in () where in the Autograph there are dashes. Measure 11\1 - Continuo. The manuscript begins the measure with a half note rest and I entered it that way. Ricordi has entered a quarter note D3 and a quarter rest, as it is in measure 12, with a note that the autograph is missing that note. Measure 18\1 - Tromba 2. A4 in autograph, same as oboes. F#4 in Ricordi. Measure 19\1 - Tromba 2. The manuscript has F#4 for both Trombe. Ricordi has entered D4 for Tromba 2 with a comment that it is F4 in the Autograph (key signature in the comment is missing). I have left it as F#4. Measure 22 - Bass. First note in Ricordi is a dotted quarter but it should be a dotted eighth. Measure 24 - Hautbois 1 & 2. The quarter note rest at the end of the measure is missing. I have entered small editorial rests. Ricordi has entered quarter rests in parenthesis. Measure 24\1 - Bass. The Autograph has a D3 which doesn't fit harmonically. Think that the note from the staff above was mistakenly repeated here (it is also on the middle line but an A not a D). I've entered an A3 as in the Continuo part & Ricordi did also, with a note that the Autograph had a D3. Measure 34\5 - Alto. Autograph has A4, as in the Sopranos, and I have left it that way. Ricordi had E4 with a note that it is A4 in the Autograph. Measure 58 - Continuo. The figures in this measure are on the 1st and 3rd beats and both look like "2". That didn't seem right and I left them out. Ricordi has figures of a natural on the first quarter and a sharp on the 4th beat, which fit. Possibly a clearer copy of the film would show them as a natural and a flat. Movement 1.02 - [Recit.] Holofernes. Notated in alto clef. Measure 2 - Voice. ":" at end of measure 2 in autograph. At end of measure 3 in Ricordi. Movement 1.03 - Allegro [Aria] Holofernes. Measure 6\3 and 50\3 - Viola. Some strangness in harmony here. The 7b figure on third beat (on a C3 in the B.) suggests an F natural in the harmony and I added an editorial natural, which was missing from the Autograph. Ricordi did also. Measure 30\5 - Voice. No # on the C5 in autograph. It is in the key of D+ at this point so C#5 was probably intended. Entered an editorial #. Ricordi did also. Measure 44 - Violini. In the autograph the last three notes in the measure are the same as in the previous measure (B5, A5, & G5). In Ricordi they are G5, F#5, & E5. Measure 66\2 - Continuo. No # in the Autograph. Strange sounding. Entered editorial #. C# makes more harmonic sense in leading to the D & B in the 2nd beat. Editorial C#4 in Ricordi. Measure 72-73 - Voice. Different words in autograph and Ricordi. This needs to be resolved. Movement 1.04 - [Recit.] Vagaus. Notated in soprano clef. Measure 9 - In both the Autograph and Ricordi the Continuo has two half notes with a fermata on the last note and a written "Segue l'Aria" at the end of the Recitative. In this last measure in the vocal staff of the Autograph Vagaus has two eighth notes and a quarter note rest after which appears an alto clef, "Ho." above and just after it, a G4 quarter note with the word "Die." and what looks like a quarter note rest just before a double bar. I wonder if what was intended is that Holofernes should wait and sing the G4 after the hold in the bass line. In Mvt. 1.03 the obvious place to return to is measure 13 and the pick up there is an 8th note "Nil" on a D4. (The next note is G4 however.) I've entered fermatas on the rests in the vocal parts on the 2nd beat. (I've made a note in the file that these are editorial, for we don't have the ability to print out editorial fermatas.) ANOTHER OPINION WOULD BE APPRECIATED for what Ricordi does here doesn't make sense to me. Movement 1.05A - [Aria] Vagaus. Measures 1-18 were on p. 16 of the Autograph and meas. 19-end appeared later on pp.23-24. The music was written on two lines, the vocal line and the bass line with a note that the violin and viola were in unison with the bass. The viola part I adjusted up an down an octave in places, in keeping with the limitations of its range. Measure 10-11, & 13-14 - Voice. Ricordi has repeated some words and put them in parenthesis. The Autograph had "=====" and I entered "----". This happens frequently throughout this work. Measure 13\2 & 14\2 - Voice. Naturals missing on the E4s in the Autograph. Added editorial naturals. E naturals in the other parts. Ricordi also had editorial E naturals. Measure 14\7, 22\10, and 41\5 - Tracks 1-2 & 4. I added the courtesy accidentals that were in the score. Ricordi didn't have them. (I did this frequently.) Measure 35 - Voice. I added a courtesy fermata, but there is no way for us to indicate that it does not appear in the Autograph, except with a note in the file. Ricordi had a fermata. Measure 42 - There were only 2 beats in this measure. The movement is in common time (C) and in the Autograph at the beginning of this measure, 2/4 appeared in parenthesis. Measure 44\6 - Voice. The Autograph had too many beats in this measure. To fit with the words, the 6th note was the best candidate to change (from an eighth to a sixteenth). Ricordi did the same. Movement 1.05B - Allegro [Aria] Vagaus "Per Sig.ra Barbara" was inscribed at the top of the Autograph. The music was out of order, appearing in the middle of Mvt.1.05A. Measure 20\2 - Violin 2. The Autograph had C5, which doesn't fit with the F4 and D3 in the lower strings and the Bf5 above. The obvious choices are a Bf4 or a D5. The Bf4 creates a parallel 4th and in ways is more pleasing but the D5 makes for a richer harmony. I entered an editorial D5. Ricordi did also. Measure 46\1, 82\1, 98\1 - Voice. The Autograph has three syllables on two notes in this measure and I have entered it this way. Ricordi has placed the first syllable "Ho-" in the previous measures (ie. m.45, 81, & 97). Measure 54\3 - Violin 1. No natural in Autograph and there is a figure "3" in the bass line, which I feel should be an 3n, but editorial figures can't be displayed. An E natural would be a more conventional way to approach this cadence before the voice comes in, and I entered an editorial natural. Ricordi also has added an editorial natural. Measure 70\1 - Voice. The Autograph had C5 which doesn't fit with what is happening in the other voices (D5, Bf4, F4, & Bf2). Feel it should follow the violin line from the previous and measure and be a D5. Ricordi also has a D5. Measure 88\1 - Continuo. In the Autograph the 1st note is a 16th. The beam for the last four 16th notes was mistakenly drawn to the first note. Ricordi also had an 8th and four 16ths. Measure 98\2 - Violin 2. No trill in Autograph. Trills in Violin 1 and the Voice parts. Added editorial trill as did Ricordi. Measure 115\1 Continuo. No # in Autograph. Old convention not to 121\1 Viola restate accidental after bar line when harmony continues. Entered editorial # as did Ricordi. Measure 120\3 Violin 2 No natural in Autograph. Harmonically it 120\1 Continuo. needs to be E natural. E natural in Voice, Violin 1, and Viola this meas. in Autograph. Measure 124\2 - Violins 1 & 2. Perhaps a trill should be considered here. Were there a period after the text of the last note in m.125, I would definitely add an editorial trill, but there is still precedence for adding a trill, which Ricordi did. Measure 132\2 - Violin 2. Entered G4 as in the Autograph. Harmony is slightly unusual. Ricordi entered a more normal sounding F4. Measure 142\2 - Violin 2. No trill in Autograph. Trills in Violin 1 and the Voice parts. Added editorial trill as did Ricordi. Movement 1.06 - [Recit.] Holofernes & Vagaus In the Autograph, beginning in measure 16 and continuing until the point where Vagaus enters, there are several measures of music crossed out. I've added a a "*" and a brief note in the score. Measure 2\7 Holofernes. The Autograph has a C5, which seems most unusual and I feel is wrong. Continuing with a G#4 or entering a B4 would be the logical choices. The B4 seems like the best fit. Ricordi has changed it to a B4. Measure 9 - Holofernes. Harmony continues over bar line but accidental was not restated (old notation). Editorial accidentals added at beginning of meas. (Ef4) and at end (E4 natural), when it reverts to the key signature. Movement 1.07 - [Aria] [Juditha]. Notated in alto clef. Measure 21 - Juditha. Harmony continues over bar line but accidental was not restated (old notation). Editorial natural added at beginning of meas. Same in Ricordi. Movement 1.08 - [Recit.] Abra. Notated in soprano clef. Movement 1.09 - [Aria] Abra. Measure 41\1 - Continuo. Entered C3 as in Autograph. Ricordi has a G3 with a note that it differs from Autograph. The C3 is in keeping with the music but the G3 may be more pleasing to some. Measure 50\6 - Abra. Editorial natural added. Old notation. No natural on D5 in Autograph. Harmony changes back to key signature in a scale passage leading to the ending cadence. Movement 1.10 - [Recit.] Abra & Juditha. Measure 3 - Abra. The second beat is a quarter rest in the Autograph. Ricordi has an eighth rest. Movement 1.11 - Chorus & Vagaus. Measure 5\1 - Continuo. In the Autograph the 16th beam continues over the first note in the measure and not the last note. Oversight. Entered first note as an 8th and the last as a 16th as in measures 17 & 29 and other similar rhythmic passages (meas. 12, 24, 36, & 51). Ricordi does the same. Measure 25 & 52 - Vagaus. "Tutti" appears here above this staff, which is where the chorus enters. The soprano part continues on the same staff. I have not included the music the sopranos sing in the part for Vagaus. Ricordi does the same and makes no mention of the "Tutti". Measure 37 - Hautbois 1. "Solo" appears above the staff in the Autograph but not in Ricordi. Measure 43-48 - Continuo. Figures in the Autograph are missing in Ricordi. Measure 51\4 - Continuo. Ricordi has entered this as a Bf with a note that the Autograph nas a B natural. The phrase ends in a cadence on the first beat of this measure and the harmony of the following measures change on the first beat of Meas.52 with a natural figure in the bass line. I feel that in m. 51 the natural sign on the 4th note of the bass is in anticipation of this and not necessarily wrong, just a little more unusual. Measure 55-56 - Violin 2. I entered these notes as they appeared in the Autograph but Ricordi entered them an octave lower. Measure 56\3 - Alto. Ricordi has too many beats in this measure. "ra" should be an eighth note. Measure 59 - In the Autograph, there is a sign above the staff on the last eighth in this measure and also right after the G4 dotted quarter in m.66, at the end of the manuscript. A written note follows, indicating that this material is to be repeated at the end without the voices. Since the repeat indicates that the eighth pick up in m.59 is to be included, I changed the G4 dotted quarter to a quarter when I wrote out the repeated material for the last 8 measures, as did Ricordi. Measure 61\2-64\1 Alto & meas. 60\2-64\4 Tenor. Autograph has dashes. Ricordi has repeated sections of the text in parenthesis. Measure 62\2 - Soprano. Editorial # entered. In Autograph the # is missing. F# in Oboe and violin parts. Ricordi has (#) in the Soprano part. Measure 65\3 & 72\3 - Hautbois 2, Violin 2. In the Autograph Oboe 1, Violin 1, the Sopranos and Altos have a trill on this note with a slur on the last two eighths. The Oboe 2 and the second violins should possibly have editorial trills and slurs. Ricordi added both the trills and slurs for them. Movement 1.12 - [Recit.] Vagaus. In the Autograph this recitative ends mid measure and music for a recitative for Holofernes continues. BUT there is a double crosshatch mark in the continuo part (with three vertical and three horizontal lines), and below it is inscribed "Aria ... Vagaus". The music for this aria appears 28 pages later in the Autograph. Measure 8 - Continuo. I have ended this recitative as it appears in the Autograph with two quarters. There is a figure "6" on the last quarter, but it doesn't make that much sense if one is to continue with the aria so I have left it out. Ricordi ends with the same pitches but each as half notes. Movement 1.13 - Aria Vagaus. This aria is out of order in the Autograph, appearing on page 65. It is referenced in the recitative on page 37 of the Autograph. Measure 11\1 - Continuo. Entered B2 as in Autograph. Ricordi has entered a D4. I feel that the B2 though perhaps not the best thought out note, partly because it was at the end of a page, was acceptable. Measure 19 - Beginning here in the Autograph there were 9 measures of music crossed out. Measure 20\2 - Continuo. Entered an editorial C3. Autograph has a B2. Vocal line suggests the change on the 3rd beat and not wait until the last eighth. Ricordi did the same. Measure 22\9-12 - Vagaus. The Autograph has two beams over these last four notes but they were obviously intended to be 8ths. Ricordi made no mention of this in their score. Measure 31-32 - Vagaus. Entered dashes as in Autograph. Ricordi repeated some of the words in parenthesis. Measure 36-37 - Continuo. Autograph has jumps of 10ths instead of the octaves that were present in the rest of the movement. I entered editorial octaves. Ricordi also entered octaves. Measure 37 - Violins. The last half of the measure I feel was intended to be an arpeggio down to a low B3 (B4-G4-D4-B3), as the Violas had in measures 36 and 37. The Autograph had a B4-D4-B3-B3 which seemed like a mistake. Ricordi chose to enter B4-D4-B3-G3. Measure 50\1 - Viola. I entered an editorial E4. The E, G, B in the other parts foretells a change in harmony but the note in the Autograph which looks like another F4 (as in the previous measure) seems wrong. Ricordi also entered an editorial E4. Movement 1.14 - [Recit.] Holofernes & Juditha. This recitative begins back on p.37 of the Autograph in the middle of a measure. I began this recitative with a whole measure and made the C3 with it's figure "6" (which was left out of Mvt.1.12) a half note to better prepare the vocal entrance. Ricordi did the same. Measures 2\1 & 9\1 - Holofernes No # in Autograph. # carries over from previous measure. Editorial #s in Ricordi also. Measure 5\3 - Holofernes. No # on F4 but the next two notes were clearly E#4s so an F#4 makes more sense. Strange sounding passage. Ricordi also had an editorial # on the F4. Measure 18\3 - Holofernes. The Autograph has an eighth. Ricordi has a 16h (not enough beats in the measure). Measure 24\8 - Juditha. Af4 reverts to a natural in a scale in preparation for the ending cadence. Editorial natural also in Ricordi. Movement 1.15 - [Aria] Juditha with Viola d'amore. THE VIOLA D'AMORE PART SEEMS TO BE WRITTEN IN A SCORDATURA TUNING WHICH IS NOT OBVIOUS TO ME, SO I'LL NEED SOME HELP ON THIS MOVEMENT. It is written in G clef in the Autograph and the notes on the top line of the staff (F5) and above are the same as in the Ricordi edition. In the Autograph the notes below the staff have been transposed up a 3rd (sometimes a major 3rd and sometimes a minor 3rd) in Ricordi whereas the notes written in the staff apparently are sounded a whole step or a half step higher. A breakdown follows. Throughout the piece the F3s in the Autograph have been interpreted by Ricordi as Ab3s, the G3s as Bf3s, the Ab3s as C4s, the Bb3s as D4s, and the C4s as Eb4s (this seems to happen when there is an ascending line, see meas. 85-86). The D4s in the Autograph seem to always be interpreted as Eb4s in Ricordi. Eb4s in the Autograph become F4s in Ricordi, F4s become G4s, G4s become Ab4s, Ab4s become Bb4s, Bb4s become C5s, C5s become D5s, D5s become Eb5s. Occasionally Eb5s in the Autograph become F5s in Ricordi (see meas. 42 where it is an ascending line) but when the line is descending (meas. 1-3) Ricordi keeps them as Eb5s. Movement 1.16 [Recit.] - Holofernes & Juditha Measure 16\1 - Juditha. Entered a Bf without making it an editorial flat, as did Ricordi. In the Autograph the two vocal parts were on the same line and Holfernes had a Bf marked on the first eighth of the same measure. Movement 1.17 [Aria] - Holofernes. In the Autograph the violins were instructed to be in unison with the voice except in a few places, mostly when Holofernes was not singing at which point the music for the violins was written on the top staff. Measure 14 - Holofernes. The Autograph has the second two eighths beamed together but in meas. 15 (a very similar measure) he beamed the first two eighths together. I feel that the text (which is the same) fits best with the beaming in meas.15 Ricordi did the same. Measure 19 - Holofernes (and violins). In the Autograph there were too many beats in this measure. The C#4 was a quarter and was followed by an eighth rest, which would be a good breath- ing place, but perhaps the rhythm should be like measure 18. I indicated that the C#4 eighth and the rest were editorial. Ricordi also changed the C#4 quarter to an eighth. Measure 22\7 & 25\7 - Holofernes (and violins). There is not a # in the Autograph on the last eighth but I feel the G# on the 2nd note in the measure reverts to a natural at the end. There is some strangness here. Ricordi also entered editorial naturals. Measure 32-33 - Violini. The rhythmic pattern in the last half of these measure in the Autograph is an 8th, a quarter, and an 8th. Ricordi has two 8ths, an 8th rest, and an 8th. Measure 34\7 - Violini. Entered editorial G5 natural. "#" early in measure reverts to natural (leading tone preparing for a cadence, and harmony is changing.) Ricordi did the same. Measure 35\6 - Violini. Entered an editorial F#. This is one place where the Autograph has notes entered on both the violin and vocal staff but an E was entered for the violins and an F# for the voice. They are supposed to be in unison! (I think the E was a slip up for it appears on the same place in the staff that the F# does in the vocal part.) Ricordi also entered an editorial F#. Movement 1.18 [Recit.] Measure 3\1, 4\1 - Juditha. Measure 10\1 - Holofernes. "#" carries over the bar line. Old notation. Ricordi did the same. Measure 9\1 - Continuo. Entered A2 as in Autograph. Ricordi has a B2, which may be more expected, but A2 fits as well. Measure 9\3, 10\4, & 14\6 - Holofernes. Entered editorial F#4s. Entering a "#" (making the interval a whole step rather than 1 1/2 steps) makes for a much better line. Very awkward sounding without the #. Ricordi also entered sharps. Measure 20\1 - Juditha. Entered editorial flat. Harmony continues and flat carries over bar line. Ricordi also entered an editorial flat. Measure 20\1 - Continuo. Note missing in Autograph. Ricordi has an editorial Ab, tied to an Ab in m.21. I do not like the sound of that parallel octave progression to meas. 20 and the mark in front of the A2 in meas. 21 is not a convincing flat. For want of a better solution I entered it as in Ricordi. ANOTHER OPINION WOULD BE WELCOMED HERE. Movement 1.19 - [Aria] Holofernes. In the Autograph two short sections of music have been crossed out at measures 25 & 51. Measure 7\1, 9\1, 29\1, 57\1 Violins & meas. 8\1, 10\1, 18\1 Violas. Accidentals carry across bar line. Old notation. Harmony changes mid measure every measure from m. 5-11. Measure 9\10, 10\2 - Viola. Added editorial #. C# in Continuo. Same in Ricordi. Measure 10\10 - Viola. Added editorial natural. In preparation for the change in harmony the E4 is flatted just before mid measure and then the figure confirms it. Ricordi the same. Measure 16\3 - Continuo. Entered editorial #. Harmony continues across bar line but sharp not restated. Same in Ricordi. Measure 17-18 - Entered as in the Autograph where there are no added accidentals except for the "#" on F4, meas.17\1 in the Violas. The vocal line has four F naturals in that measure which are at odds with the F# in the violas. Ricordi has an editorial natural on the last note of the violin part in m.18, more conventional sounding but the Bf as written works also. Measure 28\5 - Continuo. Figure in Autograph is "7b n". Ricordi just has "7b". Measure 38\10 - Violins. Entered editorial natural. Harmony changed mid measure and Autograph had sharps only for the first half of the measure. Ricordi also had naturals. Measure 38\7 - Holofernes. Added editorial natural. Scale passage and a natural is needed harmonically. Ricordi did the same. Measure 42\10 - Viola. No sharp in Autograph. Harmony changed in mid measure. There is also a sharp in the [Continuo]. Entered an editorial "#" as did Ricordi. Measure 53\5 - Holofernes. Added editorial Af4. In the Autograph there is no flat but there is in the viola and the figured bass. Ricordi also has an editorial flat. Measure 54\7 - Continuo. Added an editorial Ef. The autograph has natural signs on the Es in the first half of the measure, and had a natural been intended at the end I would have expected to see a natural sign on this note, but there was none. It sounds all right with a natural, however. Ricordi has a flat. Measure 63\2 - Holofernes. Added editorial natural. Fits with the harmony and the B natural in the Continuo. Same in Ricordi. Measure 64\10 - Violins. Added editorial natural. Harmony changes mid measure and the G# reverts to a natural. Voice also changes to G natural here. Ricordi the same. Movement 1.20 - [Recit.] - Holofernes. Measure 2\5 - Holofernes. In the Autograph this fourth A4 is a quarter note, making for too many beats in the measure. I made it an eighth note. Ricordi made the 2nd beat a quarter rest and the remaining 5 notes three 8ths and two 16ths. Measure 3\5 - Holofernes. In the Autograph the first E4 does not have a line through the stem, making it a 16th, which it should be if there are to be the correct number of beats in the measure. Ricordi also made this a sixteenth. Movement 1.21A - [Aria - Chorus]. In the beginning of this movement in the Autograph two staffs are crossed out for seven measures. The top one, labeled Vagaus, has no music written on it and the bottom one starts out the same as the Tiorbe part only it is written in Bass clef. This movement was scored for 4 Tiorbe and a Cembali soli to accompany Vagaus, with the Chorus entering for the last eight measures. Measure 7\3 - Cembali solo. I entered an editorial A2 quarter note. It is very faint in the Autograph and appears to be an A2 like the Tiorbe part. Ricordi also had an editorial A2 quarter note. Measure 18 & 19 - Tiorbe. Added editorial rests in top part. It was implied but not notated in the Autograph. Ricordi has regular rests. Movement 1.21B - [Aria] Vagaus. "Per Sig.ra Barbara" was inscribed at the top of the Autograph. The music was out of order, appearing at the end of Mvt.1.23. Measure 10\1, 20\1, & 31\1 - Viola & Continuo. Entered a quarter note. In the Autograph there was a dot after the quarters AND an 8th rest after the repeat sign (too many beats). Decided that the rhythm in the violin and vocal parts was what was intended. Ricordi also entered a quarter before the repeat sign and an eighth after the sign. Measure 31 - Violini. I entered only a backward repeat mid-measure. The Autograph also indicates a forward repeat but I don't think that it was intended. (Note Mvt. 2.10. 2.22, & 2.28.) Ricordi entered just a backward repeat also. Measure 55\1 - Viola. Entered a C4 dotted quarter, like meas. 53 and the Autograph. Tracks 4 (& 1) have a quarter note and an eighth rest. Ricordi entered a C4 quarter and an eighth rest. Movement 1.22 - [Recit.] Vagaus, Abra. Movement 1.23 - Aria with Salmoe. In the Autograph, especially in the string parts, there are often more groups of notes beamed together than in modern editions. Groups of eight sixteenth notes on one pitch are almost always beamed together in the Autograph. Measure 15\7 & 24\4 - Juditha. Entered "sponso" as in Autograph. Ricordi has a note that in the libretto it is "sponsa". Measure 19\5 & 35\13 - Juditha. Entered "et" as in Autograph. Ricordi has "ac" for the last note in the measure, with a comment that it is "et" in the Autograph. Measure 20 - Salmoe. Entered editorial quarter rest on beat two. End of page comes mid measure and it is missing in the Autograph. Ricordi also has an editorial quarter rest. Measure 30 - Violini (& Viola). A bass clef appears mid measure with the intention (I believe) that they were to play an octave higher. But on the 4th beat of Meas. 33 and the 2nd beat of Meas. 36 the notes would have been F3s and they were moved up to F4s. The notes lie within the viola range. Measure 32\4-5 - Salmoe. I entered as in the Autograph and Ricordi differs in the last half of the measure. The Autograph has an 8th (D5), a quarter (C5) and four 16ths. Ricordi has a dotted quarter (C5) with an editorial () around the dot and the same four 16ths. Measure 44\1-8 - Violini. Entered editorial F#s. No # in Autograph. Necessary for harmony, and voice had an F#. Ricordi had (#) Measure 45\1-4 - Violini. Entered editorial E naturals. No naturals in Autograph. Necessary for harmony, and voice has E natural. Ricordi had editorial E naturals. Movement 1.24 - [Recit.] Abra. Movement 1.25 - [Aria] Abra. In the Autograph there were 6 measures crossed out (mostly notes for the violin) beginning meas. 60. Measure 8\1 & 84\1 - Violini. Harmony continues across bar line. Editorial C naturals entered. Ricordi had an editorial natural in m. 84 & a natural in m.8 with no () around it. Measure 9\2 - Continuo. Entered editorial # on the D3. Harmony seems to be E+. Ricordi has D#3 with no editorial brackets. Measure 25\1-2 - Violini. The first two notes in this measure were probably intended to be slurred, for they were slurred in m.4, which is the identical musical material. Measures 1-13 contained written slurs but when the voice enters in meas.22 and repeats the musical material in the first 13 meas., the violin part is not written out. At meas. 22 there is a note indicating that the violins are to play with the vocal line, which does not contain slurs. There are other instances in this movement (i.e. m.27, 28, 34, 48, etc.) where slurs were probably intended but I HAVE LEFT IT TO THE PEOPLE WHO USE THIS DATA IN THE FUTURE TO PUT IN THEIR OWN SLURS, FOR IT IS EASIER TO ADD THEM THAN TO SUBTRACT THEM. Measure 27-29 Continuo. THESE MEASURES WERE PROBABLY INTENDED TO HAVE THE SAME FIGURES AS meas. 6-8, the only figures in the Autograph, SINCE THE MUSICAL MATERIAL IS THE SAME. (See above). Ricordi did not include figures here. Measure 29\1 - Violini and Abra. Harmony continues across bar line. Entered editorial C naturals. No natural in Autograph. Ricordi has editorial naturals. Measure 30\2 & 85\2 - Continuo. Entered editorial D#s. Frequent D#s in the Continuo in these sections but there are no "#" on these Ds in the Autograph. Ricordi had editorial D#s. Measure 31\2 - Violini and Abra. Entered E5 as it appears in the Autograph. Ricordi entered F#5! Note similar pattern at measure 62-66 in the vocal part, only with the first notes in the measures descending instead of ascending. Measure 57-60 - Continuo. Ricordi has entered different notes for these measures than the Autograph and has entered editorial figures for m.85-88. The Autograph has B2, E3, C#3, C#3 and Ricordi has D3, D3, E3, E3. Meas.57-59 come just before the six measure crossed out in the Autograph. I happen to find the bass line in the Autograph more interesting than "normal" step sounding one Ricordi changed it to. Measure 70 - At the beginning and end of this measure in the Autograph, above and below the upper and lower staves, is a mark like the S sign, which is usually used when there is a Da Capo going back to a sign. Ricordi has an extensive note speculating as to what this might mean. I WOULD APPRECIATE ANOTHER INPUT AS TO WHAT TO SAY HERE. Measure 71-72 - Abra. Entered editorial C naturals. The harmony continues over the bar line and C naturals were marked in the violin part but not in the voice part. Ricordi also has editorial C naturals. Measure 104\1 & 107\3 Continuo. In minor at this point and a G natural is needed harmonically. Ricordi also has G natural. Measure 106\1 - Abra. Entered editorial natural on G4. Autograph had a natural for the violins. Editorial natural in Ricordi. Measure 111\1 - Violini. In e minor here. Entered an editorial G natural as did Ricordi. Measure 114\1, 115\1 - Continuo. Editorial #s on E3s. Harmony carries over bar line. Ricordi also had editorial E#s. Measure 121\1 - 123\1 - Continuo. Entered editorial B#s. The harmonies continue over the bar lines. Ricordi also has editorial B#s. Measure 124 - Violini. In Autograph the slur is a little offset but appears to be between the last two eighth notes. Ricordi has the slur between the first two eighths. Movement 1.26 - [Recit.] Abra. Movement 1.27 - Chorus. Ricordi subtitles this "Chorus virginum psalentium in Bethulia". They also suggest that Abra sing the second verse with a quartet of strings and continuo. The Autograph has "La 2.a Stroffa cantano 2 soli soprani, et 2 soli primi violini", which I noted at the beginning of each file. In the print out I entered "2nd verse - 2 solo sopranos & 2 solo violins. 3rd verse - tutti." Measure 12\1 - Continuo. There appears to be a figure "3" in the Autograph which is missing from the Ricordi edition. Measure 23 - Alto. Ricordi added editorial trill. There is a similar pattern in measure 33, where the Autograph had a trill only on the Violin 1 and Soprano parts. The Autograph never had a trill on the Alto part, but in measure 11 there were trills for both Violin 1 and 2. IT SEEMS LIKE IF YOU WERE GOING TO ADD EDITORIAL TRILLS, YOU SHOULD ADD ONE TO Violin 2 in measure 33, AND POSSIBLY TO THE ALTO PART IN measures 23 and 33.