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 Altera Movement 2.01 - [Recit.] Ozias. In the Autograph the music for Ozias is written in alto clef. Measures 3 & 6 - Ozias. Added editorial quarter note rest at end of both measures. No rests visible on the microfilm. These measures came at the end of a page and quite possibly were cut off. Ricordi had an editorial rest only on measure 6. Measure 10 - Ozias. Not enough beats in Autograph. Added a dot after first eighth (best fit with words). Same in Ricordi. Measure 15 - Continuo. Added fermata on the last note. Fermata in the voice. Ricordi had a fermata in (). Movement 2.02 - [Aria] Ozias. Measures 3\3, 13\13, 14\14, 33\3, 34\3 - Violini. Ricordi added editorial trills. In measures 20\13 & 35\3 Ricordi had ordinary trills but they were not in the Autograph! Perhaps editorial trills should be considered but the pattern here seems more like it was thought out than it was a mistake, so I only entered the trills that were in the Autograph. Measure 5\1 - Continuo. Editorial B natural entered. Accidental carries over bar line. Old notation. Ricordi the same. Measure 9\6 - Violini. Autograph had a C4 quarter note. Ricordi has an E4 with a note that the Autograph is C4. At this point the lowest two tracks have a C3 and G3 so the E4 provides the third of the chord and sounds more normal but I left it as C4. Measure 51\5 - Ozias. Added editorial natural on the F4. F4 was sharped earlier in the measure and an F4 natural seemed more fitting here in preparation for the final cadence in the next measure. Ricordi also had an editorial F4 natural. Movement 2.03 - [Recit.] Ozias and Holofernes. The first system on page 97 of the Autograph is crossed out. The first line appears to be essentially the same as the first three measures of the music for Ozias in this movement, but with no bar lines. Only the bass clef and time signature appear on the bottom staff. Movement 2.04 - [Aria] Ozias. Some text issues. See measures 61, 100, 151-160, & 179-183. Measure 13\2, 15\2, 19\2, 21\2, & 23\2 - Continuo. Entered editorial natural on the A3. Pattern begun in the lowest two tracks (a half step interval then an octave) should continue, but the accidentals aren't always marked in the Autograph (note m. 17). Ricordi the same. Measure 14\2, 16\2, 18\2, 20\2, 22\2, 129\2 Viola. Same as above. Measure 51\2, & 128\2 - Continuo. Same as above. Measure 60\1 - Continuo. Ricordi left out a figure "7" that was in the Autograph. Measure 117 - Violin 2. Entered F5 quarter & F5 eighth for the measure as in the Autograph. Ricordi entered F5-Ef5-D5 with a note that the Autograph was different. (Ricordi had the 2nd violin continuing in 3rds with Violin 1.) Measure 152\1 - Continuo. Entered Bb2 as in the Autograph. Ricordi has D3, which would eliminate parallel octaves with violin 2. Measure 160 - Violin 2. Entered editorial D4. No note in Autograph. G3 and Bf4 are in other voices. Ricordi has editorial D4. Measure 171\2 - Continuo. Entered editorial C#. Carried over from previous measure and also see note measure 13\2. Same in Ricordi. Measure 173\1, 174\1, & 175\1 - Ozias and Violin 2. Entered editorial A naturals. Harmony carries across bar lines. Editorial A naturals also in Ricordi. Measure 176\3 Violin 2, & 176\1 Viola. Entered editorial naturals. A naturals continue to fit the harmony. Ricordi the same. Measure 180\2 - Ozias, and Violins 1 & 2. Entered editorial natural on the A4s. Natural figure in the bass line on a G3 sets the harmony which includes an A natural. Ricordi the same. Movement 2.05 - [Recit.] Holofernes & Juditha. Measure 11\2 - Continuo. In the Autograph there is a "#" to the left and a 4th above the B2, which appears to be tied to a B2 in the next measure. My guess is that the # is a misplaced figure. I WOULD LIKE ANOTHER OPINION ON THIS. Ricordi entered an editorial "#" on the B2 and in the next measure an editorial natural on the B2, which doesn't take into account the tie marked in the Autograph. Ricordi doesn't have any figures in these measures. Movement 2.06 - [Aria] Juditha with mandolin solo & pizzicato violins. D.C. al Segno appears at the end of this movement in the Autograph. There the sign is a bold double X on its side, but no sign is apparent earlier in the Autograph. I assume it was meant to appear after the orchestral introduction at meas. 24. Measures 112-127 at the end are like a condensed version of the first 23 measures. Ricordi had (Dal Segno al Fine) with sign at m.24. Measure 64\3, 82\1, & 127 - Juditha. No fermata in Autograph. Entered a fermata for it was in all other parts. Ricordi had fermatas in ( ). Movement 2.07 - [Recit.] Holofernes & Juditha. Measure 4\2 - Continuo. There was a large # to the left and a 4th above the C#2 (which had a normal size # in front of it). I entered a figure #. Ricordi had an E# in their realization but did not enter a figure here. Measure 7\1 - Juditha. Entered B4 as in the Autograph. Ricordi entered a G4 with a note that the Autograph had B4. Movement 2.08 - [Aria] Juditha. There is about a measure of music crossed out in the Autograph after measure 14. Ricordi has repeated words in some passages and put them in ( ). Measure 7\6 - Hautbois & Organ (treble). Ricordi added trills. Measure 11\9 Hautbois and meas. 11\11 Organ (treble). Entered an editorial natural. Harmony reverts to key signature mid measure in preparation to cadence at measure 12. Ricordi did the same. Measure 12 - At the end of the measure the voice enters with two 16th notes. In the Autograph, the last beat of this measure ends with a quarter rest in the Oboe, a quarter note in the treble line of the Organ, and a quarter rest in the bass line of the Organ. I entered the notes as in the Autograph. Ricordi ended this measure with an eighth rest in all parts but the voice, adding and subtracting 8th to the other parts. I WOULD APPRECIATE ANOTHER OPINION HERE. Measure 18 - Organ, bass line. The Autograph has just two pairs of 8th notes in this measure, two G3s and two D3s. The treble line of the Organ is identical to the previous measure and it is obvious that the bass line was meant to be played as eight eighth notes, 2-G3s, 2-D3s, 2-G3s, & 2-D3s, which is what I entered. Ricordi did also. Measure 19\6 - Oboe. Ricordi had an editorial trill but it was written in the Autograph. Measure 21\1 - Holofernes. Editorial flat. Harmony carries over bar. Measure 32\1 - Organ, treble line. No resolution to the previous measure (which ran off the page) in the Autograph. The natural resolution would be a C5, which I entered as an editorial quarter note. Ricordi did also. I WOULD APPRECIATE ANOTHER OPINION HERE. Measure 35\25 - Organ, treble line. Entered editorial G natural. G5 reverts to natural at end of the measure. There are not G sharps in tracks 2 and 4 in this measure or at the beginning of measure 36. Ricordi also has an editorial G natural. Movement 2.09 - [Recit.] Juditha & Holofernes. Measure 5\6 - Holfernes. Entered editorial 16th rest. Autograph has 8th rest which makes for too many beats for the measure. Ricordi has a 16th note rest with a note that it is an 8th in the Autograph. Movement 2.10 - Chorus. At the end of the movement there is a double repeat sign and after that is written "D.C. il Rit.lo sino al Segno (fermata sign)". The Autograph has it's only fermata at the end of the movement. I WOULD APPRECIATE ANOTHER OPINION HERS. Also see note at. m.18. Measure 18 - Autograph has no forward repeat sign (and I didn't enter one) but Ricordi did enter one here. There is a double repeat sign at measure 35, and if one were looking for musical material to repeat, measure 18 might be a logical place to have a repeat sign. But at the end of the movement there is also a double repeat sign, which leads me to think that when there is such a sign, it does not necessarily mean that the material appearing both before and after it gets repeated. (Note Movement 2.12, meas. 16.) Measure 33\2-3 - Soprano & Alto. Slur in Autograph was not precisely drawn here. Cramped page and precident in violin parts make it seem like the slur was intended between the last two 8ths. Ricordi had the slur between the last two eighths. Measure 41\3 - Claren 1. Entered editorial natural on E5. Naturals in viola, Tenor, and Cont. parts. Ricordi had ed. natural. Movement 2.11 - [Recit.] Holofernes. Movement 2.12 - [Aria. [Juditha]. Measure 8\3 - Violin 1. Entered ed. natural. Identical to meas. 35, where there is an A natural in the Autograph. Same in Ricordi. Measure 8\2 & 35\2 - Viola. Entered ed. A natural. It keeps the minor feeling which sounds better but it quite possibly was meant to be an A#, as in the first beat of Violin 1. Ricordi has editorial A naturals. Measure 16- An example of a double repeat sign in the Autograph which Ricordi interpreted as just a forward repeat. N.B. there is a rare repeat for a single direction (":|") in the Autograph at measure 23. Measure 17\5 - Violins 1 & 2. Ricordi has entered editorial trills. This measure is identical to m.24 where there are trills in the Autograph and ed. TRILLS SHOULD POSSIBLY BE CONSIDERED. A similiar situation occurs in the same instruments on the last note of meas. 7 (no trills) and the identical meas. 34, which has trills in the Autograph. No trills in Ricordi m.7. Measure 26\8 - Juditha. Ricordi incorrectly has a quarter note as the last note in the measure. Autograph has an eighth. Measure 27\7 - Juditha & Violin 1. Entered editorial G#. Harmony changed at the end of the measure. Ricordi also has ed. G#4. Movement 2.13 - [Recit.] Juditha. Measure 6\1 - Juditha. Entered editorial sharp on F4. Accidental continues over bar line. There is also an F# in the Continuo. Ricordi also has an editorial F#. Measure 6 - Continuo. Entered F#3 & G2 half note as in Autograph. Ricordi has quarter notes F#3, B2, and a G2 half note, with a note that the Autograph was different. Measure 9\1 - Juditha. Entered editorial flat. Accidental carries over bar line. Ricordi also entered editorial flat. Movement 2.14 - [Aria.] Vagaus. NEED ANOTHER INPUT HERE. Dozens of measures have been crossed out in the Autograph but a bold hand written note in Italian has called attention to 8 meas. of crossed out material which Ricordi has included in their edition. Entered this material, as Ricordi did. Movement 2.15 - [Recit.] Vagans, Juditha, & Abra. Measure 7\1 - Juditha. Entered editorial "#". Accidental carries over bar line. Ricordi also had an editorial F#4. Movement 2.16 - [Aria] Abra. Measure 55\6 - Violini. Added editorial "#" on G4. Harmony has changed and "#" is appropriate in the scale passage. Ricordi also has editorial G#4. Measure 56\1 - Continuo. In Autograph the figure looks a little like a "b2", which is clearly wrong. Added "#" as did Ricordi. Measure 93\4 - Continuo. Added editorial eighth rest. Blur in Autograph. Ricordi also has editorial eighth rest. Movement 2.17 - [Recit.] Abra. Movement 2.18 - Con[cer]to de' viole all' inglese. Juditha. In the Autograph the Violin 2 part was written in soprano clef, the Viola 1 in alto clef, and the Viola 2 in tenor clef. The music line for Juditha appeared in track 6 just above the Violone Solo. PERHAPS THIS SHOULD BE CONSIDERED. I put both the [Continuo} and Violone Solo below the music line for Juditha. Measure 7\1 & 11\1 Juditha. Entered editorial flat. Harmony carries over the bar line. Ricordi had editorial flats. Measure 11\2 = Violin 2. Entered editorial flat. Harmony continues throughout this measure. Ricordi also has editorial Bb. Measure 14\2 - Violone Solo. Added editorial flat. Oversight. The last notes in tracks 1, 2, & 6 were flats. Movement 2.19 - [Aria] Juditha. In the Autograph the Viola 2 part was written in tenor clef. Measure 3\3, 5\3, 52\3 - Viola 1. The Autograph has G#4s (two octaves above the bass line, which sounds fine. Ricordi has entered B4s, an octave above the Viola 2. See no reason to seriously consider the B4s. Measure 7\1, 14\1 - Violin 2. Accidentals carry over bar lines. Measure 9\1, 26\1, 68\1 - Violin 1. Accidentals carry over bar lines. Measure 10\1, 27\1, 49\1, 68\1 - Viola 1. Accidentals carry over bar lines. Measure 13-14 - Viola 2. I entered the last note of m.13 and the 1st note of m.14 as they are in the Autograph, D4 and F3. Ricordi has Bb3 and A3 which sound more normal but the D4 and F3 are exotic and not necessarily unintended. Measure 36\1-2 - Violin 1. In the Autograph the first two notes are blurred but look like G5s, which are very discordant. Entered editorial A5s, as did Ricordi. Measure 38-41 - Viola 2. Entered editorial notes the same as Viola 1. In the Autograph these measures are blank. Ricordi also doubled the Viola 1 part here. Measure 67\1 - Juditha. Added editorial natural. B natural in Violin 1 and Viola 1. Ricordi also had editorial natural. Measure 69\1 - Juditha. A dotted eighth in Autograph. Ricordi mistakenly has a dotted quarter. Measure 71\1 - Viola 2. Added editorial natural. B natural is in the harmony here as in m.72. (N.B. bass line m.70 & voice m.70 & 72) Movement 2.20 - [Recit. Accomp.] Juditha. Measure 3\1 - Violin 2. Added an editorial flat. Missing in Autograph. An oversight? E flats in voice and continuo. Ricordi has (b). Measure 4\3 - Juditha. No rest or note to go with the syllable "in" in the Autograph. Microfilm was faint here. Ricordi also entered an editorial eighth rest and an A4 sixteenth note. A C5 would have been my next choice. Measure 4\1 - Continuo. E flat carries over bar line. (b) in Ricordi. Measure 6\1 - Violin 2. Added an editorial flat. E flat in voice and as a figure in the bass line. Ricordi hs (b). Movement 2.21 - [Recit.] Juditha & Abra. Measure 2 In the Autograph a very faint D3 appears in the [Continuo] and Juditha sings B4s, which is what I entered. Ricordi has a a Bf2 in the [Continuo] and editorial Bf4s for Juditha. In the Autograph the music for this movement is written on the continuation of the same staves as Movement 2.20, which has a Bb in the key signature. Measure 3\1 - Continuo. Entered a E3 as in the Autograph. Ricordi has a C3 with a note that the Autograph has an E3. I WOULD APPRECIATE ANOTHER OPINION ON THESE TWO MEASURES. Movement 2.22 - [Aria] Abra. In the Autograph there is a double repeat sign at meas. 12, but I believe it was only intended to repeat the material which came before it. (See Mvt. 2.10) Ricordi has a single backward repeat sign at the end of measure 11. . Measure 17\12 - Violini, & 17\6 Abra. Entered eidtorial natural on the last B4. A flat was indicated on the previous B4 but the harmony changes and it and it reverts to a natural. Ricordi had an editorial B natural. Measure 18\3 - Continuo. A faint figure "6" appears above the A2. Not your usual harmony but interesting and perhaps should be considered. Ricordi doesn't have a figure on that note. Measure 32\7 - Abra. Entered editorial natural. Harmony changes mid measure and a B natural is marked in the Violins after the middle of measure 32. Ricordi has editorial B natural. At the end of the movement after the last double bar there is some writing which looks like it may be stage directions for the character Ozias, who sings after the next two movements. I CAN'T DECIPHER THE ITALIAN. Movement 2.23 - [Recit.] Vagaus. Measure 11\1 - Vagaus. Entered an editorial #. Harmony carries over bar line. Ricordi has an editorial D# Measure 17\1 - Vagaus. Entered an editorial flat. Harmony carries over over bar line. Ricordi has an editorial Bb. Movement 2.24 - [Aria] Vagaus. In c minor but written in two flats in the Autograph. Measure 5\2 - Violini. Entered editorial Ef4. The Autograph has an F4. There is an identical passage at Meas. 40 where the Autograph has an Ef4. N.B. that there is an Ef in the Viola and the violins have descending 4ths in the first two 8ths of m. 3, 4, & 6 so the Ef4 in m. 5 would continue that pattern. Ricordi also has an editorial Ef4. Measure 22\4 - Continuo. Entered editorial flat. Harmony reverts to key signature late in the measure. Ricordi has (b). Measure 26\1 - Continuo. Ricordi has a figure "7". In Autograph it is "7f" but since there is an Ab in the Ricordi key signature it is not so necessary to have the flat indicated. Measure 29\1, 30\1 - Continuo. Entered editorial naturals. I think the B natural carries over the bar line and changes with the figure in meas. 31. The Autograph has a written B4 natural in the voice at the end of meas. 30 but in meas. 29 the Bf in the voice against the B natural in the bass has a strangeness about it. Ricordi had B naturals. Measure 30\10-11 - Vagaus. Last two notes are eighths in Autograph. (too many beats). Made them 16ths as did Ricordi. Measure 33\1 - Continuo. Figure in Autograph "6". Ricordi has "6f". Measure 51\3 - Violin 2. Autograph has the two violins playing the same notes here. Ricordi has this G an octave lower. Movement 2.25 - [Recit.] Ozias. Measure 4\1 - Continuo. Entered a figured # as in Autograph. Figure missing from the Ricordi edition here. Measure 8\5 - Ozias. A natural is clearly written here in the Autograph. In the next measure the C5 has what appears to be a # in front of it. It makes some sense that these C5s should be the same (same pedal in the bass line) and Ricordi has an editorial # here. I WOULD APPRECIATE ANOTHER OPINION. I entered a C5 natural in Meas. 8 and a C#5 in Meas.9. Measure 10-11 - Continuo. Entered tied C#3 as in Autograph. Ricordi had an editorial "#" for the first note of Meas.11 but didn't have the tie. Measure 14 - Ozias. In the Autograph the second note (a B4) looks like a quarter note with a misplaced tail. The first rest is not an eighth and is probably a quarter. I entered a quarter rest and two eighths as did Ricordi. Movement 2.26 - [Aria] Ozias. Measure 15\4 - Violin 1. Entered a G5 as in the Autograph. Ricordi has an A5! Note similar passages m.73, 23 and 80. Measure 15\4 - Violin 2. Entered a E5 as in the Autograph. Ricordi has an F5! Note similar passages m.73, 23 and 80 , Measure 33 - Entered a backwards facing repeat sign. The Autograph has a double repeat sign but I think it was intended to only repeat the material coming before it. See Mvt. 2.10 & 2.12. Measure 35\3 - Violin 1 & 2. Entered an editorial E5 like Ricordi. This looks like a D5 in the Autograph but it could be a slip of the pen. Passages following this are scale like and that seems more appropriate than C-D-D-F. Measure 56\1 - Ozias. Should possibly consider a trill here, as in the violins. Ricordi has an editorial trill. " 7 " Measure 84\1 - Continuo. Entered figure f2 # as in the Autograph. Ricordi had f1 " 7# ". Measure 98\1 - Ozias. Autograph had "hos"......"tes" (ending m.101). Entered "ho"....."stes", as did Ricordi. Movement 2.27 - [Recit. Accomp.] Ozias. The first twelve and a half measures of this movement appear on the first two pages of the Autograph with a Bb in the key signature. The last five and a half measures are on the third page and there are no flats or sharps in the key signature. Since recitatives are usually written without accidentals I was wondering if the B flats in the key signatures of the first two pages were oversights. The previous movement had one flat and ended with an F major chord. This movement started with a C major chord. Another reason for considering that this movement was not intended to have any sharps or flats in the key signature is that Vivaldi clearly had marked flats in front of the Bs in measures 2, three places in meas. 6, and in meas. 7, whereas he wouldn't have needed to mark them if a flat had been intended in key signature. There is also a lack of naturals in front of Bs on the last page. Ricordi has interpreted the Bs in this manner except for a Bb in m. 4 (a scale passage in F+, where it seems to obviously be a Bb though it was not marked as such). Ricordi did notate this movement in one flat with a lot of editorial B naturals. I have notated it with no flats or sharps in the key signature. This necessitates the use of only one editorial accidental at m. 4 I HOPE THIS IS ALL RIGHT. I have written a note at the head of each file in this movement but perhaps there should also be a note on score. Measure 4\4 - Ozias. Entered an editorial Bb. At this point it is a scale like passage in F. Measure 5\1 - Continuo. Part of the figure looked like a crude "7" which doesn't make much sense so I left it out, as did Ricordi. Measure 17\1 - Ricordi had a Bb for the voice, B naturals for the viola, celli and bassi, and an editorial B natural for the Continuo. I entered them all as B naturals, for on this page of the Autograph there were no sharps or flats in the key signature and there were no accidentals on the Bs. Movement 2.28 - Chorus. At measure 35 in the Autograph there was a double repeat sign but no repeat sign at the end. I'M NOT SURE that the last 5 measures were intended to be repeated. The previous section had two verses but the lasst 5 measures just had the words "Vivat in pace" and I DIDN'T INDICATE A REPEAT. See Movement 2.22. Ricordi DID repeat the last 5 measures. Measure 9\2 - Tromba. Ricordi was missing a trill for the Tromba, which was clearly marked in the Autograph. Measure 19\2 - Alto. Entered editorial sharp. No # in Autograph. G# in winds and figured bass. Ricordi also had editorial #.