Concerto in C Major for Flautino [Sopranino Recorder], RV 444 
                     Giordano 31, 272-281, Torino 




Movement 1 - Allegro non molto 

            Giordano had a Da Capo al Segno after the first quarter 
          note of measure 69 with a fermata at measure 11.  
          Malipiero has written out this movement, which leaves out 
          the last quarter note of the manuscript.  
            There were inconsistencies between the parts in beamings.  
          When rhythmic patterns were the same but the beamings were 
          different, I changed some of the beamings, (esp. tr.3-5).  
            The first 3+ measures of track 5 in Giordano was written 
          as a dotted rhythm.  In the viola part, only the first half 
          of the first measure was written in the dotted rhythm and 
          the following three measures were straight 16th notes.  I 
          assume that he intended these measures to also be dotted.  
          Malipiero had the violas dotted for the first 3+ measures.  
            I haven't identified exactly where the Bassi and Bassoon 
          play.  Where I have indicated [Solo], I have entered sound 
          files for the Solo Cello. Eleanor should advise on this.  

   Meas.11 Prominent staccato marks appeared above all four 8th notes 
          in track 1 (& 2), but in the bottom 3 tracks they did not 
          appear above the first of the four 8th notes. Malipiero did 
          not have staccato markings on the first 8th in any track.  
   Meas.42\14 - Track 1. Added an editorial natural.  Reverts to key 
          key signature late in meas. with change in harmony.  
          Malipiero has an editorial natural.  
   Meas.46\8 - Track 1  Giordano has C#5.  Malipiero has C5 with a 
          (#) above the note.  
   Meas.49\6 - Track 5. Added an editorial natural.  Reverts to key 
          key signature late in meas. with change in harmony.  
          Malipiero has an editorial natural.  
   Meas.50\8 - Track 1. Giordano had a B5. Malipiero had a G#5.  
   Meas.54\25 - Track 1.  Giordano had a E5.  Malipiero had a G5.  


Movement 2 - Largo 

   Meas.1 - Tracks 1 & 3.  Bold staccato marks above the first six 
          notes in tr.1 and above the first three notes in track 3.  
          Track 2 and 4 have the same rhythmic patterns as tr.1 & 3 
          and after the first 3 eighths, Giordano indicates track 2 
          should begin to play with track 1.  I added staccato marks 
          for the first half of this measure to all but track 5, and  
          they possibly should be added to that track too. (The top 
          4 tracks have the same arpeggiated pattern and rhythm but 
          the bottom voice is in octaves, performing a different 
          function in the music.) 

   Meas.8 - I entered D and F naturals in the last half of this measure 
          and Ricordi had (#) before the Fs (tr.3-4) and no naturals on 
          the D and Fs (tr.2) in the last half of the measure. Meas.8 
          in the Giordano microfilm is split, the first half being at 
          the end of a system and beats 3 & 4 being at the beginning 
          of the next system.  The manuscript has no sharp on the F3 
          on beat 4 of the lowest voice (only 3 voices in manuscript at 
          this point) and there was no prior F in that voice for some 
          measures.  There were also no accidentals written in the top 
          voices of the last half of m.8 and usually the accidentals 
          are restated (as was done in tracks 1 & 2 of the first half 
          of the measure) when going to the next line, especially if 
          there may be a question. Also, with no # on the F3 in the low 
          voice, I assume the harmony was meant to revert back to the 
          key signature.  The D & F naturals were also more agreeable 
          sounding but I entered them as editorial naturals.  
   Meas.9 - In the second beat of this measure I entered E naturals and 
          Malipiero entered an editorial flat on E5 in track 1 and an 
          Eb5 in track 2. In tr.2, the manuscript has a flat above the 
          Bb4 in the second beat of this measure (restating the Bb of 
          the previous beat) but the Ricordi version obviously assumed 
          the flat pertained to the second 16th of this beat, which is 
          E5. When the notes are closely spaced, as they are throughout 
          this page of the manuscript, the accidentals are often placed 
          above the note.  In track 1 there were no flats on any of the 
          E5 notes in this measure.  


Movement 3 - Allegro molto 

            I haven't identified exactly where the Bassi and Bassoon 
          play.  Where I have indicated [Solo], I have entered sound 
          files for the Solo Cello. Eleanor should advise on this.  

   Meas.100\2 - Track 1.  Entered an editorial grace note B5, to continue 
          the pattern established in meas.96 & 98.  In the file I noted 
          that this was an editorial grace note but there is no way to 
          identify it as an editorial grace note on the printed page.  
   Meas.114\5 - Track 1.  Malipiero had an editorial Ab.  Giordano 
          didn't have a flat.  This section has some unusual harmonies.  
   Meas.118\6 - Track 1.  Entered editorial Bb. An oversight?  There is 
          a Bb in track 5 and there are B flats later in the measure.  
          Malipiero has an editorial Bb.