Concerto in D Major, Op. 10, No. 3a, RV 90, "The Bullfinch"                    
               for Flute, Oboe, & Bassoon or for Strings 
                     Giordano 31, 332-339, Torino 


Movement 1 - Allegro 

   This movement has 117 measures and Le Cene has 100. The thematic 
        material is essentially identical for much of the movement but 
        there are occasional extra measures thrown in, usually repeats 
        of or rearrangements of existing thematic material. In Le Cene 
        the flute has some soloistic arpeggios above the other 
        instruments in the opening musical statement (and m.21+) whereas 
        in RV 90 it doubles the other voices an octave above the violins.  
        The last four measures are essentially identical.  

   Meas.11\1 & 12\1 - Tracks 1 & 2 editorial trills were added.  They  
        were indicated in the lower voices in the manuscript.  Malipiero 
        had trills only in the lower voices and not even editorial trills 
        in tracks 1 & 2.  
   Meas.87 - Track 1. Third beat a quarter note A5 in Giordano p.335a and 
        in the Malipiero edition of RV90.  In Le Cene and the Malipiero 
        edition for RV 428 it is  A5-B5-A5-B5 in 16ths.  


Movement 2 - Largo 
 
   The movement has the same musical material as Le Cene.  In RV 90 it 
        is a duet between the Flute and Bassoon.  Le Cene identifies 
        the top line as Solo Cantabile but the bottom line has figured  
        bass written in the Organ e Violoncello parts book.  
        The Manchester manuscript is for Flute or Violin and Cello or 
        Bassoon.  
   Meas.5\8 - Track 1. The last note of this measure is a B5 in both    
        the Giordano and the Manchester manuscripts (MS 580). It is C#6 
        in Le Cene, which doesn't make as much musical sense.  Malipiero 
        has a B5.  
   Meas.6 - Both tracks have a fermata at the end of this measure. Same 
        in the Manchester manuscript and in Malipiero. Le Cene doesn't 
        have fermatas in this measure.  

Movement 3 - Allegro 

   This movement has 151 measures and Le Cene has 117.  Six measures of 
        related thematic material was inserted between meas.12 & 13. Also 
        in Le Cene the viola drops out of the next part of this movement, 
        as well as later, ie. m.73 (m.67 in RV 428). In RV 90 the bassoon 
        doubles the Basso in many of these sections.  
          Besides the obvious octave differences between the two 4th 
        tracks (Viola in Le Cene and Bassoon in RV 90) tracks 2 and 3 
        in RV 90 (the Oboe and Violins) are frequently off an octave from 
        tracks 2 & 3 in Le Cene (the first and second violins), i.e.  
        RV 90 m.47 with Le Cene m.41.  
          From meas.117-126 the lowest 4 voices are playing D & F#.  In 
        the equivalent part of Le Cene (m.102-111) the violas add an A 
        to the harmony.  
          Meas.128-147 are essentially the same as Meas.1-21.  It is not 
        quite a Da Capo for he has added 4 measures of new but related 
        material for the ending.  

   Meas.80\2 - Track 3 had an E5 natural. Malipiero had an editorial #.  
        The Manchester manuscript has a very small note head on E5 with 
        a line above it. It reminds me of a note in RV 442, Mvt.3, Op.10 
        No. 5a, Meas.29\1, track 1 which made more sense a step higher.  
        so I interpreted it as note with a white dot on it rather than 
        a small note with a line above it.  This time it did not look like 
        a note head with a white dot superimposed but a deliberate marking.  
        Le Cene (m.74) did not have a natural but Malipiero in the 
        Ricordi edition of RV 428 had an editorial #.  An editorial # 
        should possibly be considered. I personally find the second note 
        of meas.78, tr.3 more unusual but all versions have a D5 natural.  
   Meas.100\1 - Track 3 has B3.  B4 in Malipiero's edition for RV 90.  
   Meas.110\12 - Track 1 has a C#6.  Giordano (p.338), the Manchester 
        manuscript, and Malipiero for RV 90 all had a C# but in Le Cene 
        there was a flat in front of the C6 canceling the # in the key 
        signature.  In the Ricordi edition for RV 428. Malipiero had a 
        natural sign in front of the C (m.96) and in addition  the 
        realized bass had a C# in the next measure, which is an obvious 
        acknowledgement that there had been a C natural.  The notes in 
        that measure and the next were otherwise identical in both 
        versions.