Concerto in F Major, Op. 10, No. 5a, RV 442 for Flauto [Soprano Recorder] Giordano 31, 347-353, Torino This is a score with string accompaniment. Movement 1 - Allegro ma non nolto This movement is very similar to Le Cene with a few differences. 1) Le Cene has the violas doubling the lowest voice an octave higher from meas.30-m.43. I didn't find anything in RV 442 to indicate a doubling of the lower voice and Ricordi did not have the violas playing there either. 2) RV 442 has a Da Capo and Le Cene and Ricordi have the Da Capo written out. Le Cene has the last 3 beats of tracks 1-2, m.73+ playing a third lower than they would if they had made the Da Capo and played meas.5+ to meas.6+. 3) There are some differences in the placement of trills, i.e. measures 25, 29, 36, 39, 51, 58-60, 63, & 67. At the beginning there is no heading in front of the first line of music but it is clear that it is for the Flauto, since he gave the work the title "Concerto a Flauto Solo." The second line appears to be headed "2 V..." (Violin 2 in my rough draft, which I have made track 3.) The third line has the heading "P..mo" and plays the first 11 bars with the flute. (Violin 1 in my rough draft, which I have made track 2.) The fourth line has no heading but is in viola clef at this point. Later when it is more of an accompaniment it's written in bass clef, which I've transposed up an octave to be in the viola range. The fifth line is not labeled but is in bass clef throughout. Meas.12 - After the fermata the first line has the heading "Solo". The second line is labeled "P..mo" and in my rough draft I have given this music to Violin 1. The third line appears to be labeled "2 Vo..." and in my rough draft the music is given to Violin 2. Later in the movement when it is more of an accompaniment (i.e. at meas.30 & meas.49) the manuscript is written in bass clef and I transposed it up an octave to be in the violin range. Angelo Ephrikian, editor of this work in the Ricordi edition, has a dynamic of "p" here for track 1 and "pp" for tracks 2-3.. There are two dynamic marks in the manuscript at this measure. They seem identical and appear between tracks 1 & 2 and 2 & 3. I took them to be "p" for tracks 2 & 3. The letter in RV 442 looks the same as the one Ephrikian later entered as a "p" in meas. 30. But in measure 30, the dynamic mark in RV 442 appears between tracks 2 & 3 and he has "p" in both tr.2 & 3. This makes me want to reconsider the dynamics, if indeed it was customary to put just one dynamic mark for two tracks between the two lines. In that case the dynamics at this measure should be "p" in all three upper voices. Meas.18\11 - This note in track 1 could be either D5 or E5. It is not written clearly as a D5, as is the Ds in meas 15-17, and it is almost a high as the E5 in the next measure. I entered E5 for it slightly more musical and reflects the one step turns in measures 16-18. Le Cene has D5 and Ricordi E5 Meas.29\2 - Track 4 has F4 (unison with track 5). Le Cene has E4. Meas.39-68 (end) - Track 3 and track 2 accompany the Solo here. I have given them editorial pianos and RV 442 has track 3 written in bass clef. I transposed it up an octave but the last note in measure 63 and measure 67 are still C3 (below the violin's lowest string.) Ricordi solves this problem by transposing the part up two octaves beginning the last half of measure 56. If I were going to pick a place to start transposing up 2 octaves I might choose mid measure 54 but instead I just entered the two low C3s as editorial C4s. Le Cene did the same (RV 434, m.63 & m.67). Meas.45 - Track 4 has A3-rest-A3-rest in eighths the first half of this measure. Le Cene has rest-A3-rest-A3 the first half of meas.45. A possible scribe's error in Le Cene? The first half of the measure was at the end of a page & the previous measure began with a rest. Meas.48 - Track 4 for the first half of this measure has D4(quarter)- rest(eighth)-D4(eighth). Le Cene has four 8ths the first half of this measure D4-rest-D4-rest. Movement 2 - Largo Cantabile This movement is very sinilar to Le Cene with a few exceptions. 1) In RV 442, Vivaldi has written "Write one tone higher and in five staves", which I did. RV 442 & Ricordi have notated this movement in 3 flats with the top voice starting on C4. Le Cene has written it in 2 flats and begins on D4. 2) RV 442 has a Da Capo and Le Cene and Ricordi have written the music out. 3) RV 442 does not have the Recorder begin until measure 6, as does Ricordi. Le Cene has the Flute play the entire movement. 4) RV 442 has the lower two voices only playing until the first beat of the 6th measure, as does Ricordi. Le Cene has the lower two voices doubling the violins. Meas.8\8 - Track 1 has F#5, which I entered. There was no # on this note in Le Cene. I prefer the F# but did not change either note. Meas.8\4 - Tracks 2-3 I entered a C4. The Giordano manuscript RV442 has been altered here but it seems C4 is more likely than Bf3, which Le Cene has. Ricordi has C4. Movement 3 - Allegro This movement is almost identical to Le Cene, except that RV 442 has Da Capo al Segno at the end and Le Cene seems to have forgotten it. Ricordi has it written out. Differences - 1) Sordini is written boldly in the left margin of the music. (probably reflecting the softer upper voice). No mutes indicated in Le Cene. Ricordi indicates that the strings should be muted. 2) Tr.1 of m.36 is slightly different from Le Cene. RV 442 has 8th, two 16ths, 8th, two 16th (Bf5-G5-Bf5, A5-F5-A5). Le Cene is two 16th, 8th, two 16ths, 8th (Bf5-A5-Bf5, A5-G5-A5). Ricordi is the same as Le Cene. Either way works. 3) Track 1 - The first note in RV 442 and Ricordi is a C6. In Le Cene it is A5. Either one works well. Meas.29\1 - Track 1 was entered as a D5. The note in RV 442 I read as a D5 with a white dot superimposed, making it look like a C5 with a small slur over it. Le Cene and Ricordi have D5. Musically D5 makes more sense. Meas.42\4 - Track 1 has C#6. Entered an editorial natural. Oversight, or the practice of the day in this kind of figure? Neither RV 442 or Le Cene have a natural but Ricordi has one, and not an editorial one. A C#6 is quite jarring musically. Meas.53\3 - Track 4 has four 8th notes on A4 as does Le Cene. Ricordi has a Bf4 on the third eighth with a note "Ms:La". Entered as written but the Bf4 makes more harmonic sense. Meas.89\1 - Track 1 has C6. Le Cene has A5. Ricordi has C6. Either way works.