NOTES on Vivaldi Opus 4 - Violin Concertos I - XII 
    for Violino di Concertino, Vn.1 & 2, Viola, & Basso continuo.  

  The facsimile of Vivaldi's La Stravaganza Op.4 has five part-books: 
     Violino di Concertino, Violino Prima, Violino Seconda, Alto 
     Viola, and Organo e Violoncello (with figures above the notes).  
     This facsimile is based on the copy of the publication done by 
      Chez Estienne Roger Marchand Libraire, Amsterdam, No.399, 
         which belongs to the Royal Academy of Music, London.  

                         (Sep. 7, 2010) 

      The facsimile had a light double bar between movements, There 
    were no repeat signs in Opua 4, except for the Allegro of 
    Conderto III.  After each Concerto the light double bar was 
    followed by several vertical lines of diminishing heights.   
    There were holds at the end of each movement except for 
    Concertos VIII and X, which to me are particularly interesting,        
    in the way the Adagios functioned differently than the other 
    middle movements.  Concerto VIII was particularly interesting 
    harmonically and in that the middle movement was in three parts, 
    all in common time (C) - the first a one measure Adagio which 
    provided the cadence (with fermata) for the first movement and 
    then a Presto followed by another Adagio, which resolved the 
    Presto in the first measure, ending with a fermata before the 
    final Allegro.  
      "&0" was entered in col.13-14 to indicate that there was 
    editorial material from the source on that line. "&1" = a CCARH 
    editorial where something was changed from the source.  On the 
    lines between "&0" or "&1" in the 1st column there would often be 
    a comment on the situation.  Editorial accidentals which were 
    added appeared in smaller fonts & notes were made in the files.  
    Trills in Roger were marked by a "t" above the note.  
      The old "+", "x" figured bass notations in Roger were replaced 
    by the easier to read "#" as a figure or an addition to a figure. 
    When "/" & "\" crossed through numbered figures modifying their 
    function, we modified the numbers with a "#" "b" or a natural, as 
    was appropriate - hopefully clarifying the reading of the figures.  
    (The "/" through the figure "7" actually looks like a flat and 
    acts like one.  

    CONCERTO II in E Minor, RV 279 

      Movement 1 - Allegro (C) 
        Meas.7 - Vn.Solo & Vn.1 - No natural on the D5s at the end of 
          the measure in Roger.  Understood from harmonic progression. 
          Note D natural in Bc.  MADE EDITORIAL natural.  
        Meas. 10 - Vn.2 - Natural missing on D in Eoger.  Needed for 
          harmonic progression.  D natural in Bc. Made EDIT. natural 
        Meas.56 - Viola - Forte missing in viola part.  In all other 
          parts.  Entered EDITORIAL trill.  
        Meas.66 - Bc. - Sharp missing on C4. Oversight.  Part of the 
          harmony.  Vn.Solo has C#.  Enter EDITORIAL sharp. 

      Movement 2 - Largo (C) 
        Meas.11 - Vn.Solo - Last two notes return to key signature 
          (going to G+).  Made EDITORIAL F# and G natural.  
        Meas.13 - Vn.Solo - Last two notes return to key signature 
          (going to E minor).  Made EDITORIAL F# & G natural.  
        Meas.15 - Vn.Solo - On the 3rd beat above the staff above 
          the E5 there is what appears to be an extra little note.  
          grace note.  I believe it to be a cue note which the Vn.1    N 
          is playing at that time and might just be a courtesy note    O 
          which the soloist could choose to include in some way in     T 
          performing that passage. (i.e. as a double stop, etc.)       E 
          We have reproduced it as closely a possible to what is in 
          the parts book for the soloist at measure 15.  
        (My original take is below)                            <-----ESF 
        Meas.15 - Vn.Solo - On the 3rd beat above the staff there is   | 
          an extra little note (like 8th grace note in m.13 without    | 
          a slur).  The last 3 - 8th notes are the same for Vn.Solo &  | 
          Vn.1 but on beat 3 the Solo has a E5 & the Vn.1 has a G5.    V 
          I've entered a F#5 grace note to the G5 with an EDITORIAL      
          slur.                                                        N 
          (Possibly just a suggestion for the soloist to do their own  O 
          ornamentation, an alternate note of some sort, or a grace    T 
          note on another pitch????)                                   E 

      Movement 3 - Allegro (3/4) 
        Meas.41\1 & 3 and meas. 42\3 - Vn.Solo - Flat missing in Roger.  
          Harmony continues over the bar line.  Made EDITORIAL flats.  
        Meas.41\1 & m.42\1 - Bc. - Roger missing naturals on the F3s.  
          Harmony established and continues.  Made EDITORIAL naturals.  
        Meas.66 - Vn.Solo - Roger is missing a natural on the F5. The 
          harmony is changing & F5 is in the middle of a scale going 
          to a C+ cadence.  Oversight?   Entered EDITORIAL natural.  
        Meas.72\3 - Va. - Roger missing natural on the F4 here. The 
          upper strings all have F naturals.  Made EDITORIAL natural.  
        Meas.73\4 - Vn.2 - Natural missing on F5 but marked in upper 
          violin parts.  Entered EDITORIAL natural 
        Meas.113\1, meas.116\1, and meas.124\1 - Vn.Solo - Sharps 
          missing in Roger.  Harmony continues over the bar line. Made 
          EDITORIAL sharps.                               (10-19-10)