(Old) 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 notes, their values, stem directions, rests, beamings, and fermatas were scanned with a high degree of accuracy. Accidentals, especially in ( ), were not always scanned accurately - sharps often scanned as naturals, naturals as sharps, and fermatas occasionally missed altogether. "&0" was entered in col.13-14 of note records indicating editorial material from the source, in this edition often a cautionary accidental. "&1" = a CCARH editorial. On the next line "@1" + an explanation of the problem. Dynamics were scanned as Musical Directions with "*" in col.1, "G" in column 17, & the dynamic in column 25. Vertical placement was adjusted in "ss2ed". Roger also had many fewer dynamic markings and slurs than the scanned edition, the scanner picking up the Print suggestions "P C32:o" or "u" for each one. The scan placed fermatas, trills, and staccato dots in column 32 instead of col.33+. There were more cautionary accidentals and slurs in in Roger than the scan, as in many of the early Opus numbers. The Ri_scan had many staccato markings in Op.4 & Roger had few or none. 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. "&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.55 - Bc. - Figured bass in Roger on the 1st & 2nd beats is "6n" & "6/4+" on a E3 and in Ric.scan is "6n" & "6#/4#", Left as "6n" and "6/4#" as in Roger. <-----ESF NOTE Meas.56 - Viola - Forte missing in viola part. In all other parts. Entered EDITORIAL forte. 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 grace note. I believe it to be a cue note which the Vn.1 is N 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.14 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. | I've entered a F#5 grace note to the G5 with an EDITORIAL slur. The Ri.scan has entered the Solo part as a quarter N note on E5! O (Possibly just a suggestion for the soloist to do their own T ornamentation, an alternate note of some sort, or a grace E note on another pitch????) Movement 3 - Allegro (3/4) Meas.31 - Bc. - Rhythm different in Ri-scan. 2nd beat is a <--NOTE dotted 8th + a 16th note instead of Roger's two quarters. 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)