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.  

                         (Oct. 16, 2010) 

      The facsimile had a light double bar between movements, There 
    were no repeat signs in Opua 4, except for the Allegro of 
    Concerto 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 VI in D Minor, RV 316a 

      Movement 1 - Allegro (3/4) 
        There were many instances of an accidental not being restated 
        at the beginning of the next bar when the harmony continues 
        to require it.  Old notation.  These occerred as follows: 
          Vn.1 - meas.24 & 73 - EDITORIAL flats were entered.  
          Va - meas. 28 - EDITORIAL flat was entered. 
          Bc. - meas. 5, 13, 25, 26, 37, 60, & 120 - EDITORIAL sharps 
             were entered.  
          Placement of figures in Roger was far from exact, and when 
            there were displaced figures it seemed like there must   
            have been a variety of interpretations of just where to 
            start the harmonic changes.  
      
      Movement 2 - Largo (3/4) 

      Movement 3 - Allegro (3/4) 
         Meas.14\1 - Vn.Solo & Vn.1 - Harmony carries across bar line.  
           Flats missing in Roger.  Entered EDITORIAL flats.  
         Meas.43\1 - Vn.1 - Harmony carries across bar line. Entered 
           EDITORIAL flat.  Missing in Roger.  Marked in Vn.Solo 
         Meas.48\1 - Vn.Solo & Vn.1 - Harmony carries across bar line.  
           Flats missing in Roger.  Entered EDITORIAL flats.  
         Meas.72\6 - Vn.Solo & Vn.1 - No # in Roger but surrounding 
           meas. have C#s & Bc. has a # on an A2.  The note in question 
           is in the middle of a run.  EDITORIAL # entered.   <-- Note ESF--------
         Meas. 76\1 - Vn.2 - EDITORAL cautionary natural added on 
           the 1st note, an F4.  A 6 natural on an A2 in Bc. here but 
           the Va. had an F# until the end of meas.75.  
           meas.75.  Harmony changes.   
         Meas. 79-98 - Vn.Solo.  No tuplet or sextuplet markings in 
           Roger.  Add for clarity the first two instances.  
         Meas. 89\1 - Vn.Solo - Df6 from m.88 does not carry over bar 
           line. Note the figured bass.  Entered EDITORIAL natural. 
         Meas. 101\1 - Vn.Solo & Vn.1 - Courtesy natural added on A4.  
           Note the figured bass.  Entered EDITORIAL natural. 
         Meas. 103\1 - Vn.Solo & Vn.1 - Harmony carries across bar 
           line.  Entered EDITORIAL flat on the first note.  
         Meas. 112\1 - Vn.Solo & Vn.1 - Harmony carries across bar 
           line.  Entered EDITORIAL flat on the first note.  
         Meas.123-150 - Vn.Solo - Many instances of one or more 
           accidentals carrying over bar lines but not restated in the 
           next measure by Roger.  Entered as EDITORIAL accidentals.  
           (Meas.123 an Af5; m.124 a B4 natural;  m.126 & 127 - Ef4s; 
           m.132, 133, 134, & 135 - Ef5; m.138 - C#5; m.140 - C5 nat.; 
           m.141 - Ef5 & F#4;  m.142 - F#4;  m.145 - Ef5;  m.147 - Ef5 
           & C#6; m.149 & m.150 - F#5;  m.152 - Ef5;  m.158 - Ef5.)  
           The actual arpeggiation is left to the director and/or the 
           performer.  Roger has written out m.121, which can serve as 
           guide.  
         Meas. 124 & 125 - Vn.Solo - Roger has a "2" above the top 
           note of m.124 and a "3" above the top note of m.125, which 
           seem to be suggestions for fingerings.   
         Meas. 101\1, 103\1, 112\1, 152\1, & 158\1 - Vn.1 - Same as 
           the Vn.Solo part - namely EDITORIAL natural in m.101; in 
           m.103 and 112, EDIT. flats; in meas. 152 & 158 EDIT. flats.