(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. (Oct. 16, 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+. Roger had no staccato marks in this Concerto & the Ri_scan had quite a few, but not as many as Concertos I. & II. 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 "&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 was not a uniform logic where the Ric_scan put them. One figure, at meas. 59, was changed from Roger's "7 5" to "6 5" but we entered the Roger figure. 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-------- Ric_scan had editorial natural, which seems wrong. 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.