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 V in A Major, RV 347 

      Movement 1 - Allegro (C)  
        Meas.14 & 15 - Va. & Bc. - At the beginning of m.13 Roger had 
         "Piano". It was moved to the pick up at the end of m.13 like 
          the Bc. & endered as an EDITORIAL "p".  Roger had "Forte" at 
          the beginning of m.15 in the Va. which we moved to the pick 
          up at the end of m.14, like the Bc.   Made an EDITORIAL "f" 
        Meas.32-5 & 83-7 - Vn.Solo - Rhythm inaccurately represented 
          in Roger.  Plaacement of the E5 half note drone moved to 
          line up with the 1st & 3rd beats.  
        Meas.75 - Vn.Solo - Roger had a cautionary natural on the D5.  
        Meas.92\9 - Vn.Solo - Roger missing a # on the E5s here.  An 
          oversight?  Bc. has E#s & it seems harmonically appropriate.  
          Entered EDITORIAL E5s.  
        Meas.99 - Vn.Solo - This note is mainly for those using these 
          these files for creating sound files.  Beat 3 in track no.2 
          (col.15 in ss2ed) is a quarter note in Roger, but in order 
          to display it properly in our system it was given the note 
          of a half note in col.8. Technically there should be a 
          quarter note irest on beat 4 so the sound would not carry 
          over into the last beat, but the mskpage program would not 
          accept an irest value of a quarter in col, 8.  In meas. 26 
          there is a similar but simpler situation but the mskpage 
          program worked.                                                      

      Movement 2 - Largo (C) 
        This movement is tacet for the Vn.1 & 2 and for the Viola.  
        Meas.5 - Vn.Solo - The EDITORIAL slur in beat 4 going from E3 
          to B5 combined two slurs in Roger - one going from the E3 to 
          the D5 & one from that D5 to the B5.                11-13-10 

      Movement 3 - Allegro (3/4) 
        Meas.11\5 - Vn.2 - No #on D#5 in Roger.  Harmony carries over 
         the bar.   Entered EDITORIAL #.  
        Meas.60\5-6 -  Va - Rober missing a #. Harmony still requires 
         a D#.  Entered an EDITORIAL #.  
        Meas.102\1 & 105\1 - Bc - Natural missing on the first G (The 
          Vn.Solo has a G natural).   Entered EDITORIAL naturals.  
        Meas.112\11 - Vn.Solo _ Roger has a natural on the 4th note 
          (G5) but no cautionary # on on the 11th note, which we 
          added, but it could be either way.  EDITORIAL # ?   ??<---ESF ?  
        Meas.113\12  Vn.Solo _ Roger has a natural on the 5th note 
          (F5) but no cautionary # on the 12th note where the harmony 
          changes.  An EDITORIAL # added here.  The need to return to 
          the key signature stronger than at the end of meas. 112.  
                                                               3-32-11