(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 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.15\7 - Vn.1 - "tr." missed in Ric_scan. In score & Roger. 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. Ric_scan had E#s. 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. Meas.8 - Bc. - Roger had the figure "6 5" & "b 7" in beat 3. The "5 4" figure in Ric_scan seems wrong. 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 could be either way. Ricordi had (#). ????<----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. The Ric_scan didn't have a # on the 12th note but we added a EDITORIAL #. A more obvious need to return to the key signature here than at the end of meas. 112. 3-31-11