(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 IV in A Minor, RV 357 Movement 1 - Allegro (C) Meas.11 - Bc. - There is a figure "X" on the A2 on beat 3 in Roger which does not make sense and was left out. There is a sharp missing in Roger on the first note of the Bc. part, which carries over from the previous meas. & is marked as an EDITORIAL sharp. Meas.18 - Vn.Solo - Roger missing flat on 1st 8th of beat 4. but it is implied when the figure 6b appeared on a G2 on beat 3. The next 8th has a flat. Entered EDITORIAL "b". The Ri_scan had an editorial flat. Meas.20 - Vn.Solo - The only flat marked on a B4 by Roger in this measure is in the 2nd beat. There is a chance that Vivaldi thought that next B4 in beat 3 should revert to the key signature but he didn't mark it & it sounds acceptable either way but we entered it like the Roger ed. The Ri_scan had an editorial natural on the B4 in beat 3. Note the Bb marked in meas.21. <------ ESF--NOTE Meas.33 - Vn.Solo - No "b" on 1st note in Roger. Understood. Carries over bar line. Entered EDITORIAL flat. Meas.56 - Vn.Solo - No "#" on 1st note but it is tied over the bar line so it is just a cautionary accidental. Meas.66 & 69 - Vn.Solo - Roger has flats in front of the F5s and the Ri_scan has naturals. A cautionary accidental seems unnecessary here so it was left out. Movement 2 - Grave (3/4) The Bc. is tacet for this movement. All parts have "Grave e sempre Piano" written below each staff. Above the staff of the Vn.Solo is written "Solo e Cantabile". Meas.7\5 - Vn.1 - All notes A5 in Roger. 7th note scanned as Bf5. A5 in Ric_score. Meas.9\1 - Va. - Roger had a cautionary flat on the B4. Meas.13 - Vn.Solo - Scan missed the grace note but the Ricordi score had it. Meas.14\1 - Vn.2 & Va. - Accidental missing on 1st note of Roger. It carries over the bar line _ natural for Vn.2 and a sharp for Va. Made EDITORIAL accidentals. Meas.14\4 - Vn.Solo - Roger has a courtesy "b" on the F5. We entered a natural. Meas.16 - Vn.2 - An editorial flat on the B4 in Roger. Meas.16\1 - Vn.2 - Roger had a cautionary flat on the B4. Va. A4 here makes for an interesting suspension resolving to a G4 in the next measure. Meas.22\1 - Va. - Roger had a cautionary flat on the B3. Meas.24\1 - Vn.Solo and Meas.25 - Vn.1 Roger missing a sharp on the F5. Understood. It carries over the bar. EDIT.#s. Meas.26 - Vn.Solo - Ric_score had natural on F in 2nd beat. Meas.27\1 - Vn.2 - Roger missing a "#" on the C5. Understood. It carries over the bar line. Entered EDITORIAL #. Movement 3 - Allegro (3/48) Meas.38\1-2 - Vn.1 - Sharps missing on Fs in Roger. Harmony carries over bar line. Entered EDIT #s. Meas.76 - Vn.1 - Roger has Vn.1 playing the last 8th note of the meas. with the Vn.Solo before 9 meas. of rest. The Ric_scan had a rest for Vn.1. Entered like Roger. <---ESF NOTE Meas.84 - Vn.Solo & Bc. - Unusual sounding. Roger had a cautionary natural on the F5. (F# in the previous meas.). N Roger also had a cautionary natural in m.85 (a repeat of O m.84) but with modern notation it wasn't necessary in m.85. T The Bc. in the Ric_scan (7#) is wrong. Roger had 7 # (with E the # below the 7 - note the G# in both measures). EDIT. fig. <--ESF (10-26-10)