(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.  

                         (July 30, 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+.  There were more cautionary accidentals and slurs in 
    in Roger than the scan, as in many of the early Opus numbers. The 
    Ri_scan had many staccato markings in Op.4 & Roger had few or none.  
      The facsimile had a light double bar between movements, There 
    were no repeat signs in Opua 4, except for the Allegro of 
    Conderto 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.  
      "&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 I in Bb Major, RV 383a 

      Movement 1 - Allegro (C) 
        Lots of slurs & scattato markings in scan.  None in Roger 
        Vn.Solo - Pickup note scanned as Ef4 but it ahould be an F4.<--NOTE 
        Meas.22/1 -  Vn.1 - 1st note correctly scanned as G4 BUT Ric.  
          was wrong & it should be an A4 like the Solo Vn. & Roger. <--NOTE 
        Meas.6 - Bc. - First figure a "7 5" in Roger and scan but I 
          might have expected a "7 6".  
        Meas.6, 13, 80, & 82 - Organo (Bc.) - EDITORIAL E flats 
          added at end of measures where the Es had previously been 
          naturalized.  Harmonic progression understood but they were 
          not always marked in the Roger facsimile.  
        Meas.73-8 - One of Vivaldi's slightly strange minor interludes.  

      Movement 2 - Largo (3/4) 
        The Violino di Concertino part was marked "Solo Largo e 
          Cantabile" below the staff. The other parts were marked 
          "Largo e Sempre Piano".  
        The Violono 1 and 2 parts have identical musical material so 
           were combined in in the stage2 score files as s02.  

      Movement 3 - Allegro (2/4) 
        The Violino di Concertino and the Violino 1 are in unison for 
          all but meas.111 to 157 and have been entered on one staff.  
          The Violino 2 and the Viola rested from measure 112-157 so 
          only two staffs were printed on a system for that interval. 
        Meas.39 - Bc. - The last note was a D3 in the Ric.scan with a 
          note that Roger had an F3.  F3 seems perfectly acceptable.