NOTES on Vivaldi Opus 1 - Trio Sonatas I - XII 


    Estienne Roger Marchand Libraire No. 363, Amsterdam [facsimile] 
     from scanned material done by Don Anthony in June & July 2004 
    transferred to CCARH stage2 format by Fran Bennion & into files 
             md\vivaldi\roger\trio_son\op01no01 - op01no12  

      The notes, their values, stem directions, rests, beamings, and 
    the fermatas were scanned with a high degree of accuracy.  The 
    accidentals were not always scanned accurately, sharps often 
    being scanned as naturals (i.e. No. 1, Mvt. 2).   Fermata 
    placement often needed to be adjusted with print suggestions. 

      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". When viewed in the score, the horizontal 
    placement did not always make the best sense.  Roger also had 
    many fewer dynamic markings than the scanned edition.  

      There were many more slurs in the scanned edition than in the 
    facsimile. The scanner picked up the Print suggestions "P C32:o" 
    or "u" for each one.  Roger had more cautionary accidentals than 
    the scanned edition, except for the 2nd note in an octave jump 
    when Roger didn't restate the accidental (No.1, Mvt.4, m.17).  

      The headings (rows 4-9) were redone and notes (i.e. the fact 
    that Op.1 No.1 was in g minor but was notated in one flat) were 
    added.  Tempo markings had to be added (i.e.  D:Allegro).  An 
    "S" appeared at the beginning of line 13 just below the "$" in 
    most files and was removed.  

      The facsimile had a light double bar between movements, but in 
    movements where there are repeats (i.e. No. 1, Mvts. 2, 4, & 5) 
    their repeat signs are like our heavy double bars.  At the end 
    of movements where the second part was to be repeated there was 
    a heavy ":|:" and there was also a light double bar to end the 
    movement.  I just entered our usual light-heavy double bar to 
    end movements.  Repeat signs in the middle of movements were not 
    accurately scanned and when a ":|:" appeared near the end of a 
    measure, i.e. just before the last 8th, an extra measure of an 
    8th note was created (i.e. No. 1, Mvt. 2).  

      When there was a pick up measure it was scanned as measure 1, 
    so the measure numbers had to be changed for that movement.  

      The "/" through the figure "7" actually looks like a flat and 
    acts like one (i.e. No. 1, Mvt. 1, meas.3 & Mvt.4, meas.9). 
    The "\" through the figure "6" is more normal and acts like a + 
    (i.e. No. 1, Mvt.3, meas.2).  A "\" in conjunction with a 5 or a 
    9 didn't print so I used "5+" (No. 2, Mvt. 1, measure 5 amd             
    Mvts. 2-4) and "9+" (No. 2, Mvt. 1, measure 6).  



    SONATA II in e minor, RV 67 

      Movement 1 - Grave (Common time, C) 
        Meas. 6 - Violino 2 - A "$  K:0" was scanned in at the 
          beginning of the measure and a "$  K:-1" appeared at the 
          beginning of meas. 9.  
        Meas. 7 - Violino 2 - The 4th eighth note was scanned as an 
          F natural as was the 2nd note in meas.8.  No naturals on 
          the Fs in Roger.  
        Meas. 11 - Violino 2 - Roger had a slur from A4 to G5.  Not 
          in the scanned version (first time this has occurred).  

      Movement 2 - Corrente, Allegro  (3/4) 
        Meas. 6 - Violino 1 - Last note missing # in scan. In Roger 
          it is D#5.  
        Meas. 28 - Bc. - First beat scanned as two 8ths.  Roger has 
          a dotted 8th and a 16th.  
        Meas. 33 - Violino 2 - Second note missing a "#" in scan.  
          Roger has it as a D#5 with a "x" figure on a B2 below.  
        Meas. 36 - Violino 1 - The second beat was scanned as a "f" 
          & a B5 quarter. Roger has a dotted 8th & a 16th (B4 & B5).  
        Meas. 50 - Violino 1 & Meas. 51 for Violino 2 - Roger has  
          "f" on the first beat.  In scanning, the "f" appeared on 
          the 16th note after the first dotted eighth. 

      Movement 3 - Giga, Allegro  (12/8) 
        Meas. 5-6 & 26-27 - Violino 2 - The scanner missed the ties.  
        Meas. 10 - Violino 1 - The 4-6th eighths (B5, A5, G#5) were 
          scanned as a dotted quarter (B5).  
        Meas.12 - Scan - mheavy2 12  :|, m. 12 notes, mheavy3 13  |: 
          Roger - mheavy4 12   :|:, m. 12 notes, measure 13 
        Meas. 22 - Vc. & Bc. - Roger had a # on the middle of three 
          Cs.  There was no # in the scan.  C naturals seem more 
          appropriate here.  Was the single sharp on the C4 intended 
          to be part of the figure above the C4 (note, an E5 in V.1)?  
        Meas. 29 - Violino 2 - Last three 8ths scanned as a dotted 
          quarter (G4).  Roger had a G4 quarter note slurred to an 
          eighth.  
        Meas. 30 - Violino 1 - Scan had "p" on the 3rd eighth note.  
          Roger had "p" on the 4th eighth note.  The scan may make 
          more musical sense since the 8th note pick up in the 
          other tracks are piano.  
        Meas. 31 - Bc. - The last half of the measure was scanned as 
          three quarter notes.  Roger had a dotted quarter tied to a 
          quarter followed by an 8th note.  

      Movement 4 - Gavotta, Allegro  (C) 
          Same scanning problems with mid-measure repeat signs. 
        Meas. 7 - Vc. & B. - Scan had D#3, D#2 on the 3rd beat.  
          Roger didn't specify a # on the D2 but it is harmonically 
          necessary. (An exception to Roger's normally excessive use 
          of cautionary sharps.)