(Old) 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. The scan placed them (and also the triplet markings "*" & "!") in column 32 and they had to be moved. 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. Our editorial dynamics appeared in [] when printed. There were many more slurs in the scanned edition than in the ESF facsimile. This mainly happend in the Vc./Bc. parts. The scanner note often picked up a Print suggestion "P C32:o" or ":u" & we deleted them for they weren't necessary in running our programs. Often it was picking up miscellanies in the scanned material, i.e. when there was probably a dotted slur over two 8ths & identified it as a quarter note (No.1, Mv.1, Vc. m.8, & No.4, Mv.5, Vn.1 m.5). Our editorial slurs are dashed lines. Roger had more cautionary accidentals than the scanned edition, except for the 2nd note in an octave jump when Roger didn't always 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. In Sonata XII (Folia) there was a theme and 19 variations, most of which were 16 measures long each. They were divided by light double bars and the Roger edition had a fermata over the last note of each with the exception of "5" & at the end of the Vn.2 part of "7". We mentioned this in the NOTES and the file for the Vn.2 part of "7". We did enter fermatas at the end of all parts except for "5", as did the scan. 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). FOLIA XII in d minor, RV 63 The CCARH ed. is in the meters of the Roger faacsimile where In Mvt.13 Roger had Vn.1 & 2 in 9/8 & Vc. & Bc. in 3/4 and in Mvt.14 Roger had Vn.1 & 2 in 3/4 & Vc. & Bc. in 9/8. An alternative version is in Sonata 12 (alt.) where meters in Mvts.13 & 14 have been regularized in all parts to 9/8. These appear in the files as stage2al & score_al. 1. Adagio 3/4 - 16 measures Meas.14 - Bc. - Figure "7 5n" in Ricordi & "7 5+" in Roger. 2. Andante 3/4 - 16 measures (meas.17-32) 3. Allegro 3/4 - 16 measures (meas.33-48) Meas. 16 - Basso cont. - Scan missed the dot after the half note and entered an irest. 4. 3/4 - 16 measures (meas.49-64) 5. 3/4 - 16 " (meas.65-80) 6. 3/4 - 16 " (meas.81-96) Meas. 88 - Vc. & Bc. - Natural missing on the Bf2 in Roger. Harmony dictates a natural. An oversight? An editorial natural was entered. Scan has a natural on the Bf2. Meas. 96 - Violino 2 - Scan missed fermata on last note. 7. 3/4 - 16 measures (meas. 97-112) Many extraneous slurs were scanned, especially in Violino 1. Meas. 99 - Bc. - Last 8th scanned as irest. 8th note in Roger. Meas.106 - Violino 1 - The 3rd note was G5 in Roger, which sounds fine but it was changed to an EDITORIAL A#5. Bars 1-8 of this mvt. are repeated with this note the only one differing in the first 5 meas. of the repeat in Roger. An EDITORIAL figure "7" added on the last 8th in the Bc. Meas.106 (m.10 in 7.) - Bc. - The first half of the measure SCAN was scanned as a dotted quarter. Roger has an 8th & a PROBLEM quarter note. Scan picked up a dotted half in cue size notes in the top staff of the Cembalo?? Meas.111 (m.15 in 7.) - Bc. - Unclear placement of figures in Roger. The figures "6", "6 4+ 3", and "6" were centered around the 1st G3. Placed "6 3" on the G3 & "6 4#" on the 2nd beat. Scan placed "6 4+ 3" on the 1st G3. 8. 3/4 - 16 measures (meas. 113-128) Meas.126 - Bc. - Figure "# 5" in Ricordi. "7 5" in Roger. Meas.128 - Violino 2 - Scan missed fermata on last note. 9. 3/4 - 16 measures (meas. 129-144) Meas.138 - Violino 2 - Scan missed # on the C#5s. There were "x"s on the As in the figured bass. Meas.142 - Bc. - Figure "5 7" in Ricordi. "5 3" in Roger. OK - Left like Roger 10. 3/4 - 16 measures (meas. 145-160) Meas.159 - Violino 1 - The first beat of this measure was scanned as two 8th notes. Roger had an 8th & two 16ths. Had to double the quarter note values in the file and change the musical direction from Q:2 to Q:4. Meas.160 - Violino 2 - Scan missed fermata on last note. 11. Allegro 3/4 - 16 measures (meas. 161-176) Meas.164 - Violino 1 - 1st note sacnned as Bf5. Roger had an E5. Scanning mistake. 12. Largetto 3/4 - 16 measures (meas. 177-192) Meas.184 - Bc. - Figure "6" in Ricordi. "x" in Roger. 13. Allegro - 16 measures (meas. 193-208) Mvt. 01 - Violini in 9/8 & Bc.in 3/4 like the Roger ed. Meas. 207 in this variation is the problem one. Mvt. 01 alt. - All parts in 9/8. (More computer friendly.) Meas. 195 & 203 (m.3 & 11 in 13.) - Violino 2 - are identical in Roger, with a natural on the next to last note (C5). Ricordi was scanned with a # on all the C5s in m.195 and with a natural on the last C5 in meas. 203. NOTE (This was a MISTAKE IN SCANNING - F.B. Dec. '09) I left the Cs as naturals, like the Roger ed. It leads to the C naturals in the bass line, but diverges from the regular pattern previously established. Meas. 200 & 202 (m.8 & 10 in 13.) - Violino 2 - Roger missed putting natural signs in front of the B4s, like in m.194. An oversight? B naturals make more harmonic sense. The scan had ed. naturals. Made notes in the files and entered editoral naturals. Meas. 207 - Ricordi puts a 3/4 mid measure for the violins. I originally added a "2" in the stage2 files to call attention to the duple (as one would to a triplet) like: measure 207 D3 3 1 e 2 d [ * G3 3 1 e 2 d ] ! A3 6 1 q. d A2 6 1 q. u measure 208 but it was decided to leave it out & notate the problem in the NOTES instead. 14. 3/4 & 9/8 - 16 measures (meas. 209-224) Mvt. 01 - Violini in 9/8 & Bc.in 3/4 like the Roger ed. Meas. 207 in this variation is the problem one. Mvt. 01 alt. - All parts in 9/8. (More computer friendly.) are actually triplets except in measure 15 (meqw.223) N Recordi has a (3/4) for the Bc. for the last measure. O Violini - Viol.1 scanned as Q:3 & Viol 2 as Q:2 but in T the files the value of the quarter was "3" and the E the value of a dotted quarter was "5"! Changed the Viol. 1 to Q:2 and the values of quarters to "2" in both of the Violini files. 15. Adagio 12/8 - 8 measures (meas. 225-232) Meas. 231 - Violini at end of meas. have a dotted 8th, a 16th, & an 8th note. Bc. had three 8ths. Left it. Roger & Ricordi are the same. 16. Allegro 3/4 - 16 measures (meas. 233-247) 17. 3/4 - 16 measures (meas. 248-264) Meas.250, 256, & 258 - Violino 2 - Roger had no natural on the B4s as the scan did. Harmonically necessary. Ricordi had naturals in () on some of them. Meas. 251 & 259 - Vc. & Bc. - No added accidentals in Roger and it was kept that way, but a B3 & C#4 might have been more expected on the 8th & 9th notes. The scan had added a natural on the Bf3 and a # on the C4 in (). 18. 3/4 - 16 measures (meas. 265-280) 19. 3/4 - 16 measures (meas. 281-296) 20. 3/4 - 24 measures (meas. 297-320)