NOTES on Vivaldi Opus 1 - Trio Sonatas I - XII 
                          (Oct. 7, 2009) 

    Estienne Roger Marchand Libraire No. 363, Amsterdam [facsimile] 

      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.  Our usual light-heavy double bar were used to end 
    movements.  Adagio movements were treated differently depending 
    on their function in the Sonata, and the way they were notated in 
    the Roger fascimile.  The Adagios in Sonatas I & III came between 
    movements strongly in G Minor & C Major respectively and were     
    considered separate movements, even though the Adagio in III was 
    only 4 measures long.  In Sonata IV the Allegro preceeding the 
    Adagio didn't come to a cadence but morphed into the Adagio with 
    only the normal single bar and finally came to a cadance 7 meas. 
    later so was not considered a movement on its own. 

      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, i.e. - No. 1, Mvt. 1, meas.3 & Mvt.4, meas.9.  
    The "\" through the figure "6" acts like a "#" here for Roger 
    frequently uses "6b","5b", & "4b", i.e. -  No. 1, Mvt.2 m.17-18.  
    A "\" in conjunction with a 5 or a 9 doesn't print. (No. 2 Giga) 



    SONATA IV in E Major, RV 66 
        In Roger there was a light double bar between the Largo and 
      the Allegro & I continued the practice of using that as a sign 
      to create a new movement.  There was only a regular bar line 
      at the end of the Allegro and the seven measure Adagio which 
      followed was included in Mvt. 2, for it led to a good cadenza, 
      but meas. 34 was a light double bar to note the change in mood.  

      Movement 1 - Largo  (In common time  C, m.1-7) 

      Movement 2 - Allegro (3/4, m.1-34),  Adagio (3/2, 35-41) 
        Meas. 34 - All parts in Roger - A "Forte" was started above 
          the last note of this measure & continued over the bar line      
          into the Adagio.  Was the "f" intended to be on the 1st note    
          of the Adagio which had a fermata on it?  I think it makes 
          more sense to have it on the last note in m.34, as a cue for 
          preparation for the Adagio. & left it as it first appeared 
          to me in Roger, but what was the performance practice then?  
          In Roger there was only a single double bar at meas. 34 

      Movement 3 - Allelmanda, Allegro (C) 

      Movement 4 - Sarabanda, Largo (3/4) 

      Movement 5 - Giga, Allegro (12/8)  
        Meas. 10 - The last half of m. 10 in Roger was a half note & 
          a quarter rest followed by a repeat sign going back to an 
          8th note pickup at the beginning.  It was pretty clear what 
          was intended, but for the purpose of having it rhythmically 
          correct in modern notation (and for play back programs), 
          the half note was changed to a dotted quarter.  Note in file. 
        The last meas. of this movement in Roger had a full compliment 
          of notes but there was a repeat sign going back to an 8th 
          note pickup, so a 1st ending was added (similar to meas. 10) 
          and Roger's last measure became the 2nd ending. Note in file.