(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. 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. The scan placed them (and also the triplet markings "*" & "!") in column 32 and they had to be moved. 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. 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 IV in E Major, RV 66 Movement 1 - Largo (In common time C, m.1-7) Meas. 1 - Violoncello & Basso continuo - An "f" was scanned but there were no dynamics in this movement in Roger. Meas. 6 - Violino 1 - Scan missed the # on the A#5. Meas. 7 - Violoncello - No fermata scanned on last note. Fermatas in all other parts and in all parts of Roger. Movement 2 - Allegro (3/4, m.1-34), Adagio (3/2, 35-41) The scanned material included the Largo, Allegro, & Adagio in Movement 1. In Roger there was a light double bar between the Largo and the Allegro and 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 so I included the seven measure Adagio which followed in Movement 2. Meas. 1 - Violino 1 & Vc. had "p" and V.2 & Bc. had ""pp" in the scanned version. No dynamics here in the Roger ed. Roger Meas. 6 & 8 - Violino 2 - Slur scanned from 4th to 5th 8th follows notes. Roger had the slur from the 3rd to the 5th eights. patern. Meas. 10 - Violino 2 - First two notes scanned as quarters. Scan Roger had a dotted quarter and an 8th. changes pattern. Meas. 35 - All parts - An "f" was scanned at the beginning Think Roger of this measure. In Roger the "Forte" was started on the makes more last note of meas. 34 but continued over the bar line into musical the Adagio. sense. Performance practice should be somewhere inbetween. Movement 3 - Allelmanda, Allegro (C) Meas. 10 - All parts - Scanned as "mheavy2". Should be "mheavy4". Meas. 11 - Violino 1 - The scan missed a # on the A#4. In the figured bass there was an "x" on an F#3 here. Meas. 18 - Basso continuo - This was a measure of eight 8th notes but the scanned version added "back 16", "irest 6", and "rest 2" (an 8th rest) records after the eight 8th notes! Movement 4 - Sarabanda, Largo (3/4) Meas. 5 - Violino 1 - First two 8ths scanned as a quarter Scan possibly tricked by an editorial slur over two 8ths. (Note: Sonata I, Mvt. 1, m.8, Vc.) Meas. 5 - Violino 2 - The scan missed a # on the A#4. In the figured bass there was an "x" on an F#3 here. Meas. 9 - All parts - Scanned as "mheavy2 9". Should be "mheavy4 9". Movement 5 - Giga, Allegro (12/8) In Roger the repeat sign at the end of meas. 10 was just before the last 8th and an 8th i-rest was added at the end. Then "mheavy2 11" and the 8th pickup appeared as a separate measure necessitating renumbering the measures, eliminating the i-rest, and changing the "mheavy2" to "mheavy4". This time the measure numbers were missing for the first 10 measures of the scan. (Don't know what Don had to do to accomplish this but it didn't make much difference in the time it took to make my corrections.) The last half of measure 10 in Roger was a half note and a quarter rest followed by a repeat sign going back to an 8th note pickup at the beginning. It was 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. The last measure of the 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. Meas. 16 - Violoncello - The dotted quarter at the start of the measure was scanned as a quarter note & the extra 8th was added to the rest near the end of the measure. Meas. 20 - Violoncello - The last half of the measure was scanned ad a dotted 8th and an dotted half note i-rest. It was a dotted half note in Roger.