NOTES on Vivaldi Opus 1 - Trio Sonatas I - XII 
                          (Sept. 28, 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 II in e minor, RV 67 

      Movement 1 - Grave (Common time, C) 

      Movement 2 - Corrente, Allegro  (3/4) 

      Movement 3 - Giga, Allegro  (12/8) 
        Meas. 22 - Vc. & Bc. - Roger had a # on the middle of three         
          Cs (C3-rest-C#4-C3, but the last C3 is understood to be C# 
          as well. 
        Meas. 29 & 34 - Vn.1 & 2 - Roger had slurs between the last 
          two notes of the meas. (a quarter & an 8th) except for Vn.1 
          in meas. 29.  A similar passage going into the cadence at m.11 
          meas. 11 has slurs over the last two notes of m.10 but a slur 
          for the Vn. 1 end of m.29 seems like it has been left out so     
          a dotted (editorial) slur was entered.  
        Meas. 30 - Violino 1 - Roger had a "p" on the tied E5 dotted 
          quarter but it was changed to the 8th just before it, like       
          in the other tracks later in the measure, where the "p" is       
          on the pick up note.  

      Movement 4 - Gavotta, Allegro  (C) 
          Roger is inconsistent in marking octave sharps in patterns.       
          Vc. & Bc. - Marked in meas. 1 & 3 and missing in meas. 7.