(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 "$" in
most files and was removed.
The facsimile had a light double bar between movements, but in
movements where there are repeats (i.e. No. 1, Mvts. 2, 4, & 5)
their repeat signs are like our heavy double bars. At the end
of movements where the second part was to be repeated there was
a heavy ":|:" and there was also a light double bar to end the
movement. I just entered our usual light-heavy double bar to
end movements. Repeat signs in the middle of movements were not
accurately scanned and when a ":|:" appeared near the end of a
measure, i.e. just before the last 8th, an extra measure of an
8th note was created (i.e. No. 1, Mvt. 2).
When there was a pick up measure it was scanned as measure 1,
so the measure numbers had to be changed for that movement.
The "/" through the figure "7" actually looks like a flat and
acts like one (i.e. No. 1, Mvt. 1, meas.3 & Mvt.4, meas.9).
The "\" through the figure "6" is more normal and acts like a +
(i.e. No. 1, Mvt.3, meas.2). A "\" in conjunction with a 5 or a
9 didn't print so I used "5+" (No. 2, Mvt. 1, measure 5 amd
Mvts. 2-4) and "9+" (No. 2, Mvt. 1, measure 6).
SONATA II in e minor, RV 67
Movement 1 - Grave (Common time, C)
Meas. 6 - Violino 2 - A "$ 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 - more in keeping with the following measure. ESF
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 "f" on
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. Entered C#s here.
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. In the scan the last
three 8th beats were a dotted quarter (G4).
Meas. 30 - Violino 1 - Scan had "p" on the 3rd of 12 - 8ths.
Roger had "p" on the 4th / eighth beat. The scan makes
more musical sense since the 8th note pick up in the other
tracks are piano. Note in file & ed. dynamic in score.
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" accidentals.)