(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 I in g minor, RV 73  (The facsimile was in one flat.) 
      All movements were transcribed to 2 flats (modern notation) in 
        the files for op1no1gm.  

      Movement 1 - Preludio, Grave (In common time, C) 
        Meas. 8 - Violoncello - The scan entered the third beat as 
          a G3 quarter and Roger had two eighths (A3 & G3).  The 
          figure "#" works nicely in Roger but not in the scan.  
        Meas. 13 - Violino 2 - The scan picked up "$  K:0" here at 
          the beginning of this measure. 

      Movement 2 - Allemanda, Allegro  (C) 
        (n.b. the measure numbers refer to the CCARH meas. numbers.) 
        Meas. 6 - Violino 2 - Slurs above AND below the 16th notes 
          (C5 & Bf4) were picked up by the scanner.  
        Meas. 7 - Viol.2 & Bc. The scan picked up "$  K:0" here.  
        Meas. 10 - Violino 2 -  "   "     "    "  "$  K:-1" here.  
        Meas. 12 - Violino 1 - The C#5s in m.12 were scanned as C5s. 
          The "#s" are clearly marked on both C5s in Roger & there 
          was a "#" on the A3 in the Bc. under the last C#5. 
        Meas. 13 - Violino 2 - The :|: was scanned as |: and 
          measures were misnumbered (creating an extra measure  
          of one eighth note).  
          Basso Cont. - The scanner picked up a "$  K:-1" here.  
        Meas. 19 - Vc. & Bc. - Ef3s scanned in as E3s. Clearly marked 
          as flats in Roger. 
        Meas. 24 & 25 - Violino 1 - The F#5s were scanned as F5s.  In 
          Roger the F5s in this section were all clearly marked as F#s 
          and the figured bass indicated F#s (# on Ds). Scanned music?  NOTE
        Meas. 25 - Violino 2 - The F#5 scanned as F5. See Bc. figure. 

      Movement 3 - Adagio  (3/2) 
        Mvt. 3  is a short movement full of modulations, starting   A lot of
          in Eb Major and ending in D major.                        differences
        Meas. 2 - Violino 1 - The scan missed the naturals on the   for such
          B4s (the figured bass was a "6\" on a D3).                a short 
        Meas. 8 - Violino 1 - The A5s were scanned as naturals but  piece.  
          they were Af5s in the previous measure, and that along 
          the figure of "5f" on a D4 confirm the Af5s.
        Meas. 11 - Violino 2 - The scan missed the #s on the C5s.  
          The figured bass was "7 x" on an A3 confirming the C#5s.  
        Meas. 15 & 18 - Violino 1 - The scan missed the #s on the F5s.  
          The figured bass had an "x" on a D3 confirming the F#5s.  
        Meas. 19 - Vc. & Bc. - The scan had the dynamic "p" on the 
          3rd half note & the Roger ed. had it on the 2nd half note.  
          Moved it to the 3rd half note like Vn. 1 & 2. Made ed. [p].  
        Meas. 21 - Vc. & Bc. - The C#3s were scanned as C3s.  

      Movement 4 - Capricio, Allegro  (3/4) 
        Meas. 14 - Violino 2 - Last note scanned as a Bf4.  It was a 
          a C5 in the facsimile but that seems wrong.  A Bf4 fits the 
          pattern in the surronding measures and I changed it to Bf4. 
        Meas. 17 - Vc. & Bc. - This measure was scanned as F#3, F#4, 
          and F#3.  The facsimile only had #s on the F3s but it is 
          obvious from the harmony that the F4 is also sharped.  
        Meas. 25 - Vc. & Bc. - The scanner picked up dynamics of both 
          a "p" & "f" at the beginning of this measure, but the 
          facsimile just had a "f".  

      Movement 5 - Gavotta, Allegro  (C) 
        Meas. 3-4 - Violino 2 - The scan missed the tie on the Bf4.  
        Meas. 5 - In all of the parts the  "mheavy4   :|" was scanned 
          as "mheavy2   |: :|" 
        Meas. 6/1 - Vc. & Bc. - C#3 in Roger, which seems fine.  C3 
          in scan.  Saw no reason to seriously consider C3. 
        Meas. 8 - Violino 1 - The scan missed the fermata on the G4.  
          Roger had fermatas in all parts here.