NOTES on Vivaldi Opus 1 - Trio Sonatas I - XII 
                          (Nov. 24, 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 IX in A Major, RV 75     

      Movement 1 - Preludio, Allegro (9/8) 

      Movement 2 - Adagio (C)                  

      Movement 3 - Allemanda, Allegro (C) 
        Meas. 22 - Vc. & Bc. - Roger had an A# on the 5th note.  The # 
          on the A3 seems misplaced. There is an A3 in the Vn.1 here & 
          that also fits the pattern started by Vn.1 in m.21.  
          See CRITICAL Notes by Eleanor Selfridge Field.  
        Meas. 33 - Violino 2 - Slur in Roger over the last two 8ths.  
          In m.35 it was from the quarter note on the 3rd beat to the 
          first of the last two 8ths. The notes of the last 2 meas. of 
          of the movement (m. 35-6) are essentially the same as m. 33-4 
          except for the dynamics & differences in the slurs in Vn.2.  
          Rather than normalizing the slurs I felt that the way they      
          were in Roger additional interest to the echoing measures        
          at the end. Changed to an EDIT. slur from C#4-E4 to D4-C#4.  
        Meas. 34 - Vc. & Bc. - "p" on third beat in Roger.  An 8th       
          note later might be more expected and make more musical       
          sense but entered it like Roger, with a note in the files.  
        Meas. 36 - Violins 1 & 2 - No fermata on last note in Roger.    
          Entered fermatas like in Vc. & Bc.                            

      Movement 4 - Corrente, Presto (3/4) 
        Meas. 58/1 - Vc. & Bc. - Figure "6 5" on the 1st beat in Roger 
          in the middle of a closing phrase which is echoing a phrase 
          where the figure (m. 54/1) is "7 5", probably more expected.  
          Variety in closing phrases intended??  (Vn.2, M.3,,33, 35) 
          Figure on the D4 in m.54 changed from 7/5 to an 8 with a 7 
          delayed until the 2nd 8th note beat.  In m.58 the figure on 
          the D4 was changed from a 6/5 to the same 8 with a delayed 7, 
          See CRITICAL notes of Eleanor Selfridge Field.