(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 IX in A Major, RV 75     

      Movement 1 - Preludio, Allegro (9/8) 
        Meas. 13 - Violino 1 - The last two notes were scanned as a 
          D6 & C#6.  Roger had C#6 & B5.  
        Meas. 21 - B.c. - First note scanned as an E4 quarter note 
         (after an 8th rest).  Roger had E4 & D4 eighth notes.  

      Movement 2 - Adagio (C)                  

      Movement 3 - Allemanda, Allegro (C) 
        Meas. 22 - Violino 1 - Scan missed the # on the B4.  
        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 ESF's 
          CRITICAL Notes. The scan has an A natural on the 5th note also.  
        Meas. 23 - Violino 1 - Last beat scanned as two 8ths (C#5 & D5).  
          Roger had a dotted 8th and a 16th (C#5 & D#5). The # on the 
          D5 was clearly marked in Roger & OK, 
        Meas. 24 - Violino 1 - Scan missed # on second 8th (A#4).  
        Meas. 26 - Vc. & Bc. - Scanned missed the # on the E3.         
        Meas. 28 - Violino 1 - First note scanned as F#6.  Roger 
          had F#5.  
        Meas. 29 - Violino 2 - Scan missed # on the second D5.  
        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 as the scan did by putting      
          the slurs both between the quarter on the 3rd beat and the          
          first of the last two 8ths, they were kept like in Roger, for      
          it felt like it additional interest to the echoing measures           
          at the end.  See CRITICAL notes of Eleanor S. Field.  
        Meas. 34 - Vc. & Bc. - "p" on third beat in Roger & an 8th 
          note later in the scan, which is more expected. Entered 
          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. and in all parts of the     
          scanned version.  No ed. font for fermata.                     
          Mentioned in the stage 2 files.  

      Movement 4 - Corrente, Presto (3/4) 
        Meas. 33 - Violino 1 - Scan missed # on E#5s.  
        Meas. 35 - Violino 2 - 1st note scanned as E5. Roger had B4.  
        Meas. 37 - Vc. & Bc. - Natural scanned as # on G3.  
        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.