NOTES on Vivaldi Opus 1 - Trio Sonatas I - XII 
                          (Nov. 27, 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 X in Bb Major, RV 78     

      Movement 1 - Preludio, Adagio (3/2) 
        Meas. 29 - Vc. & Bc - "Piano" starts mid measure in Roger, 
          which may have meant that the scribe knew it shouldn't be 
          at the beginning of the measure. The hand written dynamics 
          in this edition ususlly begin under the note in question or 
          right under the bar line when it is the first note in the 
          meas. Think here it the "p" should begin at the same time 
          as Vn.2, so entered it as an editorial accidental at the 
          beginning of meas. 30.  I'm sure the practice of the day 
          would be to be more sensitive to a leader than the exact 
          placement of dynamics.  
        Meas. 33 - All parts - Roger only had a fermata in the Vn.1 
          part. Fermatas were entered in other parts with notes in 
          the files.  

      Movement 2 - Allemanda, Allegro (C) 
        Meas. 29/9,11,13,15 - Vn.1 - Eb4 in Roger.  I've entered 
          an editorial natural, which makes more musical sense.  
          Also, there is a figure of 5+ 4 on an A3 in the Bc. 
        Meas. 40 - All parts - Roger only had a fermata in the Vn.1 
          part. Fermatas were entered in other parts with notes in 
          the files.  

      Movement 3 - Gavotta, Presto (C) 
        Meas. 20 - Violino 2 - Roger forgot natural on E5.  There is 
          is an E natural in Viol. 1 and a 6 5 figure on C#4 in Bc.  
          Entered an EDITORIAL natural.  
        Meas. 42 - All parts - Roger had fermatas in all but the Vn.1 
          part.  Entered a fermata there with a note in the files.