(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 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.  In the scan it started in meas.30 
          in the Vc. and in m.29 in the Bc.!  
        Meas. 33 - All parts - Fermatas scanned on last note. Roger 
          only had a fermata in the Violino 1 part.  Entered 
          fermatas in all parts.  

      Movement 2 - Allemanda, Allegro (C) 
        Meas. 21 - All parts were scanned as a mheavy2  :| 
              22 -  "   "     "      "     " " mheavy3  |: 
              21 -  "   " - Roger has an mheavy4   :|: at meas.21.  
        Meas. 29/9,11,13,15 - Vn.1 - Eb4 in Roger & Scan. E 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 - Fermatas scanned on last note. Roger 
          only had a fermata in the Violino 1 part.  Entered 
          fermatas in all parts.  

      Movement 3 - Gavotta, Presto (C) 
        Meas. 15 - All parts were scanned as a mheavy2  :| 
              16 -  "   "     "      "     " " mheavy3  |: 
              15 -  "   " - Roger has an mheavy4   :|: at meas.15.  
        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 - No fermatas scanned on the last note.  
          Roger was missing a fermata only in the Violino 1 part.  
          Entered fermatas in all parts.