NOTES on Vivaldi Opus 1 - Trio Sonatas I - XII 
                          (Dec. 29, 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 XI in B Minor, RV 79     

      Movement 1 - Preludio, Andante (C) 
        Meas. 16 - Vn. - Last 8th has no natural on the E5 in Roger. 
          Old notation. Need E5 to lead down to the D5 in measure 17.  
          Made EDITORIAL natural.  
        Meas. 21 - Vn. 1 - No # on the last G5 in Roger. Old notation.  
          Added a cautionary one for the harmony changes.  

      Movement 2 - Corrente, Allegro (3/8) 
        There is an 8th pick-up in all parts and in Roger the first 
          repeat is shown to be after a dotted quarter.  I have 
          shortened the measure before the repeat to a quarter and 
          have created a second ending of a dotted quarter.  
        Meas. 20 - Vn.2, Vc. & Bc. - # carries over bar line. Old 
          notation.  # not restated in Roger. 
        Meas. 39 - Violino 2 - Natural carries over bar line.        
        Meas. 43 - Vc. & Bc. - # carries over bar line. Old notation.  
        Meas. 56 - Violino 2 - "#" on the G4 and the figure "#" on a 
          C#4 in the figured bass seems unexpected but both clearly 
          marked in Roger. I question the figure "#" on the C#4 in Bc.  
          The figure # was made an EDITORIAL (5 #).  

        Meas. 80 - Fermata only on Vn.1 part in Roger.  

      Movement 3 - Giga, Allegro (12/8) 
                   
      Movement 4 - Gavotta, Presto (C) 
        The Violino 2, Violoncello, & Basso continuo parts in Roger 
          had the first 4 meas. repeated & the last 12 meas. repeated, 
          making 32 meas. total.  The Violino 1 part was written out.  
        Meas. 13 & 25 - Violino 1 - In Roger the first Ds did not have 
          a "#".  An oversight. The Violin 2 has a D#5 & the Bc. has an 
          "x" on a B3.  Entered editorial #s & made notes in the files.  
        Meas. 32 - Vc. & Bc. - Entered fermatas on the last note. The 
          violins in Roger & all parts of the scanned edition had them.