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Concerto per Violino, 2 Oboi, 2 Corni, 2 Violini, Viola, Fagotto e Basso [RV574]

The reference source of Concerto RV 574 is the ms. of separate parts, copied by Pisendel, Mus.2389-O-157, Digitale Bibliothek, RISM ID no. 212000226, SLUB Dresden.
Sample page — 444x
Friday, February 8, 2013
Release notes: 
Version 2.0

News & Comments

Violino II part replaced. Previously the part was the same as Violino I part. Sorry for mistake.

Publication of version 2.0, including the cembalo and violoncello parts of the third movement, previously not available at SLUB, Dresden. Many thanks to Bettina Hoffmann for notification.

Sorry, the source is not an autograph score which usually is very accurate. It is a transcription by an unknown copyist in Dresden. Anyway, bar 16 it was correctly transcribed. The second C is with sharp and the first occurrence of B is with flat, while the second one is in the key signature natural. A doubt may occur on the third C without accidentals. For this reason it may be in the key signature natural. Of course the ancient copyst may be wrong, but I do not have the authority the change the source except in case of very evident errors. Beams were correctly transcribed.

Ripieno violins and the violas from half way through bar 16 to the end of bar 24 are in bass clef. Is this another urtext idiosyncracy? Should they just be played an octave higher?

Vivaldi very often is doubling the bass part in the string parts, meaning that these measures have to be played an octave lower than usual. On RV 562 beams are very inaccurate in the autograph score, so I suggest to adapt them as is convenient for the instrument. Anyway, I will try do to better... Furthermore, the parts are clearly uncorrect, so I will fix them asap. Finally on Vivaldi 574 I will check your suggestions against the autograph score. Thank you again for your very useful help!

Bar 16 My solo violinist suggests some notes are wrong:- pitch should be DADE FDFG AFAB C#ABC(#) DCBb ABbA GFG ie the first two occurrences of B should be natural and the last two should revert to the key signature flat. The second occurrence of C should return to the key signature natural. (Usual progression of the ascending and descending melodic minor scale.) If however this interpretation is incorrect, then the first appearance of a flat in bar 16 is redundant as it replicates that of the key signature.