Partition
Interprétations
Conducteurs
Holograph manuscript, n.d.(ca.1701-41).
Maison d’édition
Holograph manuscript, n.d.(ca.1701-41).
Remarques diverses
Biblioteca Nazionale Universitaria, Turin (I-Tn) : Giordano 34, f.151r-154v
Droits d’auteur
G. Ricordi & C., 1949.
Éditeur scientifique
Gian Francesco Malipiero (1882–1973)
Maison d’édition
Le Opere di Antonio Vivaldi, Vol.XIII, Tomo 49
Milano: G. Ricordi & C., 1949. Plate P.R. 319.
Milano: G. Ricordi & C., 1949. Plate P.R. 319.
Droits d’auteur
Eulenburg, n.d.
Éditeur scientifique
Felix Schroeder (1908–1976)
Réimpression
Boca Raton: E.F. Kalmus, n.d.(1987–2018). Catalog A2215.
Droits d’auteur
Alonso del Arte.
Éditeur scientifique
Maison d’édition
Alonso del Arte
Remarques diverses
The rehearsal letters are the same as in Sandra Dackow's edition, except that in the very short slow movement I thought the one rehearsal letter to be completely unnecessary. While I'm generally averse to putting rehearsal letters at middle repeats, I put letter C over the middle repeat in the finale so as to not differ from Dackow's letters. Unlike Dackow's, this is not an educational arrangement: first violinists will have to count through their "whole notes" in the first movement.
Holograph manuscript, n.d.(ca.1701-41).
Maison d’édition
Holograph manuscript, n.d.(ca.1701-41).
Remarques diverses
Biblioteca Nazionale Universitaria, Turin (I-Tn) : Giordano 34, f.151r-154v
Droits d’auteur
G. Ricordi & C., 1949.
Éditeur scientifique
Gian Francesco Malipiero (1882–1973)
Maison d’édition
Le Opere di Antonio Vivaldi, Vol.XIII, Tomo 49
Milano: G. Ricordi & C., 1949. Plate P.R. 319.
Milano: G. Ricordi & C., 1949. Plate P.R. 319.
Droits d’auteur
Eulenburg, n.d.
Éditeur scientifique
Felix Schroeder (1908–1976)
Réimpression
Boca Raton: E.F. Kalmus, n.d.(1987–2018). Catalog A2215.
Droits d’auteur
Alonso del Arte.
Éditeur scientifique
Maison d’édition
Alonso del Arte
Remarques diverses
The rehearsal letters are the same as in Sandra Dackow's edition, except that in the very short slow movement I thought the one rehearsal letter to be completely unnecessary. While I'm generally averse to putting rehearsal letters at middle repeats, I put letter C over the middle repeat in the finale so as to not differ from Dackow's letters. Unlike Dackow's, this is not an educational arrangement: first violinists will have to count through their "whole notes" in the first movement.