Sheet music
Full Scores
4
Parts
3
Arrangements and Transcriptions
2
Performances
Recordings
1
Synthesized/MIDI
2
Commercial Recordings
18
Full Scores
Holograph manuscript, n.d.(ca.1701-41).
Publisher
Holograph manuscript, n.d.(ca.1701-41).
Misc. Notes
Biblioteca Nazionale Universitaria, Turin (I-Tn) : Giordano 34, f.151r-154v
Copyright
G. Ricordi & C., 1949.
Editor
Gian Francesco Malipiero (1882–1973)
Publisher
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.
Copyright
Eulenburg, n.d.
Editor
Felix Schroeder (1908–1976)
Reprinted
Boca Raton: E.F. Kalmus, n.d.(1987–2018). Catalog A2215.
Copyright
Alonso del Arte.
Editor
Publisher
Alonso del Arte
Misc. Notes
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).
Publisher
Holograph manuscript, n.d.(ca.1701-41).
Misc. Notes
Biblioteca Nazionale Universitaria, Turin (I-Tn) : Giordano 34, f.151r-154v
Copyright
G. Ricordi & C., 1949.
Editor
Gian Francesco Malipiero (1882–1973)
Publisher
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.
Copyright
Eulenburg, n.d.
Editor
Felix Schroeder (1908–1976)
Reprinted
Boca Raton: E.F. Kalmus, n.d.(1987–2018). Catalog A2215.
Copyright
Alonso del Arte.
Editor
Publisher
Alonso del Arte
Misc. Notes
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.