Bassoonist's Guide to Vivaldi

7/25/2019 Bassoonist's Guide to Vivaldi

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2/5/16, 4NL 8: The Bassoonist's Guide to Vivaldi

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THE BASSOONIST'S GUIDE TO VIVALDI

Thom Zantow

Oconto, Wisconsin

Copyright 1979 Thom Zantow

TABLE OF CONTENTS

Introduction

I. Concerti for Bassoon, String Orchestra, and Basso Continuo

C Majorc Minord MinorEb MajoreMinorFMajorG Majorg MinoraMinorBb Major

II. Sonatas for'Cello and Continuo, Concerti for 2 Violoncelli, Strings, Continuo

Sonatas 1through 9

Concerto for 2 Violoncelli

III. Chamber Works with Continuo including Bassoon

Two different instruments: flute, bassoonThree different instruments:

flute, oboe, bassoonflute, violin, bassoon

Four different instruments:flute, oboe, violin, bassoonviola d'amore, 2 oboes, 2 horns, bassoon

IV. Chamber Works with Strings, Continuo including Bassoon

Two different instruments:violoncello, bassoonflute, bassoonoboe, bassoon2 oboes, bassoon2 horns, bassoon
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Three different instruments:flute, oboe, bassoon2 flutes, 2 oboes, bassoon2 oboes, violin, bassoon

Four different instruments:2 flutes, 2 oboes, 2 violins, bassoon2 flutes, 2 oboes, violin, 2 bassoons

2 flutes, 3 oboes, violin, bassoon2 oboes, 2 horns, violin, bassoon

Five different instruments:2 flutes, 2 oboes, 2 clarinets, 2 violins, bassoon

V. Appendices

A. AddendumB. Short Biography of VivaldiC. PisendelD. The Concordances

1. Ryom2. Fanna3. Pincherle4. Rinaldi

E. Bibliography

Postscript

INTRODUCTION

The Bassoonist's Guide to Vivaldidescribes 37 concertos for bassoon strings, and continuo, 32 chamberworks that include bassoon, 9 sonatas for violoncello and continuo (six of which have already beentranscribed for bassoon), and a concerto for two cellos, strings and continuo that works well with twobassoons.

The purpose of this compilation is to

a) help locate a work by use of the cataloging system concordance or thematic catalogue (i.e., RV 487is a bassoon concerto in F Major (F VIII #15);b) provide useful information such as approximate timings, catalogue serial numbers, instrumentation

and titles;c) aid in choosing an appropriate piece via the analysis section.

The analysis section will reveal if the bassoon part in a chamber work is just a continuo part as opposed to aindependent (or quasi-independent) solo part, or indicate technical challenges through a coded system forcommon figurations described below. In choosing a chamber work without having access to a stringensemble, then the division into works accompanied only by continuo becomes valuable.

Another note on the analysis concerns the second of three or third of four movements. After the movement
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title is a description of the harmonic relation to the other movements which is interesting in that a differentkey will lend some variety. Also following is a description, in the solos, of the accompaniment, just continuor full string parts, or even static string chords. Making full use of the analysis will provide an understandinof much of the work and make the choice of works perhaps simpler.

The description of the pieces is in three major sections:

I. Title and Concordance.

Ex:Concerto in Bb Major for Bassoon, Strings and Continuo'La Notte'RV 501 Ei-21.1 F VIII # 1 t. 12 P. 401 Op. 45 #810' (Ephrikian) T.G. 31, cc 64r-71r (T.G. VIII n.8)

A. Title and instrumentation is given on the first line (except for the bassoon concertos where theaccompanying strings, continuo is understood).B. Name, if any.

C. Concordance of cataloging systems. (See Appendix D)1. Ryom System (i.e., RV 501, Ei. 21.1) This is used in the new Complete Worksedition and isbecoming the standard system.2. Fanna (i.e., F VIII #1, t. 12 ) This is used in the Ricordi edition of the Complete Works.3. Ricordi (i.e., PR 248) This is the inventory number the publishers Ricordi use for the works.4. Pincherle (i.e., P. 401, or S. 4/5, or Sinf. 5) One of the first widely used systems, it is beingreplaced by the Fanna system and now by the Ryom system.5. Rinaldi (i.e., Op. 54 #8) Now used by the Library of Congress and some music publishers, thsystem is rarely used in favor of Fanna and Ryom.

D. Miscellaneous1. Approximate timing.

2. Name of the modern editor whose work was used in the Complete Works.3. Manuscript source numbers, the old system being in parenthesis.

II. Thematic Catalogue. A short section is taken from the beginning of each movement except in the bassooconcertos where the bassoon part is quoted when first entering.

III. Analysis

1. Listing of all movements.2. Coded analysis for movements.

a. Works for bassoon, strings and continuo.

1. intervalic motion with one note constant, the other moving in melodic manner. (Fig. 1)fig. 1a Concerto in a minor RV 498.

fig. 1b Concerto in C major RV 4792. extension of 1. (Fig. 2)


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fig. 2 Concerto in C major RV477

3. scalar figuration. (Fig. 3)fig. 3a Concrto in Bb major RV 502

fig. 3b Concerto in c minor RV 480

4. arpeggio. (Fig. 4)fig. 4 Concerto in e minor RV 484

5. miscellaneous figuration. (Fig. 5)fig. 5 Concerto in C major RV 477

6. trills used as melodic figuration (as opposed to cadential ornamentation). (Fig. 6)fig. 6 Concerto in F major RV 487

A. 2nd movement accompanied by active tutti strings.B. 2nd movement accompanied by continuo only.

C. 2nd movement accompanied by strings playing chordal static harmonies.(VI-FM) harmonic relationship between the movement and piece, i.e., 2nd movement in minor in a C Major piece, is shown (vi-am)X. repeated sections.

b. Chamber works.S. bassoon functions as independent solo instrument.B. bassoon functions as continuo.MB. bassoon functions as modified continuo, i.e., essentially a continuo part ornamentedto be a quasi-independent solo part.(vi-am) same as under "a"

3. Additional comments: for the most part these are self- explanatory, but two notes should be

mentioned.a. Arr. by Pisendel - Pisendel was a contemporary of Vivaldi who arranged some works forpublication in Europe. (see Appendix C)b. References to Schoenbach's collection concern the Schirmer edition of the two volume set of10 Vivaldi bassoon concertos edited by Sol Schoenbach. It is the only collection that I know ofpresent, so the pieces contained were noted.


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I: Concerti for Bassoon and String Orchestra, Basso Continuo

Concerto in C major

RV 466 Ei-1.1 FVIII#28 t.274 PR899 P. 51 Op. 40 #1210' (Malipiero) T.F.32,cc 194r-201v (T.F. VII.f.193)

Allegro 2*,5Largo (V-GM) C,7Allegro 1*,5*

Concerto in C major

RV 467 Ei-1.2 FVIII#18 t.239 PR839 P. 48 Op. 40 #510'30'' (Malipiero) T.F.32,cc 126r-134v (T.F. VII.f.125)

Allegro 4*,5,7Andante (vi-am) BAllegro 2*

Concerto in C major


Allegro 3,4Largo (I-CM) B,XAllegro 1*

Concerto in C major



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Allegro non molto 1,3Larghetto (V-GM) C,7Allegro 3*,5*,7same tutti in movts. I & II, similar in mvt. III as FVII #7, concerto for oboe and strings, continuo

Concerto in C major


Allegro molto 1,2*,3,4*,5Larghetto (vi-am) B,C

Allegro 1*,5same tutti in mvts. I & III as FVII#11, Concerto for oboe and strings, continuo

Concerto in C major


Allegro con molto 3,7Largo (vi-am) A,BAllegro 5*included in volume two of Schoenbach's collection

Concerto in C major

RV 473 Ei-1.8 FVIII#9 t.118 PR568 P. 90 Op. 57 #2

15' (Malipiero) T.G.35,cc 313r-320r (T.G.O.S.V n.15)

Allegro 1,4*,7Largo (vi-am) CMinuetto 5,Xthe third movement has several repeated sections, tutti alternating with solo


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Concerto in C major

RV 474 Ei-1.9 FVIII#4 t.74 PR314 P.69 Op. 45 #17'30'' (Amendola) T.G.31,cc 2r-9r (T.G. VIII.n.1)

Allegro 1,2Largo (I-CM) C,7Allegro 2*,4*

Concerto in C major


9' (Malipiero) T.F.32,cc 309r-316v (T.F. VII.f.308)

Allegro non molto 4,5*Adagio (vi-am) CAllegro non molto 1,4*,7

Concerto in C major


Allegro 1,2*,4*,7Largo (V-GM) B,XAllegro molto 1*,4*,5

Concerto in C major

RV 477 Ei-1.12 FVIII#13 t.224 PR774 P. 4611' (Malipiero) T.F.32,cc 95r-102v (T.F. VII.f.94)

Allgro 1*,2*,4*,7


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Largo (I-CM) B,XAllegro 2*,4*,5included in volume one of Schoenbach's collection

Concerto in C major

RV 478 Ei-1.13 FVIII#3 t.34 PR292 P. 71 Op. 45 #49' (Ephrikian) T.G.31,cc 26r-33v (T.G. VIII.n.4)

Allegro 1,3,4*,5,7Largo (I-CM) C,AAllegro 2*,3,4*,5*

Concerto in C major

RV 479 Ei-1.14 FVIII#26 t.272 PR897 P. 52 Op. 40 #149'30'' (Malipiero) T.F.32,cc 211r-219r (T.F. VII.f.210)

Allegro 1*,4,5,7Largo (vi-am) CAllegro 1,4*

Concerto in c minor

RV 480 Ei-2.1 FVIII#14 t.225 PR775 P.432 Op. 40 #49' (Malipiero) T.F.32,cc 117r-124r (T.F. VII.f.116)

Allegro 4,5

(Andantino quasi minuetto) (i-cm) C,7Allegro 1,2*,3*,5included in volume one of Schoenbach's collection

Concerto in d minor

RV 481 Ei-6.1 FVIII#5 t.67 PR354 P.282 Op. 45 #79' (Malipiero) T.G.31,cc 38r-46v (T.G. VIII.n.5)


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Allegro 2*,4,5,7Larghetto (iv-gm) AAllegro molto 3*,5included in volume on of Schoenbach's collection. This solo part in only slightly different in all mvts. thanFVII#12 for oboe and strings, continuo

Concerto in Eb major

RV 483 Ei-7.1 FVIII#27 t.273 PR898 P.433 Op. 40 #109' (Malipiero) T.F.32,cc 177r-184v (T.F. VII.f.176)

Presto 2Larghetto (vi-cm) A,B,C,7Allegro 2,4,5included in volume two of Schoenbach's collection

Concerto in e minor

RV 484 Ei-10.1 FVIII#6 t.71 PR358 P.137 Op. 45 #210' (Malipiero) T.G.31,cc 10r-17v (T.G. VIII.n.2)

Allegro poco 4*,5Andante (v-bm) AAllegro 4,5*,7*included in volume one of Schoenbach's collection

Concerto in F major

RV 485 Ei-11.1 FVIII#8 t.109 PR559 P.318 Op. 45 #5

10' (Malipiero) T.G.31,cc 38r-46v (T.G. VIII.n.5)

Allegro non molto 1,4,7Andante (V-CM) A,7Allegro molto 2*,7


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the solo part is only slightly different in all mvts. than FVII#12 for oboe and strings, continuo

Concerto in F major

RV 486 Ei-11.2 FVIII#22 t.268 PR893 P.304 Op. 40 #198'30'' (Malipiero) T.F.32,cc 317r-324r (T.F. VII.f.316)

Allegro non molto 1,2,4Largo (IV-BbM) BAllegro 2*,5

Concerto in F major

RV 487 Ei-11.3 FVIII#15 t.236 PR836 P.298 Op. 40 #68'30'' (Malipiero) T.F.32,cc 135r-141v (T.F. VII.f.134)

Allegro 1,2,4*,7Largo (vi-dm) B,XAllegro 4*,5*

Concerto in F major


Allegro non molto 1*,3,5*Largo (I-FM) A,BAllegro 3*,5

included in volume two of Schoenbach's collection

Concerto in F major



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Allegro 1*,2*,4*,5,7Largo (iii-am) accomp. by vlns with occasional tutti punctuationsAllegro 1*,4*,5*,7

Concerto in F major


Allegro 1*Larghetto (iii-am) BAllegro 4,5*,7

Concerto in F major

RV 491 Ei-11.7 FVIII#25 t.271 PR896 P.300 Op. 40 #138'30'' (Malipiero) T.F.32,cc 202r-209r (T.F. VII.f.201)

Allegro molto 2*,4,7Largo (ii-gm) CAllegro 1,4

Concerto in G major


Allegro non molto 4,5*,7Largo (vi-cm) CAllegro 4,5*

Concerto in G major


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Allegro ma poco 1,4*,5,7

Largo (vi-em) AAllegro 1,2*,5*

Concerto in G major


Allegro 1,5*,7Largo (IV-CM) A(Allegro) 1,3,4

Concerto in g minor


Presto 4*,5Largo (i-gm) BAllegro 4,5Included in volume two of Schoenbach's collection

Concerto in g minor'per fagotto, Ma de Marzin,' dedicated to Mar(quis) de Marzin


(Allegro) 1,*,2*,4*


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Largo (i-gm) B,X(Allegro) 1,4

Concerto in a minor


10' (Malipiero) T.G.31,cc 48r-55v (T.G. VIII.n.6)

Allegro molto 3,4*Andante molto (v-em) AAllegro 4*,7included in volume one of Schoenbach's collection

Concerto in a minor

RV 498 Ei-20.2 FVIII#2 t.28 PR277 P.70 Op. 45 #310' (Ephrikian) T.G.32,cc 18r-25v (T.G. VIII.n.3)

Allegro 1*,3*Larghetto (VI-FM) AAllegro 1*,2,5,7

Concerto in a minor


Allegro 1,2,4*,7Largo (i-am) C.X rhythmically redundantAllegro 2,4*,5*,7

Concerto in a minor

RV 500 Ei-20.4 FVIII#10 t.119 PR569 P.89 Op. 57 #110' (Malipiero) T.G.35,cc 303r-312v (T.G.O.S.V.n.14)


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Allegro 3*,4Largo (III-CM) C,XAllegro 2*,4*solo part only slightly different in all mvts. in FVII #13 for oboe and strings, continuo

Concerto in Bb major'La Notte'

RV 501 Ei-21.1 FVIII#1 t.12 PR248 P.401 Op. 45 #810' (Ephrikian) T.G.31,cc 64r-71v (T.G. VIII.n.8)

Largo 4Presto 'I Fantasmi' 2*,3*,5'Il Sonno' (I-BbM) CAllegro 'Sorge l'Aurora' 2,3,5,7

Concerto in Bb major'per Gioseppina (ce mot barr) o sia fagotto'


Allegro 1,4,5*,7Largo (I-BbM) accomp. by vln I,II and vlaAllegro 3*,5Allegroincluded in volume two of Schoenbach's collection

Concerto in Bb major


Allegro non molto 1*,4,5,7


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Largo (vi-gm) AAllegro 2,4*,5,7

Concerto in Bb major


11' (Malipiero) T.F.32,cc 376r-384r (T.F. VII.f.375)

Allegro ma poco 1,2*,4*,7Larghetto (vi-gm) B,7Allegro 2,4*,7

II. Sonatas for 'cello and continuo; Concerto for 2 'cellos, strings, continuo

Sonata #1 in Bb major for violoncello and continuo

RV 47 Ac-21.3 FXIV#1 t.473 PR1148 S.4/5 Op. 17 #113' (Malipiero) Op.14(?)-1 Ed. Le Clerc et Boivin, Paris

Largo XAllegro XLargo (IV-EbM) XAllegro X

Sonata #2 in F major for violoncello and continuo


Largo XAllegro XLargo (I-BbM) XAllegro X


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Sonata #3 in a minor for violoncello and continuo


Largo XAllegro XLargo (IV-BbM) XAllegro X



Largo XAllegro XLargo (iii-dM) XAllegro X

Sonata #5 in e minor for violoncello and continuo


Largo XAllegro XLargo (i-em) XAllegro X




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Largo XAllegro XLargo (vi-gm) XAllegro X

Sonata #7 in a minor for violoncello and continuo

RV 44 Ac-20.2 FXIV#7 t.503 PR1178 S.6/1013' (Malipiero) N.M.S.11188-11190(b)

Largo XAllegro poco XLargo (i-am) XAllegro X


RV 39 Ac-7.1 FXIV#8 t.504 PR117913' (Malipiero) N.M.S.11188-11190(c)

Largo XAllegro XLargo (I-BbM) XAllegro

Sonata #9 in g major for violoncello and continuo

RV 42 Ac-16.1 FXIV#9 t.530 PR1205

12' (Zobeley) W.S.783

Largo 'Preludio' XAndante 'Allemanda' XLargo 'Sarabanda' (i-gm) XAllegro 'Gigue' X


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Concerto in g minor for 2 violoncelli and strings, continuo

RV 531 Fc-16.1 FIII#2 t.61 PR119 P.411 Op.58 #310' (Malipiero) T.G.35,cc 279r-284r (T.G.S.V.n.11)

Allegro 1,2*,5Largo (i-gm) X senza stringsAllegro 4*

III. Chamber works with continuo including bassoon

Concerto in a minor for Flute, Bassoon, and continuo

RV86 Bo-20.1 F XV#1 t.18 PR270 S.7/8 Op.4312' (Malipiero) T.G.31,cc 340r-346v (t.G. VIII.n.34)

Largo S,2Allegro S,4*Largo Cantablile (III-CM) SB,4*

Allegro molto S,4*

the bassoon is an equal solo instrument with concerto-type figuration, thus the coded analysis. A fast tongueis in order

Concerto in g minor for Flute, Oboe, and Bassoon

RV103 Co-16.1 FXII#4 t.23 PR265 P.402 Op. 44#311' (Malipiero) T.G.31,cc 228r-234r (T.G.VIII.n.20)

Allegro ma cantabile SBLargo (i-gm) SB,XAllegro non molto SB


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Concerto in D major for Flute, Violin, and Bassoon (or Violoncello)

RV92 Co-5.4 FXII#7 t.39 PR297 P.198 Op. 37#212' (Malipiero) T.G.30,cc 41r-46r (T.G.VI.n.6)

Allegro B(Larghetto) (I-DM) B,XAllegro B

Concerto in D major for Transverse Flute, Violin, Bassoon, and Continuo

RV91 Co-5.3 FXII#27 t.149 PR599 P.206 Op. 44#189' (Malipiero) T.G.31,cc 364r-372v (T.G.VIII.n.36)

Allegro MBLargo (i-dm) MBAllegro non molto MB/S

Concerto in d minor for Flute, Violin, Bassoon, and Continuo

RV96 Co-6.1 FXII#42 t.354 PR1004 S.8/710' (Malipiero) D.2389/Q/10 (D.Cx.1111)

Allegro MBLargo (VI-BbM) MB,XAllegro MB

Concerto in F major for Transverse Flute, Violin, Bassoon, and Continuo



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Allegro MB(Largo) (V-CM) flute and bassoonAllegro MB

Concerto in g minor for Transverse Flute, Violin, Bassoon, and Continuo


Allegro MBLargo (III-BbM) B,XAllegro MB

Concerto in C major for Transverse Flute, Oboe, Violin, Bassoon, and Continuo


Allegro SLargo cantablile (i-cm) S

Allegro molto S

Concerto in D major for Flute, Oboe, Violin, Bassoon, and Continuo'Del Gardellino'


(Allegro) BLargo (I-DM) flute and bassoon B,XAllegro Bsame as FVI#14 for flute and strings, continuo

Concerto in D major for Flute, Oboe, Violin, Bassoon, and Continuo


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RV94 Co-5.6 FXII#25 t.144 PR594 P.207 Op. 44#2312'30'' (Malipiero) T.G.31,cc 412r-419v (T.G.VIII.n.43)

Allegro MB

Largo (I-DM) flute, violin, bassoon B,XAllegro MB

Concerto in D major for Flute, Oboe, Violin (3 vlns), Bassoon, and continuo'La Pastorella'


(Allegro) B/SBLargo (I-DM) flute or violin and cembalo XAllegro B/SB

Concerto in F major for Transverse Flute, Oboe, Violin, Bassoon, and Continuo


Allegro MBLargo (V-CM) B without continuoAllegro B

Concerto in G major for Flute, Oboe, Violin, Bassoon, and Continuo

RV101 Co-15.1 FXII#13 t.52 PR33910' (Malipiero) T.G.31,cc 308r-313r (T.G.VIII.n.30)


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Allegro moderato BLargo (i-gm) MB,XAllegro MBsame as F VI#16 for flute and strings

Concerto in g minor for Flute, Oboe, Violin, Bassoon, and Continuo


Allegro SLargo (VI-EbM) flute and bassoon XAllegro S

Concerto in g minor for Transverse Flute, Oboe, Violin, Bassoon, and Continuo

RV107 Co-16.5 FXII#6 t.40 PR305 S6/6 (P.360) Op. 44#139' (Malipiero) T.G.31,cc 314r-322v (T.G.VIII.n.31) D.2389/6/9 (D.Cx.1110)

Allegro MBLargo (I-GM) MB,X

Allegro MB

Concerto in F major for Viola d'Amore, 2 Oboes, 2 Horns, Bassoon, and Continuo

RV97 Co-11.1 FXII#32 t.248 PR848 P.286 Op. 25#111' (Malipiero) T.F29,cc 277r-291v (T.F.II.f.288)

Largo-Allegro MB(Largo) (I-FM) vla d'amore, oboes, and bsn XAllegro MBuse of sordino is indicated for the viola

IV: Chamber Works with Strings, Continuo Including Bassoon


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Concerto in e minor for Violoncello, Bassoon, Strings, Continuo

FXII#22 t.137 PR58710' (Malipiero) T.F.29,cc 126r-133v (T.F.II.f.137)

Adagio-Allegro molto X (6 times),SBAllegro-Adagio X (3 times),SBAllegro SB

Concerto in g minor for Transverse Flute, Bassoon, Strings, Continuo'La Notte'

RV104 Co-16.2 FXII#5 t.33 PR291 P.342ii Op. 44#5

12' (Ephrikian) T.G.31,cc 243r-249r (T.G.VIII.n.22)

Largo-Presto 'Fantasmi' BLargo-Presto B/SBLargo 'Il Sonno' (iv-cm) BAllegro B/SB

same as FVI#13 for flute, strings, continuo

Concerto in G major for Oboe, Bassoon, Strings, Continuo

RV545 Fo-15.1 F.XII#36 t.280 PR930 P.129 Op. 42#311' (Malipiero) T.F.32,cc 341r-348v (T.F.VII.f.340)

Andante molto SLargo (I-GM) S,XAllegro Molto Sstrings and continuo tacet when oboe and bassoon are playing

Concerto in D major for 2 Oboes, Bassoon, Strings, Continuo


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RV122 D-5.2 FXII#45 t.362 PR1012 Sinf.75' (Malipiero) D.2389/N/2(2) (D.Cx.1116)

Allegro B

Largo (vi-bm)BPresto B,Xonly 101 measures long

Concerto in F major for 2 Horns, Bassoon, Strings, Continuo

RV135 D-11.1 FXII#46 t.363 PR1013 Sinf.56' (Malipiero) D.2389/N/1(2) (D.Cx.1113)

Allegro BAndante (i-fm) B, without hornsAllegro B,Xarranged by Pisendel

Concerto in F major for Transverse Flute, Oboe, Bassoon, Strings, Continuo'La Tempesta di Mare'

RV570 Go-11.4 FXII#28 t.150 PR600 Op. 44#68' (Malipiero) T.G.31,cc 353r-356v (T.G.VIII.n.36)

(Allegro) MBLargo (vi-dm) B,SBPresto MBsame as FVI#12 for flute, strings, organ (cembalo), and continuo

Concerto in Bb major for 2 Flutes, 2 Oboes, Bassoon, Strings, Continuo

RV162 D-21.1 FXII#44 t.359 PR1009 Sinf.114' (Malipiero) D.2389/N/3 (D.Cx.1119)


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Allegro BLargo (vi-gm) BAllegro assai B

Concerto in F Major for 2 Oboes, Violin, Bassoon, Strings, Continuo

RV569 Go-11.3 FXII #10 t.43 PR308 P.273 Op. 46#213' (Ephrikian) T.G.31,cc 104r-132v (T.G.VIII.n.11) D.2389 O/93 (Partitura) (Parti) (D.Cx.1061)

Allegro B,SB

Grave (vi-dm) tacetAllegro B,SBarranged by Pisendel (FIIV)

Concerto in C Major for 2 Flutes, 2 Oboes, 2 Violins, Bassoon, Strings, Continuo

RV557 Go-1.4 FXII #17 t.90 PR452 P.54 Op. 41#48' (Malipiero) T.F.32,cc 255r-267r (T.F.VII.f.254)

Allegro non molto BLargo (iii-em) X 2 flutes and bassoonAllegro non molto Bthere are no markings for flutes and bassoon in the first and third movements

Concerto in d minor for 2 Flutes, 2 Oboes, 2 Violins, Bassoon, Strings, Continuo

RV566 Go-6.2 FXII #31 t.213 PR763 P.297 Op. 41#110' (Malipiero) T.F.32,cc 51r-66v (T.F.VII.f.50)

Allegro assai BLargo (i-dm) X 2 flutes and bassoon


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Allegro B

Concerto in g minor for 2 Flutes, 2 Oboes, Violin, 2 Bassoons, Strings, Continuo

'Per l'Orchestra di Dresda'

RV577 Go-16.2 FXII #3 t.25 PR263 P.383 Op. 41#310' (Ephrikian) T.F.32,cc 239r-254r (T.F.VII.f.238)

Allegro S,SBLargo non molto (iv-cm) oboe (or violin) and bassoon XAllegor S,SB2nd bassoon doubles first in tutti sections, tacets in solo sections

Concerto in g minor for 2 Flutes, 3 Oboes, Violin, Bassoon, Strings, Continuo'Per S.A.R. di Sassonia'

RV576 Go-16.1 FXII #33 t.249 PR849 P.359 Op. 41#211' (Malipiero) T.F.32,cc 67r-86r (T.F.VII.f.66) D.2389/0/125 (D.Cx.1094)

Allegro MBLargo (III-BbM) B,XAllegro MB

Concerto in F Major for 2 Oboes, 2 Horns da caccia, Violin, Bassoon, Strings, Continuo

RV571 Go-11.5 FXII #40 t.350 PR1000 P.268 Op. 64#210' (Malipiero) D.2389/0/48 (Partitura) (Parti) (D.Cx.1016)*D.2389/0/48a (Parti) (D.Cx.1039)**

Allegro BLargo (v-cm) tacet: vln, str, cont. only.Allegro B*-Performed in Venice, 1716 (EIIV)**-Pisendel's arrangement has 2 flutes instead of 2 oboes


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Concerto in F major for 2 Oboes, 2 Horns (Trombons da Caccia), Violin, Bassoon, Strings, Continuo

RV574 Go-11.8 FXII #18 t.94 PR456 P.319 Op. 46#311' (Malipiero) T.G.31,cc 134r-163v (T.G.VIII.n.12)

Allegro BGrave (I-FM) B(Allegro) B

Concerto in F Major for 2 Oboes, 2 Horns da Caccia, Violin, Bassoon, Strings, Continuo

RV568 Go-11.2 FXII #39 t.338 PR988 P.267 Op. 64#510'30'' (Malipiero) D.2389/0/47 (Partitura) (Parti) (D.Cx.1015)

Allegro assai B,SBGrave (V-CM) tacet: oboe, 'cello, cembalo onlyAllegro assai B,SB

Concerto in C Major for 2 Flutes, 2 Oboes, 2 Clarinets, 2 Violins, Bassoon, Strings, Continuo

'Per la Solennita de St. Lorenzo'

RV556 Go-1.3 FXII #14 t.54 PR341 P.84 Op. 53#214' (Ephrikian) T.G.34,cc 2r-20r (T.G.O.S.III.n.1)

Largo B

Allegro molto B,SMBLargo e Cantabile (v-gm) violin, 'cello, and cembalo(Allegro) B,SB

APPENDICES


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APPENDIX A

Addendum

The works presented in this compilation are all contained in the Complete Works published by Ricordi andconsequently were available for my observation. In addition, to these are two bassoon concerto fragments athree chamber works which are presented with available information below.

Concerto for Bassoon, Strings and Continuo in C Major.

RV 468 Ei-1.3 P.55 Op. 40 #17 T.F. VII f.294 (2 mvts)

Concerto for Bassoon, Strings, and Continuo in d minor.

RV 482 Ei-6.3 P.303 Op. 40 #16 T.F. VII f.290 (1st mvt)

Concerto for Recorder, Bassoon, Strings and Continuo.

RV 86 Bo-20.1

Concerto for Flute, Oboe, Violin Bassoon, Strings and Continuo.'Tempesta di Mare'

RV 98 Bo-20.1

Concerto for 2 Violins, 2 Oboes, Bassoon, Strings, and Continuo.

RV 564a Go-5.3a (attributed to Vivaldi)

APPENDIX B

Short Biography of Vivaldi

Antonio Vivaldi was born in Venice about 1675 and died in July 1741. He was the son of Giovanni BattistaVivaldi, a violinist at St. Mark's Cathedral in Venice.

Antonio had three brothers, Francesco Iseppo, and Bonaventura. The first two of these are noted in policerecords for unseemly conduct and brawling. They were all red headed and due to this and the fact thatAntonio was ordained a priest in 1703 he acquired the nickname "The Red Priest."

Vivaldi was an excellent violinist and studied first with his father and then with Giovanni Legrenzi (1704-1740). He later was employed at the Conservatio dell' Ospedale dalla Pieta, one of four famous Venetianmusic schools for women. The Conservatio was important in Venetian musical life.

In 1723 Vivaldi was commissioned to furnish two concertos a month, even when absent from Venice, for thConservatory's church. In addition, when substituting for Gasparini he had to provide two additional motetsmonth, masses and vespers for Easter and the Feast of the Visitation.


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Vivaldi spent some time traveling in Europe, where he may have met the composer Pisendel. At least two ohis works were dedicated to this man.

APPENDIX C

Pisendel

Johann Georg Pisendel, 1687-1755, began studies with Corelli at Ansbach at age 9. As a violinist he wrotesome concertos and solos for the instrument. He studied with Vivaldi from 1716 to 1717 and is associatedwith him now as having arranged some of Vivaldi's works for publication in Europe.

APPENDIX D

The Concordances

1. Ryom (RV---, XX--.-) This is the newest system, developed in 1971 by Peter Ryom and is used in the newedition of the Complete Works.This system is in two parts. Each work has a number prefixed by RV (Ryom

Vivaldi). This is a continuous sequence of numbers determined by a systematic ordering with its own codedsystem consisting of two letters followed by two numbers.

The first letter refers to the type of group, such as instrument with strings or instrument with continuo. Thesecond letter refers to a specific instrument.

The first part of the number represents the key with 24 numbers representing all major and minor keys. Thesecond number, after the period, is a listing of pieces in that key, so that Ei-1.3 is the third concerto forbassoon, strings, and continuo in C Major, with a catalogue number of RV 478.

KEY TO THE RYOM SYSTEM

A = 1 instrument and basso continuo -- RV1-59B = 2 instruments and basso continuo -- RV60-86C = more than 2 instruments and basso continuo - RV87-108D = strings and basso continuo - RV109-169E = 1 instrument, strings, and basso continuo - RV170-504 (bassoon concertos = 466-504)F = 2 instruments, strings, and basso continuo - RV505-548G= more than 2 instruments, strings, and basso continuo - RV549-580H = 1 or more instruments, 2 orchestras, and basso continuo - RV551-585I - L = litergical vocal works - RV586-622M - U = non-litergical vocal works - RV623-740

V = unable to be classified - RV741-750

a = violinb = viola da gambac = violoncellod = mandoline = quereflotef = blockflote


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g = piccoloh = oboei = bassoonj = trumpetk = hornl = mussette, vielle, etc.o = several different instruments

p = sopranoq = alto

1 = C Major2 = c minor3 = Db Major4= db minor5 = D Major6 = d minor7 = Eb Major8 = eb minor

9 = E Major10 = e minor11 = F Major12 = f minor13 = F# (or Gb) Major14 = f# (or gb) minor15 = G Major16 = g minor17 = Ab Major18 = ab minor19 = A Major20 = a minor21 = Bb Major22 = bb minor23 = B Major24 = b minor

2. Fanna (F---, #--, t.-- ) Antonio Fanna's system was developed in 1968 and is used in the Ricordi edition othe Complete Works and is similar to Ryom's. The Roman numerals following "F" refer to a generalgrouping. For example: F VIII refers to concerti for bassoon, strings, and continuo. The regular number thafollows is a listing of works in that group determined by order of publication by Istituto Italiano Antonio

Vivaldi which is represented by Fanna with the chief editor being Gian Francesco Malipiero. Because ofproblems created by publishing more than one group at a time, another number "tomo" or volume number, used. This is a continuous numbering determined by publication without regard to grouping. The "tomo"number is the number to know if interested in finding a work in Ricordi's Complete Works.

KEY-TO FANNA'S SYSTEM

F I = Concerti for violinF II = Concerti for viola d'amore


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F III = Concerti for violoncelloF IV = Concerti for violin & other string soloF V= Concerti for mandolinF VI = Concerti for fluteF VII = Concerti for oboeF VIII = Concerti for bassoonF IX= Concerti for trumpet

F X = Concerti for stringsF XI = Concerti for stringsF XII = Concerti for varied instrumentsF XIII = Sonatas for violinF XIV = Sonatas for violoncelloF XV = Sonatas for windsF XVI = Sonatas for varied instruments

3. Pincherle (P. --, or Sinf. ---, or S. -/-) Marc Pincherle's system, developed in 1948, divides Vivaldi'sinstrumental works into three groups: Concerti, Sinfonia, and Sonatas. The concerti are arranged primarily blike key signatures, that is: C Major, a minor and G Major, e minor. The works are then ranked according to

various factors such as opus numbers, ordering in printed collections, and manuscript numbers.

The Sinfonia are simply assigned numbers and the Sonatas are arranged in accordance to opus numbers ormanuscript numbers. P. indicates Concerto, Sinf., Sinfonia, and S, Sonata.

4. Rinaldi (op. -, #--) This system was developed in 1945 and is used by the Library of Congress and severamusic catalogues. The Rinaldi system is organized by the fate of the manuscript. There is some orderingaccording to instrumentation though this is inconsistent, within groups and many works are leftunrepresented.

KEY TO RINALDI SYSTEM

Op. 1-14 = Works published in Vivaldi's lifetime with opus numbers.

Op. 15-18 = Works published in Vivaldi's lifetime without opus numbers.

Op. 19-60 = Works whose manuscripts are at the Biblioteca Nazionale in Turin.

Op. 61-65 = Works whose manuscripts are at Dresden Sachsiche Landes Bibliothek.

Op. 66 = Works whose manuscripts are at the Cambridge Fitzwilliam Museum.

Op. 67 = Works whose manuscripts are at the Biblioteca Querini Stampalia in Venice.

POSTSCRIPT

I would like to extend special thanks to Professor Richard Lottridge for his support and interest in thepreparing of this work. Thanks are also due to fellow classmates for their interest and encouragement durinlean times.


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This work is dedicated to my wife Cynthia Staples Zantow, who gave invaluable aid in designing the layoutand helping in making the final draft.

If errors are found in this work, please feel free to send me the corrections so that any inaccuracies may becorrected in a subsequent edition.

Thomas Zantow

The Paint Box523 Main StreetOconto, Wisconsin 54153U.S.A.

BIBLIOGRAPHY

Grove's Dictionary of Music & Musicians,1959.

Istituto Italiano Antonio Vivaldi,Antonio Vivaldi Catalogo Numerico Tematico Delle Opere Stumentali,Edizioni Ricordi 1968.

Istituto Italiano Antonio Vivaldi, Vivaldi Complete Works,Edizioni Ricordi, 1972.

Ohmura, Noriko,A Reference Concordance Table of Vivaldi's Instrumental Works,Kawasski, 1972.

Ryom, Peter, Verzeichnis der Werke Antonio Vivaldi,UEB Deutscher Verlag Fur Musik Leipzig, 1974.

Musical calligraphy is by Glen Morley, Ottawa, Canada (artist of the famous "symphoniphobias" orchestraunderground cartoon drawings.)*

*A new issue of these will be announced soon. Look for information in the next The Double Reed.

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Bassoonist's Guide to Vivaldi

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