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
II. Sonatas for 'Cello and Continuo, Concerti for 2 Violoncelli, Strings, Continuo
III. Chamber Works with Continuo including Bassoon
- Two different instruments: flute, bassoon
- Three different instruments:
- Four different instruments:
IV. Chamber Works with Strings, Continuo including Bassoon
- Two different instruments:
- Three different instruments:
- Four different instruments:
- 2 flutes, 2 oboes, 2 violins, bassoon
- 2 flutes, 2 oboes, violin, 2 bassoons
- 2 flutes, 3 oboes, violin, bassoon
- 2 oboes, 2 horns, violin, bassoon
- Five different instruments:
V. Appendices
Postscript
The Bassoonist's Guide to Vivaldi describes 37 concertos for bassoon strings, and continuo, 32 chamber works that include bassoon, 9 sonatas for violoncello and continuo (six of which have already been transcribed for bassoon), and a concerto for two cellos, strings and continuo that works well with two bassoons.
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 487 is 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 an independent (or quasi-independent) solo part, or indicate technical challenges through a coded system for common figurations described below. In choosing a chamber work without having access to a string ensemble, 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 title is a description of the harmonic relation to the other movements which is interesting in that a different key will lend some variety. Also following is a description, in the solos, of the accompaniment, just continuo or full string parts, or even static string chords. Making full use of the analysis will provide an understanding of 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 #8
10' (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 the accompanying 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 Works edition and is becoming 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 being replaced 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, this system is rarely used in favor of Fanna and Ryom.
- D. Miscellaneous
- 1. 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 bassoon concertos 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 479
- 2. extension of 1. (Fig. 2)
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 a 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 ornamented to 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 for publication in Europe. (see Appendix C)
- b. References to Schoenbach's collection concern the Schirmer edition of the two volume set of 10 Vivaldi bassoon concertos edited by Sol Schoenbach. It is the only collection that I know of at present, so the pieces contained were noted.
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 #12
10' (Malipiero) T.F.32,cc 194r-201v (T.F. VII.f.193)
Allegro 2*,5
Largo (V-GM) C,7
Allegro 1*,5*
Concerto in C major
RV 467 Ei-1.2 FVIII#18 t.239 PR839 P. 48 Op. 40 #5
10'30'' (Malipiero) T.F.32,cc 126r-134v (T.F. VII.f.125)
Allegro 4*,5,7
Andante (vi-am) B
Allegro 2*
Concerto in C major
RV 469 Ei-1.4 FVIII#16 t.237 PR837 P. 49 Op. 40 #8
11'30'' (Malipiero) T.F.32,cc 154r-161v (T.F. VII.f.153)
Allegro 3,4
Largo (I-CM) B,X
Allegro 1*
Concerto in C major
RV 470 Ei-1.5 FVIII#33 t.281 PR931 P. 43 Op. 39 #3
10' (Malipiero) T.F.32,cc 301r-308v (T.F. VII.f.300)
Allegro non molto 1,3
Larghetto (V-GM) C,7
Allegro 3*,5*,7
same tutti in movts. I & II, similar in mvt. III as FVII #7, concerto for oboe and strings, continuo
Concerto in C major
RV 471 Ei-1.6 FVIII#34 t.282 PR932 P. 50 Op. 40 #9
10' (Malipiero) T.F.32,cc 162r-191v (T.F. VII.f.161)
Allegro molto 1,2*,3,4*,5
Larghetto (vi-am) B,C
Allegro 1*,5
same tutti in mvts. I & III as FVII#11, Concerto for oboe and strings, continuo
Concerto in C major
RV 472 Ei-1.7 FVIII#17 t.238 PR838 P. 45 Op. 40 #1
8'30'' (Malipiero) T.F.32,cc 87r-94v (T.F. VII.f.86)
Allegro con molto 3,7
Largo (vi-am) A,B
Allegro 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*,7
Largo (vi-am) C
Minuetto 5,X
the third movement has several repeated sections, tutti alternating with solo
Concerto in C major
RV 474 Ei-1.9 FVIII#4 t.74 PR314 P.69 Op. 45 #1
7'30'' (Amendola) T.G.31,cc 2r-9r (T.G. VIII.n.1)
Allegro 1,2
Largo (I-CM) C,7
Allegro 2*,4*
Concerto in C major
RV 475 Ei-1.10 FVIII#21 t.267 PR892 P. 56 Op. 40 #18
9' (Malipiero) T.F.32,cc 309r-316v (T.F. VII.f.308)
Allegro non molto 4,5*
Adagio (vi-am) C
Allegro non molto 1,4*,7
Concerto in C major
RV 476 Ei-1.11 FVIII#31 t.277 PR927 P. 57 Op. 40 #27
Allegro 1,2*,4*,7
Largo (V-GM) B,X
Allegro molto 1*,4*,5
Concerto in C major
RV 477 Ei-1.12 FVIII#13 t.224 PR774 P. 46
11' (Malipiero) T.F.32,cc 95r-102v (T.F. VII.f.94)
Allgro 1*,2*,4*,7
Largo (I-CM) B,X
Allegro 2*,4*,5
included 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 #4
9' (Ephrikian) T.G.31,cc 26r-33v (T.G. VIII.n.4)
Allegro 1,3,4*,5,7
Largo (I-CM) C,A
Allegro 2*,3,4*,5*
Concerto in C major
RV 479 Ei-1.14 FVIII#26 t.272 PR897 P. 52 Op. 40 #14
9'30'' (Malipiero) T.F.32,cc 211r-219r (T.F. VII.f.210)
Allegro 1*,4,5,7
Largo (vi-am) C
Allegro 1,4*
Concerto in c minor
RV 480 Ei-2.1 FVIII#14 t.225 PR775 P.432 Op. 40 #4
9' (Malipiero) T.F.32,cc 117r-124r (T.F. VII.f.116)
Allegro 4,5
(Andantino quasi minuetto) (i-cm) C,7
Allegro 1,2*,3*,5
included 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 #7
9' (Malipiero) T.G.31,cc 38r-46v (T.G. VIII.n.5)
Allegro 2*,4,5,7
Larghetto (iv-gm) A
Allegro molto 3*,5
included in volume on of Schoenbach's collection. This solo part in only slightly different in all mvts. than FVII#12 for oboe and strings, continuo
Concerto in Eb major
RV 483 Ei-7.1 FVIII#27 t.273 PR898 P.433 Op. 40 #10
9' (Malipiero) T.F.32,cc 177r-184v (T.F. VII.f.176)
Presto 2
Larghetto (vi-cm) A,B,C,7
Allegro 2,4,5
included 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 #2
10' (Malipiero) T.G.31,cc 10r-17v (T.G. VIII.n.2)
Allegro poco 4*,5
Andante (v-bm) A
Allegro 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 1,4,7
Andante (V-CM) A,7
Allegro molto 2*,7
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 #19
8'30'' (Malipiero) T.F.32,cc 317r-324r (T.F. VII.f.316)
Allegro non molto 1,2,4
Largo (IV-BbM) B
Allegro 2*,5
Concerto in F major
RV 487 Ei-11.3 FVIII#15 t.236 PR836 P.298 Op. 40 #6
8'30'' (Malipiero) T.F.32,cc 135r-141v (T.F. VII.f.134)
Allegro 1,2,4*,7
Largo (vi-dm) B,X
Allegro 4*,5*
Concerto in F major
RV 488 Ei-11.4 FVIII#19 t.240 PR840 P.299 Op. 40 #7
11'30'' (Malipiero) T.F.32,cc 143r-152v (T.F. VII.f.142)
Allegro non molto 1*,3,5*
Largo (I-FM) A,B
Allegro 3*,5
included in volume two of Schoenbach's collection
Concerto in F major
RV 489 Ei-11.5 FVIII#20 t.266 PR891 P.305 Op. 40 #21
10' (Malipiero) T.F.32,cc 333r-340v (T.F. VII.f.332)
Allegro 1*,2*,4*,5,7
Largo (iii-am) accomp. by vlns with occasional tutti punctuations
Allegro 1*,4*,5*,7
Concerto in F major
RV 490 Ei-11.6 FVIII#32 t.278 PR928 P.307 Op. 40 #25
10' (Malipiero) T.F.32,cc 403r-410v (T.F. VII.f.402)
Allegro 1*
Larghetto (iii-am) B
Allegro 4,5*,7
Concerto in F major
RV 491 Ei-11.7 FVIII#25 t.271 PR896 P.300 Op. 40 #13
8'30'' (Malipiero) T.F.32,cc 202r-209r (T.F. VII.f.201)
Allegro molto 2*,4,7
Largo (ii-gm) C
Allegro 1,4
Concerto in G major
RV 492 Ei-15.1 FVIII#29 t.275 PR900 P.128 Op. 40 #15
9'30'' (Malipiero) T.F.32,cc 283r-289v (T.F. VII.f.282)
Allegro non molto 4,5*,7
Largo (vi-cm) C
Allegro 4,5*
Concerto in G major
RV 493 Ei-15.2 FVIII#30 t.276 PR926 P.131 Op. 40 #26
7' (Malipiero) T.F.32,cc 411r-418r (T.F. VII.f.410)
Allegro ma poco 1,4*,5,7
Largo (vi-em) A
Allegro 1,2*,5*
Concerto in G major
RV 494 Ei-15.3 FVIII#37 t.300 PR950 P.130 Op. 40 #24
10' (Malipiero) T.F.32,cc 403r-410v (T.F. VII.f.393)
Allegro 1,5*,7
Largo (IV-CM) A
(Allegro) 1,3,4
Concerto in g minor
RV 495 Ei-16.1 FVIII#23 t.269 PR894 P.384 Op. 40 #20
11' (Malipiero) T.F.32,cc 325r-332r (T.F. VII.f.324)
Presto 4*,5
Largo (i-gm) B
Allegro 4,5
Included in volume two of Schoenbach's collection
Concerto in g minor
'per fagotto, Ma de Marzin,' dedicated to Mar(quis) de Marzin
RV 496 Ei-16.2 FVIII#11 t.214 PR764 P.381 Op. 40 #2
11'30'' (Malipiero) T.F.32,cc 103r-110v (T.F. VII.f.102)
(Allegro) 1,*,2*,4*
Largo (i-gm) B,X
(Allegro) 1,4
Concerto in a minor
RV 497 Ei-20.1 FVIII#7 t.72 PR359 P.72 Op. 45 #6
10' (Malipiero) T.G.31,cc 48r-55v (T.G. VIII.n.6)
Allegro molto 3,4*
Andante molto (v-em) A
Allegro 4*,7
included 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 #3
10' (Ephrikian) T.G.32,cc 18r-25v (T.G. VIII.n.3)
Allegro 1*,3*
Larghetto (VI-FM) A
Allegro 1*,2,5,7
Concerto in a minor
RV 499 Ei-20.3 FVIII#12 t.223 PR773 P.47 Op. 40 #3
9' (Malipiero) T.F.32,cc 111r-116v (T.F. VII.f.110)
Allegro 1,2,4*,7
Largo (i-am) C.X rhythmically redundant
Allegro 2,4*,5*,7
Concerto in a minor
RV 500 Ei-20.4 FVIII#10 t.119 PR569 P.89 Op. 57 #1
10' (Malipiero) T.G.35,cc 303r-312v (T.G.O.S.V.n.14)
Allegro 3*,4
Largo (III-CM) C,X
Allegro 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 #8
10' (Ephrikian) T.G.31,cc 64r-71v (T.G. VIII.n.8)
Largo 4
Presto 'I Fantasmi' 2*,3*,5
'Il Sonno' (I-BbM) C
Allegro 'Sorge l'Aurora' 2,3,5,7
Concerto in Bb major
'per Gioseppina (ce mot barré) o sia fagotto'
RV 502 Ei-21.2 FVIII#24 t.270 PR895 P.382 Op. 40 #11
12' (Malipiero) T.F.32,cc 185r-193v (T.F. VII.f.184)
Allegro 1,4,5*,7
Largo (I-BbM) accomp. by vln I,II and vla
Allegro 3*,5
Allegro
included in volume two of Schoenbach's collection
Concerto in Bb major
RV 503 Ei-21.3 FVIII#35 t.298 PR948 P.387 Op. 40 #23
9' (Malipiero) T.F.32,cc 386r-393v (T.F. VII.f.385)
Allegro non molto 1*,4,5,7
Largo (vi-gm) A
Allegro 2,4*,5,7
Concerto in Bb major
RV 504 Ei-21.4 FVIII#36 t.299 PR949 P.386 Op. 40 #22
11' (Malipiero) T.F.32,cc 376r-384r (T.F. VII.f.375)
Allegro ma poco 1,2*,4*,7
Larghetto (vi-gm) B,7
Allegro 2,4*,7
Sonata #1 in Bb major for violoncello and continuo
RV 47 Ac-21.3 FXIV#1 t.473 PR1148 S.4/5 Op. 17 #1
13' (Malipiero) Op.14(?)-1 Ed. Le Clerc et Boivin, Paris
Largo X
Allegro X
Largo (IV-EbM) X
Allegro X
Sonata #2 in F major for violoncello and continuo
RV 41 Ac-11.1 FXIV#2 t.474 PR1149 S.4/6 Op. 17 #2
14' (Malipiero) Op.14(?)-2 Ed. Le Clerc et Boivin, Paris
Largo X
Allegro X
Largo (I-BbM) X
Allegro X
Sonata #3 in a minor for violoncello and continuo
RV 43 Ac-20.1 FXIV#3 t.475 PR1150 S.4/6 Op. 17 #3
17' (Malipiero) Op.14(?)-3 Ed. Le Clerc et Boivin, Paris
Largo X
Allegro X
Largo (IV-BbM) X
Allegro X
Sonata #4 in Bb major for violoncello and continuo
RV 45 Ac-21.1 FXIV#4 t.476 PR1151 S.4/8 Op. 17 #4
16' (Malipiero) Op.14(?)-4 Ed. Le Clerc et Boivin, Paris
Largo X
Allegro X
Largo (iii-dM) X
Allegro X
Sonata #5 in e minor for violoncello and continuo
RV 40 Ac-10.1 FXIV#5 t.477 PR1152 S.4/9 Op. 17 #5
12' (Malipiero) Op.14(?)-5 Ed. Le Clerc et Boivin, Paris
Largo X
Allegro X
Largo (i-em) X
Allegro X
Sonata #6 in Bb major for violoncello and continuo
RV 46 Ac-21.2 FXIV#6 t.478 PR1153 S.4/10 Op. 17 #6
16' (Malipiero) Op.14(?)-6 Ed. Le Clerc et Boivin, Paris
Largo X
Allegro X
Largo (vi-gm) X
Allegro X
Sonata #7 in a minor for violoncello and continuo
RV 44 Ac-20.2 FXIV#7 t.503 PR1178 S.6/10
13' (Malipiero) N.M.S.11188-11190(b)
Largo X
Allegro poco X
Largo (i-am) X
Allegro X
Sonata #8 in Bb major for violoncello and continuo
RV 39 Ac-7.1 FXIV#8 t.504 PR1179
13' (Malipiero) N.M.S.11188-11190(c)
Largo X
Allegro X
Largo (I-BbM) X
Allegro
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' X
Andante 'Allemanda' X
Largo 'Sarabanda' (i-gm) X
Allegro 'Gigue' X
Concerto in g minor for 2 violoncelli and strings, continuo
RV 531 Fc-16.1 FIII#2 t.61 PR119 P.411 Op.58 #3
10' (Malipiero) T.G.35,cc 279r-284r (T.G.S.V.n.11)
Allegro 1,2*,5
Largo (i-gm) X senza strings
Allegro 4*
Concerto in a minor for Flute, Bassoon, and continuo
RV86 Bo-20.1 F XV#1 t.18 PR270 S.7/8 Op.43
12' (Malipiero) T.G.31,cc 340r-346v (t.G. VIII.n.34)
Largo S,2
Allegro 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 tongue is in order
Concerto in g minor for Flute, Oboe, and Bassoon
RV103 Co-16.1 FXII#4 t.23 PR265 P.402 Op. 44#3
11' (Malipiero) T.G.31,cc 228r-234r (T.G.VIII.n.20)
Allegro ma cantabile SB
Largo (i-gm) SB,X
Allegro non molto SB
Concerto in D major for Flute, Violin, and Bassoon (or Violoncello)
RV92 Co-5.4 FXII#7 t.39 PR297 P.198 Op. 37#2
12' (Malipiero) T.G.30,cc 41r-46r (T.G.VI.n.6)
Allegro B
(Larghetto) (I-DM) B,X
Allegro 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#18
9' (Malipiero) T.G.31,cc 364r-372v (T.G.VIII.n.36)
Allegro MB
Largo (i-dm) MB
Allegro non molto MB/S
Concerto in d minor for Flute, Violin, Bassoon, and Continuo
RV96 Co-6.1 FXII#42 t.354 PR1004 S.8/7
10' (Malipiero) D.2389/Q/10 (D.Cx.1111)
Allegro MB
Largo (VI-BbM) MB,X
Allegro MB
Concerto in F major for Transverse Flute, Violin, Bassoon, and Continuo
RV100 Co-11.4 FXII#21 t.106 PR556 P.322 Op. 44#10
9' (Malipiero) T.G.31,cc 282r-290v (T.G.VIII.n.27)
Allegro MB
(Largo) (V-CM) flute and bassoon
Allegro MB
Concerto in g minor for Transverse Flute, Violin, Bassoon, and Continuo
RV106 Co-16.4 FXII#8 t.41 PR306 P.404 Op. 44#14
8' (Malipiero) T.G.31,cc 324r-331v (T.G.VIII.n.32)
Allegro MB
Largo (III-BbM) B,X
Allegro MB
Concerto in C major for Transverse Flute, Oboe, Violin, Bassoon, and Continuo
RV88 Co-1.2 FXII#24 t.143 PR543 P.82 Op. 44#24
10' (Malipiero) T.G.31,cc 420r-427r (T.G.VIII.n.44)
Allegro S
Largo cantablile (i-cm) S
Allegro molto S
Concerto in D major for Flute, Oboe, Violin, Bassoon, and Continuo
'Del Gardellino'
RV90 Co-5.2 FXII#9 t.42 PR307 P.155 Op. 44#15
11' (Malipiero) T.G.31,cc 332r-338v (T.G.VIII.n.33)
(Allegro) B
Largo (I-DM) flute and bassoon B,X
Allegro B
same as FVI#14 for flute and strings, continuo
Concerto in D major for Flute, Oboe, Violin, Bassoon, and Continuo
RV94 Co-5.6 FXII#25 t.144 PR594 P.207 Op. 44#23
12'30'' (Malipiero) T.G.31,cc 412r-419v (T.G.VIII.n.43)
Allegro MB
Largo (I-DM) flute, violin, bassoon B,X
Allegro MB
Concerto in D major for Flute, Oboe, Violin (3 vlns), Bassoon, and continuo
'La Pastorella'
RV95 Co-5.7 FXII#29 t.154 PR679 P.204 Op. 44#4
13' (Malipiero) T.G.31,cc 364r-372v (T.G.VIII.n.38)
(Allegro) B/SB
Largo (I-DM) flute or violin and cembalo X
Allegro B/SB
Concerto in F major for Transverse Flute, Oboe, Violin, Bassoon, and Continuo
RV99 Co-11.3 FXII#26 t.147 PR597 P.323 Op. 44#17
9' (Malipiero) T.G.31,cc 357r-363r (T.G.VIII.n.37)
Allegro MB
Largo (V-CM) B without continuo
Allegro B
Concerto in G major for Flute, Oboe, Violin, Bassoon, and Continuo
RV101 Co-15.1 FXII#13 t.52 PR339
10' (Malipiero) T.G.31,cc 308r-313r (T.G.VIII.n.30)
Allegro moderato B
Largo (i-gm) MB,X
Allegro MB
same as F VI#16 for flute and strings
Concerto in g minor for Flute, Oboe, Violin, Bassoon, and Continuo
RV105 Co-16.3 FXII#20 t.103 PR553 P.403 Op. 44#12
11' (Malipiero) T.G.31,cc 302r-307v (T.G.VIII.n.29)
Allegro S
Largo (VI-EbM) flute and bassoon X
Allegro 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#13
9' (Malipiero) T.G.31,cc 314r-322v (T.G.VIII.n.31) D.2389/6/9 (D.Cx.1110)
Allegro MB
Largo (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#1
11' (Malipiero) T.F29,cc 277r-291v (T.F.II.f.288)
Largo-Allegro MB
(Largo) (I-FM) vla d'amore, oboes, and bsn X
Allegro MB
use of sordino is indicated for the viola
Concerto in e minor for Violoncello, Bassoon, Strings, Continuo
FXII#22 t.137 PR587
10' (Malipiero) T.F.29,cc 126r-133v (T.F.II.f.137)
Adagio-Allegro molto X (6 times),SB
Allegro-Adagio X (3 times),SB
Allegro 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' B
Largo-Presto B/SB
Largo 'Il Sonno' (iv-cm) B
Allegro 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#3
11' (Malipiero) T.F.32,cc 341r-348v (T.F.VII.f.340)
Andante molto S
Largo (I-GM) S,X
Allegro Molto S
strings and continuo tacet when oboe and bassoon are playing
Concerto in D major for 2 Oboes, Bassoon, Strings, Continuo
RV122 D-5.2 FXII#45 t.362 PR1012 Sinf.7
5' (Malipiero) D.2389/N/2(2) (D.Cx.1116)
Allegro B
Largo (vi-bm)B
Presto B,X
only 101 measures long
Concerto in F major for 2 Horns, Bassoon, Strings, Continuo
RV135 D-11.1 FXII#46 t.363 PR1013 Sinf.5
6' (Malipiero) D.2389/N/1(2) (D.Cx.1113)
Allegro B
Andante (i-fm) B, without horns
Allegro B,X
arranged 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#6
8' (Malipiero) T.G.31,cc 353r-356v (T.G.VIII.n.36)
(Allegro) MB
Largo (vi-dm) B,SB
Presto MB
same 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.11
4' (Malipiero) D.2389/N/3 (D.Cx.1119)
Allegro B
Largo (vi-gm) B
Allegro 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#2
13' (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) tacet
Allegro B,SB
arranged 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#4
8' (Malipiero) T.F.32,cc 255r-267r (T.F.VII.f.254)
Allegro non molto B
Largo (iii-em) X 2 flutes and bassoon
Allegro non molto B
there 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#1
10' (Malipiero) T.F.32,cc 51r-66v (T.F.VII.f.50)
Allegro assai B
Largo (i-dm) X 2 flutes and bassoon
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#3
10' (Ephrikian) T.F.32,cc 239r-254r (T.F.VII.f.238)
Allegro S,SB
Largo non molto (iv-cm) oboe (or violin) and bassoon X
Allegor S,SB
2nd 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#2
11' (Malipiero) T.F.32,cc 67r-86r (T.F.VII.f.66) D.2389/0/125 (D.Cx.1094)
Allegro MB
Largo (III-BbM) B,X
Allegro 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#2
10' (Malipiero) D.2389/0/48 (Partitura) (Parti) (D.Cx.1016)*
D.2389/0/48a (Parti) (D.Cx.1039)**
Allegro B
Largo (v-cm) tacet: vln, str, cont. only.
Allegro B
*-Performed in Venice, 1716 (EIIV)
**-Pisendel's arrangement has 2 flutes instead of 2 oboes
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#3
11' (Malipiero) T.G.31,cc 134r-163v (T.G.VIII.n.12)
Allegro B
Grave (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#5
10'30'' (Malipiero) D.2389/0/47 (Partitura) (Parti) (D.Cx.1015)
Allegro assai B,SB
Grave (V-CM) tacet: oboe, 'cello, cembalo only
Allegro 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#2
14' (Ephrikian) T.G.34,cc 2r-20r (T.G.O.S.III.n.1)
Largo B
Allegro molto B,SMB
Largo e Cantabile (v-gm) violin, 'cello, and cembalo
(Allegro) B,SB
APPENDICES
Addendum
The works presented in this compilation are all contained in the Complete Works published by Ricordi and consequently were available for my observation. In addition, to these are two bassoon concerto fragments and three 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)
Short Biography of Vivaldi
Antonio Vivaldi was born in Venice about 1675 and died in July 1741. He was the son of Giovanni Battista Vivaldi, 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 police records for unseemly conduct and brawling. They were all red headed and due to this and the fact that Antonio 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 Venetian music 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 the Conservatory's church. In addition, when substituting for Gasparini he had to provide two additional motets a month, masses and vespers for Easter and the Feast of the Visitation.
Vivaldi spent some time traveling in Europe, where he may have met the composer Pisendel. At least two of his works were dedicated to this man.
Pisendel
Johann Georg Pisendel, 1687-1755, began studies with Corelli at Ansbach at age 9. As a violinist he wrote some concertos and solos for the instrument. He studied with Vivaldi from 1716 to 1717 and is associated with him now as having arranged some of Vivaldi's works for publication in Europe.
The Concordances
1. Ryom (RV---, XX--.-) This is the newest system, developed in 1971 by Peter Ryom and is used in the new edition 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 coded system 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. The second letter refers to a specific instrument.
The first part of the number represents the key with 24 numbers representing all major and minor keys. The second number, after the period, is a listing of pieces in that key, so that Ei-1.3 is the third concerto for bassoon, strings, and continuo in C Major, with a catalogue number of RV 478.
KEY TO THE RYOM SYSTEM
A = 1 instrument and basso continuo -- RV1-59
B = 2 instruments and basso continuo -- RV60-86
C = more than 2 instruments and basso continuo - RV87-108
D = strings and basso continuo - RV109-169
E = 1 instrument, strings, and basso continuo - RV170-504 (bassoon concertos = 466-504)
F = 2 instruments, strings, and basso continuo - RV505-548
G= more than 2 instruments, strings, and basso continuo - RV549-580
H = 1 or more instruments, 2 orchestras, and basso continuo - RV551-585
I - L = litergical vocal works - RV586-622
M - U = non-litergical vocal works - RV623-740
V = unable to be classified - RV741-750
a = violin
b = viola da gamba
c = violoncello
d = mandolin
e = quereflote
f = blockflote
g = piccolo
h = oboe
i = bassoon
j = trumpet
k = horn
l = mussette, vielle, etc.
o = several different instruments
p = soprano
q = alto
1 = C Major
2 = c minor
3 = Db Major
4= db minor
5 = D Major
6 = d minor
7 = Eb Major
8 = eb minor
9 = E Major
10 = e minor
11 = F Major
12 = f minor
13 = F# (or Gb) Major
14 = f# (or gb) minor
15 = G Major
16 = g minor
17 = Ab Major
18 = ab minor
19 = A Major
20 = a minor
21 = Bb Major
22 = bb minor
23 = B Major
24 = b minor
2. Fanna (F---, #--, t.-- ) Antonio Fanna's system was developed in 1968 and is used in the Ricordi edition of the Complete Works and is similar to Ryom's. The Roman numerals following "F" refer to a general grouping. For example: F VIII refers to concerti for bassoon, strings, and continuo. The regular number that follows 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 of problems created by publishing more than one group at a time, another number "tomo" or volume number, is 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 violin
F II = Concerti for viola d'amore
F III = Concerti for violoncello
F IV = Concerti for violin & other string solo
F V= Concerti for mandolin
F VI = Concerti for flute
F VII = Concerti for oboe
F VIII = Concerti for bassoon
F IX= Concerti for trumpet
F X = Concerti for strings
F XI = Concerti for strings
F XII = Concerti for varied instruments
F XIII = Sonatas for violin
F XIV = Sonatas for violoncello
F XV = Sonatas for winds
F XVI = Sonatas for varied instruments
3. Pincherle (P. --, or Sinf. ---, or S. -/-) Marc Pincherle's system, developed in 1948, divides Vivaldi's instrumental works into three groups: Concerti, Sinfonia, and Sonatas. The concerti are arranged primarily by like 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 or manuscript 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 several music catalogues. The Rinaldi system is organized by the fate of the manuscript. There is some ordering according to instrumentation though this is inconsistent, within groups and many works are left unrepresented.
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 the preparing of this work. Thanks are also due to fellow classmates for their interest and encouragement during lean times.
This work is dedicated to my wife Cynthia Staples Zantow, who gave invaluable aid in designing the layout and 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 be corrected in a subsequent edition.
Thomas Zantow
The Paint Box
523 Main Street
Oconto, Wisconsin 54153
U.S.A.
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" orchestra underground cartoon drawings.)*
*A new issue of these will be announced soon. Look for information in the next The Double Reed.