Antonio Vivaldi. Sonata á Violino è Violoncello. [RV 820] Manuscript D-Dl Mus.2-Q-6 Ansbach, ca Ed. Javier Lupiáñez

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1 Antonio Vivaldi Sonata á Violino è Violoncello [RV 820] Manuscript D-Dl Mus.2-Q-6 Ansbach, ca Ed. Javier Lupiáñez SNAKEWOOD EDITIONS

2 Antonio Lucio Vivaldi Sonata for Violin, Violoncello and Continuo in G Major RV 820 Preface The work is uniquely preserved in the manuscript D-Dl Mus.2-Q-6 copied by Georg Pisendel and found in The Schrank II (Cabinet II) Collection from the Die Sächsische Landesbibliothek Staats- und Universitätsbibliothek Dresden (SLUB). The work was claimed for first time as a Vivaldian piece in an interview and concert by Javier Lupiáñez and the ensemble Scaramuccia in a live concert in the radio program De Musyck Kamer, broadcasted on the Dutch radio station Concertzender in summer Officially the piece was independently identified as a genuine Vivaldian work by Mr. Federico Maria Sardelli and Mr. Javier Lupiáñez 1 in 2014 and catalogued at the beginning of 2015 as RV 820, and it is the earliest known work by Vivaldi. It is known that Pisendel had a close relationship with Vivaldi. This relationship became especially obvious when Pisendel traveled to Italy and met Vivaldi himself in The amount of Vivaldi s works in Dresden is enormous and a big part of it was copied by Pisendel. 2 But the manuscript of the RV 820 is an early copy by Pisendel, dated between 1705 and before his journey to Italy in Although the paper is in the typically Italian oblong format, the watermark indicates that it is, in fact, German paper. 4 A logical conclusion is that Pisendel copied these pieces during his period in Ansbach (from 1697 to 1712). During this period Pisendel studied with Torelli. The recent attribution of Vivaldian authorship to this sonata stabilized also an important link between Torelli and Vivaldi. The fact that Vivaldi also studied with Torelli becomes very possible, enlightening the young academic years of Vivaldi. Being the earliest known work by Vivaldi the Trio Sonata presents a different Vivaldi to the one we are used to. It shows the young Vivaldi: On the one hand, clearly influenced by the masters of the end of 17th century such Corelli, Bonporti or Torelli, and on the other hand it is easy to perceive that some new and original Vivaldian ideas start to blossom in this early work. The sonata is included in a collection of six pieces that share the same watermark: Torelli: Trio sonata (D-Dl Mus.2035-Q-3), Artemio Motta: concerto (D-Dl Mus.2186-O-1), Pepush: concerto (sonata) (D-Dl Mus.2160-O-1) and two Vivaldi s: violin concerto in G minor RV Lupiáñez Ruiz, Francisco Javier, New Discoveries of Vivaldi in Dresden (Royal Conservatory of The Hague, 2015). 2 A big part of the works by Vivaldi found in this archive are copied by Pisendel (77 of 168 works) 3 RISM-A/II The Digital Project of the SLUB about the Schrank II ( also includes a list with a study of the watermarks found in its archives. The reference W-Dl-168 is given to the concrete watermark founded in the paper of the trio sonata. SNAKEWOOD EDITIONS

3 (L Estro Armonico. Op. 3 No.2) (D-Dl Mus.2389-O-71) and the concerto for four violins in F Major RV 567 (L Estro Armonico. Op. 3 No.7) (D-Dl Mus.2389-O-100). All those scores have an extra cover page with the title of the piece and the name of the composer, except the work by Motta (D-Dl, Mus.2186-O-1), which is identified because the concerto is the number 5 of his Op. 1, and the Trio Sonata RV 820 sonata (D-Dl Mus.2-Q-6). The title of the piece is sometimes copied in the first page of music but never the author. The last page of the trio sonata is lost and sadly the work remains incomplete. The lack of the last page makes it plausible that the first page with the title and the name of the author is also lost. Which also makes sense with the bookbinding of the manuscript: 4 folios are attached with a cord. The forces used in the sonata are not very common in Vivaldi: although the special liking of Vivaldi for the violoncello, we have just one Sonata a violino e violoncello (RV 83, written around 1720). This sonata - RV 83 - it is quite different to the Trio Sonata RV 820 which is much closer to the sonatas written in the first decade of 18th century Op. 1, 1705 and RV 60, ca when the RV 820 manuscript is dated. This difference in style and taste is also very interesting to understand the change of musical taste that happened at the beginning of the 18th century and David Burrows s persuasive theory (published in 1973) of a shift of general cultural style (in music, but also in literature and pictorial art) around The first movement of the RV 820 is in form of an introduction of rapid notes of the violin followed by the violoncello upon a pedal note (perfidia) 6 leading to a contrapuntal section. This form is quite similar to other early works by Vivaldi such as the RV 75 (Op. 1 N.9) and RV 60. The opening motive of the second movement shows a clear influence of Arcangelo Corelli, being almost identic to the third movement of Corelli s Sonata III Op. V The third movement is a solo for the violin, the solo violoncello part does not appear anymore in the score. The movement starts with an introduction featuring again the perfidia resource, followed by a very short Adagio and finishing with a movement in 3/8 without indication but clearly a corrente. 7 The influence of Corelli proved in Vivaldi s early works, Opp. 1 and 2 8 is again obvious at the beginning of this section in triplets that reminds the opening movement of Corelli s Op. 1, N.9. The short Adagio (just three bars) following the introduction also shows the influence of other great musician of the period: Francesco Antonio Bonporti. Vivaldi uses the beginning of Bonporti s Op. 7, No. 7 for this little Adagio in the RV 820. Following this small Adagio there is a 3/8 corrente-like movement without any tempo indication. There are some similarities with some movements in the Op. 1 by Vivaldi such as the second sonata, second movement. The movement contained in the RV 820 is quite in the 5 Talbot, Michael. On the Cusps of Stylistic Change: Vivaldi s Sonata RV 820 for Violin, Cello and Continuo and its Seventeenth-Century Roots. Music in Transition. Birminhan Conservatory, A good definition of this term is found in the book by Steven David Zohn. Music for a Mixed Taste: style, genre, and meaning in Telemann's instrumental works. Oxford University Press, USA, 2008 Perfidia: A passage featuring brilliant figuration for one or more instruments over a pedal tone in the bass. The word is in works attributed to Torelli. This feature is used widely also by Vivaldi and demonstrates the influence of Torelli and Corelli on Vivaldi s early works. See: Talbot, Michael. Vivaldi. J.M. Dent, London, 1993, p. 140 and Talbot, Michael. The Vivaldi Compendium. The Boydell Press, 2012, p Vivaldi s music contains many more that exhibit clear corrente-like features without employing the actual dance title Talbot, Michael. The Vivaldi Compendium. The Boydell Press, p Talbot, Michael. The Vivaldi Compendium. The Boydell Press, 2012, p. 58 SNAKEWOOD EDITIONS

4 articulation marks very clearly written in the manuscript which are especially demanding because its variety and heterogeneity. The fourth movement of the sonata features the violoncello as solo instrument and the violin part does not feature in the score. The solo is divided in two parts: a short Adagio of seven bars followed by a 12/8 movement which has no indication of time but is a gig. The fact that the dance is not labelled as gig and that this dance doesn t occupy the last movement is also often found in Vivaldi s chamber music. 9 The most significant and important concordance in this piece with other Vivaldi s pieces is found in the gig for solo violoncello, which is, in its whole duration, a variant of the gig contained in the last movement of the violin sonata RV 10. The only surviving copy of the Sonata RV 10 is also preserved in Dresden. The Gig of the sonata RV 10 seems to be a more elaborated version of the gig in the RV 820, including new material (bars ; 24 28; 32 end) and an elaborated coda at the end. The material used in the bars 3 4 of the RV 820 is modified and expanded in the bars 3 6 and of RV 10. The same idea of the bars 3 6 and can be inferred in the pedal sections of the RV 10 (bars and 32 34). The dating of the sources ( for the RV 820 and for the RV 10) and the similarities between the two versions could confirm a later elaboration by Vivaldi of the same material. The last movement of the Trio sonata is a corrente, even though no indication or title is given to the movement. This movement is incomplete from bar 60. The more obvious similarities of the Corrente of the RV 820 with other works of Vivaldi are found in the second movement (corrente) of the trio sonata Op. 1 No. 8, RV 64. As the RV 820 is incomplete the material of the Vivaldi s Op. 1 No 8 had been used as reconstruction of the missing part of the RV 820. The section from bar 67 to 79 of the RV 820 is a literal transcription of the final corrente of the Op. 1 Num. 8 by Vivaldi. Francisco Javier Lupiáñez Talbot, Michael. The Vivaldi Compendium. The Boydell Press, 2012, p RISM-A/II RISM-A/II SNAKEWOOD EDITIONS

5 Sonata á Violino è Violoncello [RV 820] [Violino] [Violoncello] [I. No Indication] c B # c Ó Antonio Lucio Vivaldi Ed. Javier Lupiáñez Œ [Basso] c w w w 4 B? # Œ w w 8 # # J # # # # j 12 # # Œ Ó J Œ Ó J J Œ Œ

6 2 16 J # # # # J J Œ B J Œ # <#> J J # # 20 # # # nn # # B # # <#> # # # # # <#> #? # # j j j # j # n 24 # # Œ B Œ Œ J 28 B? # j 31 Œ Ó Œ Œ Œ

7 3 [II.] Adagio # J # J # J n J <#> # 3 # B # n #? # 3 3 # n # 11 # # J B <#> 20 # # J 1) B # #? J 25 # J B J # # U J 2) 3) U J 4) # U 1) Orig: (mistaken) Bass clef from bar 23, corrected to bar 24 instead. 2) Orig.: 3) Orig.: Missing barline 4) Orig.: Missing Fermata

8 4 1 [III.] Solo c 3 c w w w w w 6 Œ w w w w 10 w ww Adagio U w w J J 15 [Allegro] # J n U # # <#> <#> # # <#> <#> # # # <#> # # <#> # # B? 53 1) 1)Orig.:

9 [IV.] Violoncello Solo. Ad[agi]o B # # c J? B J J # # c # Œ # Œ # 4 B # # B? B U n J U # Œ 5 8 # 12 [No Indication] B 12 # # c J J J J Œ Œ # J j B # #? # J # # # 16 # # # # J # # J J 1) # j J j Œ Œ 20 # # J J J J J J J #J # J J # J J # Œ 25 # # # J j J # J <#> Œ Œ j j J J # J J J # J # J J # 30 n # J J B J J J J Œ # Œ # Œ Œ Œ Œ 34 B #? U # J J J J j U # Œ Œ J J J j j j J j 1)Orig: Missing note in the basso (A)

10 6 This page was intentionally left blank

11 [V. No Indication] 3 7 B 3 Ó Œ 3 9 B #? 17 J Œ 1) 25 B #? # J # # 33 # # Ó # # Œ Ó B? B 41 # # # # Œ B? # # # <#> # n <#> Œ Œ 1)Org.:

12 8 49 Œ Œ <#> Œ B # # # # # <#> # # # # 54 # J J Œ B # #? B # J? # 1) [Reconstruction] 60 j Œ Œ 68 piano piano Œ Œ Œ Œ Œ Œ Œ 1) Original incomplete (see introduction). Reconstruction by Javier Lupiáñez based on previous material and the Sonata Op. 1 Num. 8 by Antonio Vivaldi.

more consistent with the previous measure). Readings m. pt. reading First movement v1 v1 conc v2 rip v2 rip v1 conc v2 conc v2 con

more consistent with the previous measure). Readings m. pt. reading First movement v1 v1 conc v2 rip v2 rip v1 conc v2 conc v2 con Telemann: Concerto TWV 52:G2 This work is of interest as one of two early concertos by Georg Philipp Telemann (1681 1767) that J.S. Bach is certain to have known during his years at Weimar (1708 17), as