Posts Tagged ‘Camerata Capistrano’

A New Edition of Antonio Vivaldi’s Concerto in G Minor, RV 495

I’m very excit­ed today to release some­thing to the world on which I’ve spent a great deal of time: a new per­form­ing edi­tion of Anto­nio Vivaldi’s Con­cer­to in G minor for bas­soon, strings, and bas­so con­tin­uo (RV 495), pre­pared using a copy of Vivaldi’s own man­u­script. You can down­load the whole thing (for free!) at the end of this post. But first I’d like to talk a bit about my path to the piece and my meth­ods in cre­at­ing this edi­tion. I hope that this will all prove use­ful to some­one out there, par­tic­u­lar­ly since this is one of the required pieces for the 2014 Meg Quigley Vival­di Com­pe­ti­tion.

Vivaldi Autograph

I’ve played a cou­ple of Vivaldi’s oth­er con­cer­ti in the past. But my rela­tion­ship with this piece began last year, after Nad­i­na Mack­ie Jack­son did me the hon­or of ask­ing me to write the lin­er notes for the first disc in what will even­tu­al­ly be a set of all the Vival­di bas­soon con­cer­ti. I dove into the project with my cus­tom­ary gus­to — books lit­tered my desk and floor, and PDFs of mis­cel­la­neous Vival­diana deliv­ered to me by the wiz­ards of Inter­li­brary Loan sim­i­lar­ly clut­tered my lap­top screen. As far as I’m con­cerned, research is the fun part. If I could just keep find­ing and absorb­ing more sources with­out ever hav­ing to actu­al­ly write any­thing, I’d be that much hap­pi­er. But aside from the var­i­ous print mate­ri­als, I had a more-or-less con­stant Vival­di bas­soon con­cer­to sound­track — most­ly pre-release mix­es of Nadina’s record­ing, but also ver­sions by Michael McCraw, Ser­gio Azzoli­ni, Mau­rice Allard, and oth­ers.

By the time I had fin­ished the notes for Nad­i­na, I was thor­ough­ly fired-up about Vival­di and his 37 bas­soon con­cer­ti (plus two incom­plete works). So much so, in fact, that I asked Lor­na Peters, Sacra­men­to State’s won­der­ful harp­si­chord (and piano) teacher, if she’d con­sid­er pro­gram­ming one of them with Cam­er­a­ta Capis­tra­no, the school’s Baroque ensem­ble. Hap­pi­ly for me, she agreed, and I set about pick­ing a piece. It’s prob­a­bly not sur­pris­ing that I chose one of the con­cer­ti from Nadina’s disc (RV 495), with which I’d been singing along for weeks. There are many things I love about this con­cer­to. The first move­ment is fiery and flashy. The sec­ond move­ment fore­gos the upper strings entire­ly, cre­at­ing a beau­ti­ful and pas­sion­ate dia­log between soloist and con­tin­uo. The third move­ment is just all-out inten­si­ty — it starts with the whole ensem­ble in dri­ving uni­son (almost the Baroque equiv­a­lent of pow­er chords), and con­tains what I think is one of the best licks ever writ­ten for bas­soon (mm. 53–56).

I first per­formed the piece with Cam­er­a­ta Capis­tra­no in Feb­ru­ary of this year, and luck­i­ly we’ve had many chances to present it again since then. Our tenth per­for­mance will come this Sun­day, as part of the Bra­vo Bach Fes­ti­val in Sacra­men­to. This is the first time I’ve per­formed a sin­gle solo work so often, and I’ve found it to be an incred­i­bly instruc­tive and free­ing expe­ri­ence. The abil­i­ty to actu­al­ly take chances and try new things over the course of mul­ti­ple per­for­mances can shape your per­cep­tion of and rela­tion­ship to a piece in ways that are dif­fi­cult — if not impos­si­ble — to recre­ate in the prac­tice room or in a stand-alone per­for­mance. Even though I fin­ished school a num­ber of years ago, the one-and-done degree recital men­tal­i­ty is some­thing I’m still try­ing to shake. But that’s a top­ic for anoth­er post.

As soon as I’d set­tled on this con­cer­to, I knew that I want­ed to cre­ate my own per­form­ing edi­tion. At the time, I couldn’t locate an edi­tion with string parts (I’ve since found one, avail­able only from Ger­many). Plus, what bet­ter way to learn a piece back­wards and for­wards than to study the man­u­script and make up a new score and set of parts? I could eas­i­ly have used as my source the score pub­lished in 1957 as part of Ricordi’s Com­plete Works edi­tion. But the edi­tor, Gian Francesco Malip­iero, pro­vid­ed no crit­i­cal com­men­tary and appears to have made some edi­to­r­i­al deci­sions with­out explic­it­ly indi­cat­ing that he’d done so. So instead, I went right to Vivaldi’s own man­u­script.

Vivaldi's shorthand for whole-ensemble unison writing

Vivaldi’s short­hand for whole-ensem­ble uni­son writ­ing

Vivaldi’s bas­soon con­cer­ti (and indeed most of his works) were not pub­lished in his own life­time, and are only known to us through a mas­sive col­lec­tion of man­u­script scores that now resides at the Bib­liote­ca Nazionale in Turin, Italy. Most of these are in the composer’s own hand, and the col­lec­tion con­tains many incom­plete sketch­es and drafts. These are strong indi­ca­tions that the col­lec­tion was Vivaldi’s own com­pendi­um of his works, and as such, the scores are far from per­for­mance-ready. The com­pos­er made exten­sive use of short­hand tech­niques, includ­ing dal seg­ni that would be awk­ward in per­for­mance and sim­ply indi­cat­ing uni­son parts instead of writ­ing out the same music on mul­ti­ple lines (see the exam­ple at right).

Beyond expand­ing this short­hand, I endeav­ored to keep my edi­to­r­i­al hand as light as pos­si­ble. But inevitably, there were a few instances in which I made changes or inter­pre­tive deci­sions. I have detailed these in a crit­i­cal report with­in the score. I have not added any artic­u­la­tions, dynam­ics, orna­ments, or any oth­er per­for­mance sug­ges­tions; these are total­ly “clean” parts. There are, how­ev­er, a few impor­tant ways in which this edi­tion dif­fers from the Ricor­di edi­tion (and oth­er edi­tions that have used Ricor­di as their source):

  • Through­out the con­cer­to, Vival­di indi­cates that the soloist should join the con­tin­uo line dur­ing tut­ti sec­tions. Except for the few pas­sages in which Vival­di did not make such an indi­ca­tion, I have pro­vid­ed the soloist with the bass line in small nota­tion. The Ricor­di score leaves rests for the bas­soon in all of these pas­sages.
  • Mea­sures 211–214 of the Presto are in D minor in Vivaldi’s man­u­script. In mea­sure 211 it appears that he has writ­ten and then wiped away or scratched out a sharp sym­bol on an F in the Vio­la part, but there are no oth­er F-sharps marked in those mea­sures. There is then a sud­den change to D major in mea­sure 215. The Ricor­di score places the whole pas­sage in D major.
  • Mea­sure 260 of the Presto does not exist in the Ricor­di edi­tion. This comes at the end of the last solo sec­tion, and the final ritor­nel­lo is a repeat of mea­sures 23–55. In Vivaldi’s man­u­script, he wrote out a full mea­sure of res­o­lu­tion (my bar 260), and then indi­cat­ed a dal seg­no to mea­sure 23. Ricor­di omit­ted this mea­sure, and instead elid­ed the last solo cadence with the begin­ning of the final ritor­nel­lo.
  • Vival­di wrote artic­u­la­tion marks over the eighth notes in the solo part in mea­sures 249–252 and 258–259. The Ricor­di edi­tion ren­ders all of these marks as stac­cati. But in Vivaldi’s hand, the marks in mea­sures 258–259 are clear­ly longer than those in 249–252 (see below). Thus, I have marked the eighth notes in 249–252 as stac­ca­to and those in 258–259 with wedges.
Two types of Vivaldi's articulation marks

Two types of Vivaldi’s artic­u­la­tion marks

For the actu­al engrav­ing of the score and parts, I used Lily­Pond, which I also used for my fin­ger­ing charts. It can be kind of a has­sle but pro­duces very ele­gant results. Also like my fin­ger­ing charts, I’m releas­ing this under a Cre­ative Com­mons Attri­bu­tion-Non­Com­mer­cial-Share­Alike license. Basi­cal­ly, it means you can use, alter, copy, or dis­trib­ute this how­ev­er you’d like, so long as you give me cred­it and don’t sell it.

It is impor­tant to note that this edi­tion does not include a key­board reduc­tion. It is suit­able only for study or for per­for­mance with string play­ers and a com­pe­tent harp­si­chordist. If you need a ful­ly writ­ten-out key­board part, I would rec­om­mend the new bassoon/piano edi­tion pub­lished by TrevCo Music Pub­lish­ing (they list it under its Fan­na num­ber: F8#23).

And now, with­out fur­ther ado, here it is:

Complete Score and Parts (ZIP)

Vival­di RV 495 — Com­plete Set

Individual Files (PDFs)

Vival­di RV 495 — Bas­soon
Vival­di RV 495 — Vio­lin 1
Vival­di RV 495 — Vio­lin 2
Vival­di RV 495 — Vio­la
Vival­di RV 495 — Bas­so Con­tin­uo
Vival­di RV 495 — Bas­so Con­tin­uo (alter­nate ver­sion with the sec­ond move­ment in score)
Vival­di RV 495 — Score

Although I’ve gone over all of this with a num­ber of fine-tooth combs, I’d wel­come any cor­rec­tions, com­ments, or oth­er feed­back.

Spring Events at Sacramento State

Sacramento State logo

Today begins an excit­ing semes­ter full of bas­soon events at Sacra­men­to State. Most events are free, and all are open to the pub­lic. We’ve got stu­dent per­for­mances, guest artists, a mas­ter­class or two, and I’m play­ing both a baroque con­cer­to and two pro­grams of new and recent music. See the Music Depart­ment Cal­en­dar for park­ing and tick­et infor­ma­tion and oth­er details.

Tay­lor Haug­land with John Coz­za, piano
Junior Recital
Thurs­day, Feb­ru­ary 28, 4pm (Capis­tra­no Hall Room 151, free)

Junior Performace/Music Edu­ca­tion major Tay­lor Haug­land will per­form works by Camille Saint-Saëns, Carl Maria von Weber, Jean Daniel Braun, and Carl Nielsen.

Brett Van Gans­beke, baroque bas­soon
Guest Artist Recital and Mas­ter­class
Thurs­day, March 14, 4pm (Capis­tra­no Hall Room 151, free)

Brett Van Gans­beke holds the Doc­tor of Music degree from Indi­ana University’s Jacobs School of Music, where he stud­ied with one of the world’s pre­em­i­nent Baroque bas­soon­ists, Michael McCraw. Dr. Van Gans­beke will per­form a short recital of works by Baroque com­posers, and then work with Sac State bas­soon­ists in a mas­ter­class for­mat.

Scott Pool, bas­soon and Steven Caplan, oboe with Nat­su­ki Fuku­sawa, piano and Robin Fish­er, sopra­no
Guest Artist Recital
Tues­day, April 2, 7:30pm (Capis­tra­no Music Recital Hall, $10 gen­er­al, $7 senior, $5 stu­dent)

Guests Scott Pool (Assis­tant Pro­fes­sor of Bas­soon, Uni­ver­si­ty of Texas at Arling­ton) and Stephen Caplan (Pro­fes­sor of Oboe, Uni­ver­si­ty of Neva­da Las Vegas) are joined by pianist Nat­su­ki Fuku­sawa and sopra­no Robin Fish­er in a recital of works by Rach­mani­nov, Sun­ny Knable, Jen­ni Bran­don, Miguel del Aguila, and oth­ers.

TuBas­soon (Julian Dixon, tuba and David A. Wells, bas­soon)
U-Nite at the Crock­er Art Muse­um
Thurs­day, April 11, 5–9pm (216 O Street, Sacra­men­to, CA, free with muse­um admis­sion or Sac State ID)

This low-down duo will per­form numer­ous short works as part of an evening of music, dance, the­ater, pho­tog­ra­phy, design, art, film, and poet­ry at the Crock­er Art Muse­um.

Ohne Name (Dana Jessen and David A. Wells, bas­soons)
Faculty/Guest Artist Recital
Thurs­day, April 25, 4pm (Capis­tra­no Hall Room 151, free)

Ohne Name per­forms 20th and 21st cen­tu­ry reper­toire writ­ten or adapt­ed for two bas­soons. This con­cert will include works by Igor Stravin­sky, Sofia Gubaiduli­na, Marc Mel­lits, and William Davis.

Sac State Bas­soon Stu­dio Recital with John Coz­za, piano
Tues­day, May 7, 8pm (Capis­tra­no Music Recital Hall, free)

Fea­tur­ing indi­vid­ual per­for­mances by the mem­bers of the bas­soon stu­dio plus the antics of the Sac State Bas­soon Quar­tet.

David A. Wells with Cam­er­a­ta Capis­tra­no, under the direc­tion of Lor­na Peters
Vivaldi’s Bas­soon Con­cer­to in G Minor, RV 495
Sun­day, May 12, 4pm (Capis­tra­no Hall Room 151, $10 gen­er­al, $7 senior, $5 stu­dent)

Anto­nio Vival­di wrote a stag­ger­ing 39 con­cer­tos for bas­soon, of which 37 exist in com­plete form. The Con­cer­to in G minor (RV 495) is one of the most intense of these, and dis­plays the composer’s mas­ter­ful grasp of both the tech­ni­cal vir­tu­os­i­ty and emo­tion­al depth attain­able on the bas­soon. Oth­er works TBA.