Uploaded byjoansoco
1,819 views

Veni, veni, me sequere fida; Antonio Vivaldi

The document contains sheet music for the aria "Veni, veni me sequere fida" from Antonio Vivaldi's opera Juditha Triumphans. The sheet music includes musical notation for the alto voice and accompaniment by strings and continuo instruments. It was edited and printed using free and open source software to allow for non-commercial copying and distribution. Criticism and suggestions are welcome.

Embed presentation

Downloaded 10 times
Antonio Vivaldi Veni, veni me sequere fida Juditha Triumphans RV644 (I, 23) Aria di Juditha per contralto, salmo`e, archi e continuo for alto, salmo`e, strings and continuo A cura di Edited by Luigi Cataldi c 8/2006 Luigi Cataldi (luicatal@interfree.it) Non-commercial copying welcome http://icking-music-archive.org/
La presente partitura `e stata stampata impiegando solo software non commerciale (TEX, la macro musicale MusiXTEX e i preprocessori MTX e PMX) e pu`o essere copiata e distribuita liberamente purch´e senza scopo di lucro. Critiche, suggerimenti e correzioni sono graditi e vanno inviati all’indirizzo luicatal@interfree.it. This score is printed using only free software (TEX, the macro package MusiXTEX and the preprocessors MTX and PMX) and may be copied freely but only for non-commercial use. Criticism, suggestion and correction are welcome and may be sent to luicatal@interfree.it. c 8/2006 Luigi Cataldi (luicatal@interfree.it) Non-commercial copying welcome http://icking-music-archive.org/
‹ › ‹ › ă Basso Juditha Viola Violini Salmo`e I G G K G G 22 22 22 22 22 22 S S S S S S Veni, veni me sequere fida Antonio Vivaldi (1678–1741) ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ Sordini ˇ` ŊŊŘŘ ˇ ˇ` ŊŊŘŘ ˇ ˇ` ŊŊŘŘ ˇ ˇ` ŊŊŘŘ ˇ = = = ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ` ĞĞŁŁ ˇ ˇ` ĞĞŁŁ ˇ ˇ` ĞĞŁŁ ˇ ˇ` ĞĞŁŁ ˇ = = = ‹ › ‹ ›  ă I G G K G G 22 22 22 22 22 22 ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ÊÊÊÊ ˇ ˇ ˇ ˇ ÊÊÊÊ ˇ = = = ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ tr˘ ˇ > = = = c 8/2006 Luigi Cataldi (luicatal@interfree.it) http://icking-music-archive.org/ 3
‹ › ‹ ›  ă I G G K G G 22 22 22 22 22 22 ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ` ĞĞŁŁ ˇ ˇ` ĞĞŁŁ ˇ ˇ` ĞĞŁŁ ˇ ˇ` ĞĞŁŁ ˇ = = = ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ÏÏÏÏÐÐ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ÏÏÏÏÐÐ ˇ = = = ‹ › ‹ ›  ă I G G K G G 22 22 22 22 22 22 ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ` ĞĞŁŁ ˇ ˇ` ĞĞŁŁ ˇ ˇ` ĞĞŁŁ ˇ ˇ` ĞĞŁŁ ˇ = = = ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ÏÏÏÏÐÐ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ÏÏÏÏÐÐ ˇ = = = 4 http://icking-music-archive.org/ c 8/2006 Luigi Cataldi (luicatal@interfree.it)
‹ › ‹ ›  ă I G G K G G 22 22 22 22 22 22 ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ` ĞĞŁŁ ˇ ˇ` ĞĞŁŁ ˇ ˇ` ĞĞŁŁ ˇ ˇ` ĞĞŁŁ ˇ = = = ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ > ˇ` ĄĄĎĎ ˇ ˇ` ĄĄĎĎ ˇ ˇ` ĄĄĎĎ ˇ ˇ` ĄĄĎĎ ˇ ˇ` ĄĄĎĎ ˇ ˇ` ĄĄĎĎ ˇ = = = ‹ › ‹ ›  ă I G G K G G 22 22 22 22 22 22 ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ` ÁÁÄÄ ˇ ˇ` ĄĄĎĎ ˇ ˇ` ĄĄĎĎ ˇ ˇ` ĄĄĎĎ ˇ ˇ` ÁÁÄÄ ˇ ˇ` ĄĄĎĎ ˇ ˇ` ĄĄĎĎ ˇ ˇ` ĄĄĎĎ ˇ = = = ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ` ĄĄĎĎ ˇ ˇ` ĄĄĎĎ ˇ ˇ` ĄĄĎĎ ˇ ˇ` ĄĄĎĎ ˇ = = = c 8/2006 Luigi Cataldi (luicatal@interfree.it) http://icking-music-archive.org/ 5
‹ › ‹ ›  ă I G G K G G 22 22 22 22 22 22 ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ĆĆĎĎ ˇ ˇ ççˇ tr ˇ` - ˇ = = = ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ¯¯ ¯ ` > Ve )ˇ -ni, )ˇ ve (ˇ - ni, )ˇ me )ˇ se - ˇ - que )ˇ -re )ˇ ˇ > < ˇ > < ˇ > < ‹ › ‹ ›  ă I G G K G G 22 22 22 22 22 22 ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘˘˘ ˘ ˇ ˇ ˇ ˇ fi (ˇ - da (ˇ A - ˇ - bra a (ˇ - ma (ˇ - ta, (ˇ Spon - ˇ - so or (ˇ = = = ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ¯¯ ¯ - ba (ˇ - ta. (ˇ > > Tur (ˇ - tur (ˇ > ˇ ˇ ˇ ŁŁŁŁ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ÊÊÊÊ ˇ = = 6 http://icking-music-archive.org/ c 8/2006 Luigi Cataldi (luicatal@interfree.it)
‹ › ‹ ›  ă I G G K G G 22 22 22 22 22 22 ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ¯ ˘˘ ˘˘ ge ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ > < = = ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 6ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘ˇ`ˇ` ˇ ĄĄČČ ˇ ˇˇ ˘ ˘ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ÈÈÉÉ ˇ ˇ 6ˇ ˇ ˇ = = = ˇ > < ˇ ˇˇ > < (ˇ - - - - - - - - mo, (ˇ > ge - ˇ - mo (ˇ ? ac (ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ‹ › ‹ ›  ă I G G K G G 22 22 22 22 22 22 < ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘ < ˘˘ spi ˇ ÉÉ ˇ - - ro (ˇ 6 in (ˇ te. ˇ > ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ > ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ > tr ˇ > ˇ` ĞĞŁŁ ˇ ˇ` ĞĞŁŁ ˇ 6ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ¯ ˘ ˘˘ ˇ` ŊŊŘŘ ˇ ˇ` ŊŊŘŘ ˇ ˇ` ŊŊŘŘ ˇ ˇ` ŊŊŘŘ ˇ = = = c 8/2006 Luigi Cataldi (luicatal@interfree.it) http://icking-music-archive.org/ 7
‹ › ‹ ›  ă I G G K G G 22 22 22 22 22 22 6ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ > ˘ ˘ ˇˇ ˇ ˇ ˇ > < > Ve (ˇ - ni, (ˇ < ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ < ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ` ŞŞ ˇ ˇ` ŞŞ ˇ ˇ ÏÏ ˇ > ve - ˇ - ni, )ˇ me )ˇ 2 se (ˇ - que . ˇ re )ˇ fi (ˇ - da (ˇ A (ˇ -bra a - ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ = = = - ma ˇ ÎÎÎÎ ˇ -ta, (ˇ Spon - ˇ so or (ˇ ba (ˇ - ta. (ˇ > ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ < > ˇ ČČ ˇ = = ‹ › ‹ ›  ă I G G K G G 22 22 22 22 22 22 ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ = = = > Tur (ˇ - tur (ˇ ge ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ tr ¯ = = - - - 8 http://icking-music-archive.org/ c 8/2006 Luigi Cataldi (luicatal@interfree.it)
‹ › ‹ ›  ă I G G K G G 22 22 22 22 22 22 ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ - - mo, ˇ > ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ = = Tasto solo ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ > tur (ˇ - tur ˇ ÎÎÎÎ ˇ ge ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ > < ˇ > < tr ˘ < = ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ = = = - - - - - - ‹ › ‹ ›  ă I G G K G G 22 22 22 22 22 22 ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ = = = ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ > ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ - - - - - - - - - mo, ˇ ? ac (ˇ < ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ < ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ? - ˇ = c 8/2006 Luigi Cataldi (luicatal@interfree.it) http://icking-music-archive.org/ 9
‹ › ‹ ›  ă I G G K G G 22 22 22 22 22 22 spi (ˇ - ro, (ˇ ? ac - ˇ spi - ˇ - ro ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ÃÃ ˇ ? - ˇ - ˇ ˇ in - ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ÏÏÏÏÏÏ ˇ = = te, ˘ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ÏÏÏÏÐÐ ˇ ˇ tur - ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ - tur (ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ = = ‹ › ‹ ›  ă I G G K G G 22 22 22 22 22 22 ge ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ = = ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ĹĹĽĽ ˇ P - - - - - - - mo, - ˇ ac (ˇ ? (ˇ ? (ˇ ? - ˇ = = spi ˇ ˇ ˇ ˇ (ˇ` ˇ ˇ tr ˇ - ro in . ˇ te. ˇ > ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ = = 10 http://icking-music-archive.org/ c 8/2006 Luigi Cataldi (luicatal@interfree.it)
‹ › ‹ ›  ă I G G K G G 22 22 22 22 22 22 ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ÏÏÏÏÐÐ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ = = = ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ÏÏÏÏÐÐ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ = = = ‹ › ‹ ›  ă I G G K G G 22 22 22 22 22 22 ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ > ˇ ˇ ˇ ˇ ˇ ˇ ˇ ČČČČ ˇ ˇ ˇ ˇ ČČČČ ˇ ˇ ˇ ˇ ČČČČ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ČČČČ ˇ = = = ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ` ĄĄČČ ˇ ˇ` ĄĄČČ ˇ ˇ ˇ ĹĹĽĽ ˇ ˇ óóˇ = = = < < < ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ tr ˇ` - ˇ P > P > P > P ˇ Pˇ Pˇ ˇ áá ˇ ˇ4ˇ 4 ˇ6 ÉÉ ˇˇ Di (ˇ 6 - ræ (ˇ > > > c 8/2006 Luigi Cataldi (luicatal@interfree.it) http://icking-music-archive.org/ 11
‹ › ‹ ›  ă I G G K G G 22 22 22 22 22 22 ˇ 4ˇˇ ˇ 4 sor (ˇ 4ˇ 6ˇ ˇ - tis )ˇ tu )ˇ ˇ ˇˇ ˇ so - ˇ ÊÊˇ ˇˇ ŤŤ ˇ -cia )ˇ con )ˇ ˇ ˇ ˇ ŁŁ ˇ ˘ ˇˇ ˇˇ fi (ˇ -da (ˇ De (ˇ bel - ˇ = = = ˇ ˇ ˘ ˇ - la ˇ ÎÎÎÎ ˇ - ta ˇ ÎÎÎÎ ˇ ˇ ÐÐˇ ˇ Sor (ˇ te in (ˇ ˇ ˇ ˇ` ˇ gra ˇ ÎÎÎÎ ˇ - ta, ˇ ÎÎÎÎ ˇ ˇ 4ÊÊˇ 6 - ˇˇ sor (ˇ te in (ˇ = = = ˇ > < ˇ4ˇ > < -gra (ˇ 4 - ta, (ˇ > > so (ˇ - ciam (ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 6ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 4ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ‹ › ‹ ›  ă I G G K G G 22 22 22 22 22 22 6 læ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 4ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 4ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 6ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ > < = = ˇ 4ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 4ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ - ˇ ˇ ˇ - - - - - - tæ )ˇ ha )ˇ ˇ ˇ ÈÈÉÉ ˇ be (ˇ -bis (ˇ ˇ ŁŁ ˇ ˇ 4 ÔÔ ˇ = = = ˇ ˇ ˇ ˇ ĹĹ ˇ ˇ¯ me. ˇ > ˇ > ˇ > ˇ ˇ ˇ ˇ ˇ 6ˇÉÉÉÉÊÊ ˇ 7 ˇ 6ˇ 4ˇ 4ˇ ˇ 6ˇ < < < 4ˇ ˇ ˇ ˇ ˇ ˇ ˇ ÏÏÏÏÐÐ ˇ 12 http://icking-music-archive.org/ c 8/2006 Luigi Cataldi (luicatal@interfree.it)
‹ › ‹ ›  ă I G G K G G 22 22 22 22 22 22 ˇ - ˇ ? 4 (ˇ ? 6 (ˇ ? ˇ - ˇ ? 6 - ˇ ? - ˇ ? ˇ (ˇ ? (ˇ ? (ˇ ? > De (ˇ bel - ˇ -la - ˇ 6 -ta (ˇ Sor (ˇ te in (ˇ > - ˇ ? 6 - ˇ ? - ˇ ? > - ˇ ? - ˇ ? - ˇ ? ˇ ÔÔ ˇ > < 6 (ˇ ? - ˇ ? (ˇ ? gra (ˇ ta, (ˇ - ˇ ? - ˇ ? < 2 (ˇ ? ˇ ˇ ˇ ˇ ˇ ˇ - ˇ ? 4 ˘6˘(ˇ ? ˘ sor ˇ ÎÎÎÎ ˇ 6 - te )ˇ in )ˇ gra (ˇ 4 - ta, (ˇ > - ˇ ? 6ˇ > - ˇ ? 6ˇ > ˇ ˇ ˇ ˇ 6ˇ ˇ 4ˇ 6ÐÐÐÐÐÐ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘˘˘ > 6 so (ˇ ˇ ˇ ˇ ˇ -ciam (ˇ 6ˇ ˇ 4ˇ 6ÐÐÐÐÐÐ ˇ ˇ > ˇˇˇ > læ ˇ ˇ 4ˇ ˇ ˇ ˇ ˇ ˇ ˇ > = = - - ‹ › ‹ ›  ă I G G K G G 22 22 22 22 22 22 6ˇ > ˇ > 6ˇˇ ˇˇˇ > ˇ > ˇ 6ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ < ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ = = ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘˘ ˘ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘ˇ ˇ ˇ` 6ˇ ˇ ˇ ÈÈÉÉ ˇ ÁÁÃà ˇ ˇ ĎĎ ˇ ˇ ĎĎ ˇ - - - - - - - - tæ (ˇ ha (ˇ ˇ 6 ÉÉ ˇ = = ˇ ˇ ˇ` - be ˇ ˇ ˇ 4ˇ 6 - bis ˇ tr 4ˇ (ˇ Da Capo P ˘ ˘ P ˘ P me. ˘ P˘ = = c 8/2006 Luigi Cataldi (luicatal@interfree.it) http://icking-music-archive.org/ 13
Note Criteri editoriali • Viene impiegata la notazione moderna e vengono segnalate in nota le divergenze rispetto all’originale. • Gli errori, le omissioni e le sviste presenti sull’autografo sono corretti dal curatore e segnalati in nota. • Di regola non si segnala: il cambiamento della direzione dei gambi delle note; la variazione del numero di note raggruppate sotto la stessa coda; l’indicazione enarmonica equivalente degli accidenti1 ; l’aggiunta delle pause mancanti. Fonte Torino, Biblioteca Nazionale, fondo “Fo`a”, vol. 28, cc. 209– 302. Formato oblungo. Autografo. Edizione in facsimile: “Quaderni dell’Accademia chigiana”, Siena 1948, pp. 1–179. Aria di Juditha: pp. 73–78 (usata per questa edizione). Libretto: “Jacobi Cassetti” (Jacopo Cassetti), Venezia 1716, “Apud Bartolomæum Occhium, sub signo S. Dominici”. Prima rappresentazione: Venezia, Ospedale della Piet`a, novembre 1716. Titolo: Juditha Triumphans devicta Holofernis barbarie, “Sacrum militare oratorium”, RV 644. Titolo dell’aria di Juditha (Pars Prior, n. 23): Veni, veni me sequere fida. Notazione Sistemi da 5 pentagrammi, che, dal basso, sono cos`ı predisposti: Basso (chiave di basso), Juditha (Contralto, chiave di contralto), Viola (chiave di contralto), Violini (chiave di violino), Salmo`e (chiave di violino). Particolarit`a • Estensione della parte del canto: Do 3 – Re4 • Assieme al canto vi `e uno strumento obbligato, il ‘salmo`e’, meglio noto con il nome francese di ‘chalumeau’. Si tratta di uno strumento ad una sola ancia simile al clarinetto. Quello usato qui `e, a giudicare dall’estensione (La3 – Si 4 ), il pi`u acuto (soprano). Vivaldi lo impiega per imitare il gemito della tortora di cui parla il testo. • Per rendere il carattere intimo dell’aria Vivaldi elimina in molti punti il basso con il relativo continuo e lo sostituisce con un ‘bassetto’ di viole e violini. Alle bb. 31-36 questa pratica `e associata ad una strana notazione sintetica: il violoncello tace; sul rigo dei violini `e notata, in chiave di basso la linea inferiore, in un registro inaccessibile per lo strumento; sul rigo della viola compare la scritta “Ut Sup:a ” (come sopra). Vivaldi ha insomma notato il basso come se dovesse essere suonato dal violoncello ed ha lasciato agli esecutori coinvolti (violini e viola) la necessaria trasposizione ad un registro adatto allo strumento. • Compare una sola cifra per il basso alla b. 47. Testo Veni, veni, me sequere fida Abra amata, Sponso orbata. Turtur gemo ac spiro in te. Diræ sortis tu socia confida Debellata Sorte ingrata, Sociam laetæ habebis me. Basso continuo La semplice realizzazione del basso continuo, fornita dal revisore, pensata per l’organo, `e posta in corpo minore. `E anche disponibile una versione della partitura priva della realizzazione del basso continuo, con un rigo vuoto. Note2 24, J. I gambi delle prime tre note sono erroneamente uniti. 28, B. L’indicazione “Tasto solo” `e posta alla b. 29. 31t3–36t2, Vl. La parte `e annotata in chiave di basso un’ottava sotto ed `e dunque fuori dall’estensione del violino. La trascrizione `e stata effettuata all’ottava superiore, con occasionali alterazioni d’ottava alle bb. 33 e 36. Un’esatta trascrizione all’ottava superiore si trova nel rigo della viola. 31t3–36t2, Va. Vi `e una chiave di basso seguita dall’indicazione “Ut Sup:a ” (come sopra). La trascrizione `e stata effettuata all’ottava superiore. 44, Vl. Senza il sul primo fa. 45, Vl. Senza il sul primo mi. 1 Vivaldi usa la notazione relativa degli accidenti: per indicare un suono abbassato di un semitono (es.: do anzich´e do dopo un do ). 2 Le note critiche sono precedute dal numero di battuta e da un simbolo indicante il pentagramma a cui si riferiscono: B (Basso), J (Juditha), Va (Viola), Vl (Violini), S (Salmo`e). 14 http://icking-music-archive.org/ c 8/2006 Luigi Cataldi (luicatal@interfree.it)
Notes Editorial method employed in this edition • The notation has been modernized and differences from the original source are indicated in the critical notes. • Declarations of the abbreviations and corrections of mistakes are mentioned in the Critical Notes when not evident from the score itself. • Insertion of omitted rests, beamings, stem directions and enharmonic indications of the same pitch have been silently modified1 . The source Torino, Biblioteca Nazionale, “Fo`a”, vol. 28, fols. 209–302. Oblong volume. Autograph. Facsimile edition: “Quaderni dell’Accademia chigiana”, Siena 1948, pp. 1–179. Aria di Juditha: pp. 73–78 (used for this edition). Libretto: “Jacobi Cassetti” (Jacopo Cassetti), Venezia 1716, “Apud Bartolomæum Occhium, sub signo S. Do- minici”. First performance: Venezia, Ospedale della Piet`a, Novem- ber 1716. Title: Juditha Triumphans devicta Holofernis barbarie, “Sacrum militare oratorium”, RV 644. Title of the Juditha’s aria (Pars Prior, n. 23): Veni, veni me sequere fida. Notation 5 staves system ordered in this way (from bottom to top): Bass (bass clef), Juditha (alto, alto clef), Viola (alto clef) Violins (treble clef), Salmo`e (treble clef). Peculiarity • Compass of the vocal part: C 3 – D4 • Vivaldi employs the ‘salmo`e’ (a small reed instrument, resembling a clarinet) in order to emulate the turtledove mentioned in the lyrics. Compass: A3 – B 4 • Frequently the bass remains silent, while a ‘basset’ is played by the viola and by the violins. On bars 31-36 this sort of basset, notated in bass clef, is placed in the violin part and is out of the instrument’s compass. The viola staff is empty and contains only a bass clef followed by the words “Ut Sup:a ” (like above). In this case the choice of the correct range is left to the players. • Only at bar 47 appear a number for the figured bass. Text Veni, veni, me sequere fida Abra amata, Sponso orbata. Turtur gemo ac spiro in te. Diræ sortis tu socia confida Debellata Sorte ingrata, Sociam laetæ habebis me. Figured bass A simple realization of the continuo, intended for organ, supplied by the editor, is given in small print. A version without this realization, with an empty staff, is also available. Notes2 24, J. The stems of the first 3 notes are tied together. 28, B. The inscription “Tasto solo” is placed on b. 29. 31t3–36t2, Vl. Notated in bass clef a octave lower and out of the compass of the instrument. The part have been written an octave upper with occasional octave changes at bb. 33 and 36. See the exact transcription an octave upper in the viola part. 31t3–36t2, Va. Empty bars containing only a bass clef sign followed by the inscription “Ut Sup:a ” (like above). 44, Vl. Without on 1st F. 45, Vl. Without on 1st E. 1 E.g. C in order to indicate C after C . 2 Notes are preceded by the appropriate bar number and a symbol for the staff line: B (Bass), J (Juditha), Va (Viola), Vl (Violins), S (Salmo`e). c 8/2006 Luigi Cataldi (luicatal@interfree.it) http://icking-music-archive.org/ 15

More Related Content

PDF
Hajj or Umra by Shykh Bin Baz
byFahad Javed
 
PDF
Kromer 91
byjoansoco
 
PDF
Thuille Sexteto
byjoansoco
 
PDF
Bramhs s._376.brahms dos lieds
byjoansoco
 
PDF
Teleman concierto para dos clarinetes
byjoansoco
 
PDF
Magnani-solodeconcert
byjoansoco
 
PDF
C avallini el carnaval de venecia
byjoansoco
 
PDF
Weber carl-maria-von-variations-for-clarinet-and-piano-clarinet-
byjoansoco
 
Hajj or Umra by Shykh Bin Baz
byFahad Javed
 
Kromer 91
byjoansoco
 
Thuille Sexteto
byjoansoco
 
Bramhs s._376.brahms dos lieds
byjoansoco
 
Teleman concierto para dos clarinetes
byjoansoco
 
Magnani-solodeconcert
byjoansoco
 
C avallini el carnaval de venecia
byjoansoco
 
Weber carl-maria-von-variations-for-clarinet-and-piano-clarinet-
byjoansoco
 

Viewers also liked

PDF
Mozart divertimento-nr_5_kv439b
byjoansoco
 
PDF
Concertino para clarinete y orquesta ferruccio busoni
byjoansoco
 
PDF
D. José Taléns Sebastiá/Enrique Pérez Piquer
byjoansoco
 
PDF
Beethoven trio-op.11.Violín/Clarinete/ Violonchello/Piano
byjoansoco
 
PDF
Fasch conc l_b1./concierto para chalumeau ,string y baso continuo
byjoansoco
 
PDF
Saint sa -ns_-_tarentelle__op._6__orch._score_
byjoansoco
 
PDF
Messiaen Cuarteto para el fin de los tiempos.PARTITURA
byjoansoco
 
PDF
Ernesto cavallini.dúo para flauta y clarinete
byjoansoco
 
PDF
Duo no. 2 crusell.para dos clarinetes
byjoansoco
 
PDF
Teleman;Concierto para dos Chalumeaux
byjoansoco
 
PDF
Beethoven septet op-20
byjoansoco
 
PDF
estudio número 5-1.mus
byjoansoco
 
PDF
Weber, quinteto para clarinete y cuarteto de cuerda
byjoansoco
 
PDF
Strauss --duet_concertino__orch._score_
byjoansoco
 
PDF
Estudio de articulación número 1
byjoansoco
 
PDF
Prelude para clarinete solo. Penderecki
byjoansoco
 
PDF
Estudio de articulación núm 3
byjoansoco
 
PDF
Mozart Serenata para 8 instrumentos de viento k.388
byjoansoco
 
PDF
J /brahms serenade no.2__op.16
byjoansoco
 
PDF
Mozart quintet k452_autograph
byJose Antonio Solé
 
Mozart divertimento-nr_5_kv439b
byjoansoco
 
Concertino para clarinete y orquesta ferruccio busoni
byjoansoco
 
D. José Taléns Sebastiá/Enrique Pérez Piquer
byjoansoco
 
Beethoven trio-op.11.Violín/Clarinete/ Violonchello/Piano
byjoansoco
 
Fasch conc l_b1./concierto para chalumeau ,string y baso continuo
byjoansoco
 
Saint sa -ns_-_tarentelle__op._6__orch._score_
byjoansoco
 
Messiaen Cuarteto para el fin de los tiempos.PARTITURA
byjoansoco
 
Ernesto cavallini.dúo para flauta y clarinete
byjoansoco
 
Duo no. 2 crusell.para dos clarinetes
byjoansoco
 
Teleman;Concierto para dos Chalumeaux
byjoansoco
 
Beethoven septet op-20
byjoansoco
 
estudio número 5-1.mus
byjoansoco
 
Weber, quinteto para clarinete y cuarteto de cuerda
byjoansoco
 
Strauss --duet_concertino__orch._score_
byjoansoco
 
Estudio de articulación número 1
byjoansoco
 
Prelude para clarinete solo. Penderecki
byjoansoco
 
Estudio de articulación núm 3
byjoansoco
 
Mozart Serenata para 8 instrumentos de viento k.388
byjoansoco
 
J /brahms serenade no.2__op.16
byjoansoco
 
Mozart quintet k452_autograph
byJose Antonio Solé
 

More from joansoco

PDF
Analisis interpretativo de la sonata nº 2 brahms
byjoansoco
 
PDF
sholem-alekhem rov feidman clarinet
byjoansoco
 
PDF
D. José Talens Sebastiá
byjoansoco
 
PDF
Bach
byjoansoco
 
PDF
Saint saens. introducción y rondó caprichoso
byjoansoco
 
PDF
duo ritmico para dos clarinetes
byjoansoco
 
PDF
Sonatas para violín solo bach
byjoansoco
 
PDF
Sonatas para violín solo bach
byjoansoco
 
PDF
Beethoven septet op-20
byjoansoco
 
PDF
Beethoven septet op-20
byjoansoco
 
PDF
Catálogo vídeos publicados en http://jose-antoniosole.blogspot.com.es/
byjoansoco
 
PDF
El cuidado de la cara en los instrumentistas de viento
byjoansoco
 
PDF
Triptico curso clarinete_perez_piquer
byjoansoco
 
PDF
Cartel curso de clarinete
byjoansoco
 
PDF
Las enfermedades laborales en los músicos
byjoansoco
 
PDF
Patologias muscoesqueleticas en Clarinetistas
byjoansoco
 
PDF
Anlisisconciertoprimerconciertodeweber
byjoansoco
 
PDF
Estudio de articulación num 2
byjoansoco
 
PDF
Miguel Yuste/ GLORIA ARACELI RODRIGUEZ LORENZO
byjoansoco
 
PDF
Teleman concierto para dos chalumeau
byjoansoco
 
Analisis interpretativo de la sonata nº 2 brahms
byjoansoco
 
sholem-alekhem rov feidman clarinet
byjoansoco
 
D. José Talens Sebastiá
byjoansoco
 
Bach
byjoansoco
 
Saint saens. introducción y rondó caprichoso
byjoansoco
 
duo ritmico para dos clarinetes
byjoansoco
 
Sonatas para violín solo bach
byjoansoco
 
Sonatas para violín solo bach
byjoansoco
 
Beethoven septet op-20
byjoansoco
 
Beethoven septet op-20
byjoansoco
 
Catálogo vídeos publicados en http://jose-antoniosole.blogspot.com.es/
byjoansoco
 
El cuidado de la cara en los instrumentistas de viento
byjoansoco
 
Triptico curso clarinete_perez_piquer
byjoansoco
 
Cartel curso de clarinete
byjoansoco
 
Las enfermedades laborales en los músicos
byjoansoco
 
Patologias muscoesqueleticas en Clarinetistas
byjoansoco
 
Anlisisconciertoprimerconciertodeweber
byjoansoco
 
Estudio de articulación num 2
byjoansoco
 
Miguel Yuste/ GLORIA ARACELI RODRIGUEZ LORENZO
byjoansoco
 
Teleman concierto para dos chalumeau
byjoansoco
 

Veni, veni, me sequere fida; Antonio Vivaldi

  • 1.
    Antonio Vivaldi Veni, venime sequere fida Juditha Triumphans RV644 (I, 23) Aria di Juditha per contralto, salmo`e, archi e continuo for alto, salmo`e, strings and continuo A cura di Edited by Luigi Cataldi c 8/2006 Luigi Cataldi (luicatal@interfree.it) Non-commercial copying welcome http://icking-music-archive.org/
  • 2.
    La presente partitura`e stata stampata impiegando solo software non commerciale (TEX, la macro musicale MusiXTEX e i preprocessori MTX e PMX) e pu`o essere copiata e distribuita liberamente purch´e senza scopo di lucro. Critiche, suggerimenti e correzioni sono graditi e vanno inviati all’indirizzo luicatal@interfree.it. This score is printed using only free software (TEX, the macro package MusiXTEX and the preprocessors MTX and PMX) and may be copied freely but only for non-commercial use. Criticism, suggestion and correction are welcome and may be sent to luicatal@interfree.it. c 8/2006 Luigi Cataldi (luicatal@interfree.it) Non-commercial copying welcome http://icking-music-archive.org/
  • 3.
    ‹ › ‹ › ă Basso Juditha Viola Violini Salmo`e I G G K G G 22 22 22 22 22 22 S S S S S S Veni, veni mesequere fida Antonio Vivaldi (1678–1741) ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ Sordini ˇ` ŊŊŘŘ ˇ ˇ` ŊŊŘŘ ˇ ˇ` ŊŊŘŘ ˇ ˇ` ŊŊŘŘ ˇ = = = ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ` ĞĞŁŁ ˇ ˇ` ĞĞŁŁ ˇ ˇ` ĞĞŁŁ ˇ ˇ` ĞĞŁŁ ˇ = = = ‹ › ‹ ›  ă I G G K G G 22 22 22 22 22 22 ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ÊÊÊÊ ˇ ˇ ˇ ˇ ÊÊÊÊ ˇ = = = ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ tr˘ ˇ > = = = c 8/2006 Luigi Cataldi (luicatal@interfree.it) http://icking-music-archive.org/ 3
  • 4.
    ‹ › ‹ ›  ă I G G K G G 22 22 22 22 22 22 ˇ ˇ ˇˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ` ĞĞŁŁ ˇ ˇ` ĞĞŁŁ ˇ ˇ` ĞĞŁŁ ˇ ˇ` ĞĞŁŁ ˇ = = = ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ÏÏÏÏÐÐ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ÏÏÏÏÐÐ ˇ = = = ‹ › ‹ ›  ă I G G K G G 22 22 22 22 22 22 ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ` ĞĞŁŁ ˇ ˇ` ĞĞŁŁ ˇ ˇ` ĞĞŁŁ ˇ ˇ` ĞĞŁŁ ˇ = = = ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ÏÏÏÏÐÐ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ÏÏÏÏÐÐ ˇ = = = 4 http://icking-music-archive.org/ c 8/2006 Luigi Cataldi (luicatal@interfree.it)
  • 5.
    ‹ › ‹ ›  ă I G G K G G 22 22 22 22 22 22 ˇ ˇ ˇˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ` ĞĞŁŁ ˇ ˇ` ĞĞŁŁ ˇ ˇ` ĞĞŁŁ ˇ ˇ` ĞĞŁŁ ˇ = = = ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ > ˇ` ĄĄĎĎ ˇ ˇ` ĄĄĎĎ ˇ ˇ` ĄĄĎĎ ˇ ˇ` ĄĄĎĎ ˇ ˇ` ĄĄĎĎ ˇ ˇ` ĄĄĎĎ ˇ = = = ‹ › ‹ ›  ă I G G K G G 22 22 22 22 22 22 ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ` ÁÁÄÄ ˇ ˇ` ĄĄĎĎ ˇ ˇ` ĄĄĎĎ ˇ ˇ` ĄĄĎĎ ˇ ˇ` ÁÁÄÄ ˇ ˇ` ĄĄĎĎ ˇ ˇ` ĄĄĎĎ ˇ ˇ` ĄĄĎĎ ˇ = = = ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ` ĄĄĎĎ ˇ ˇ` ĄĄĎĎ ˇ ˇ` ĄĄĎĎ ˇ ˇ` ĄĄĎĎ ˇ = = = c 8/2006 Luigi Cataldi (luicatal@interfree.it) http://icking-music-archive.org/ 5
  • 6.
    ‹ › ‹ ›  ă I G G K G G 22 22 22 22 22 22 ˇ ˇ ˇˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ĆĆĎĎ ˇ ˇ ççˇ tr ˇ` - ˇ = = = ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ¯¯ ¯ ` > Ve )ˇ -ni, )ˇ ve (ˇ - ni, )ˇ me )ˇ se - ˇ - que )ˇ -re )ˇ ˇ > < ˇ > < ˇ > < ‹ › ‹ ›  ă I G G K G G 22 22 22 22 22 22 ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘˘˘ ˘ ˇ ˇ ˇ ˇ fi (ˇ - da (ˇ A - ˇ - bra a (ˇ - ma (ˇ - ta, (ˇ Spon - ˇ - so or (ˇ = = = ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ¯¯ ¯ - ba (ˇ - ta. (ˇ > > Tur (ˇ - tur (ˇ > ˇ ˇ ˇ ŁŁŁŁ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ÊÊÊÊ ˇ = = 6 http://icking-music-archive.org/ c 8/2006 Luigi Cataldi (luicatal@interfree.it)
  • 7.
    ‹ › ‹ ›  ă I G G K G G 22 22 22 22 22 22 ˇ ˇ ˇˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ¯ ˘˘ ˘˘ ge ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ > < = = ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 6ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘ˇ`ˇ` ˇ ĄĄČČ ˇ ˇˇ ˘ ˘ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ÈÈÉÉ ˇ ˇ 6ˇ ˇ ˇ = = = ˇ > < ˇ ˇˇ > < (ˇ - - - - - - - - mo, (ˇ > ge - ˇ - mo (ˇ ? ac (ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ‹ › ‹ ›  ă I G G K G G 22 22 22 22 22 22 < ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘ < ˘˘ spi ˇ ÉÉ ˇ - - ro (ˇ 6 in (ˇ te. ˇ > ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ > ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ > tr ˇ > ˇ` ĞĞŁŁ ˇ ˇ` ĞĞŁŁ ˇ 6ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ¯ ˘ ˘˘ ˇ` ŊŊŘŘ ˇ ˇ` ŊŊŘŘ ˇ ˇ` ŊŊŘŘ ˇ ˇ` ŊŊŘŘ ˇ = = = c 8/2006 Luigi Cataldi (luicatal@interfree.it) http://icking-music-archive.org/ 7
  • 8.
    ‹ › ‹ ›  ă I G G K G G 22 22 22 22 22 22 6ˇ ˇ ˇˇ ˇ ˇ ˇ ˇ ˇ > ˘ ˘ ˇˇ ˇ ˇ ˇ > < > Ve (ˇ - ni, (ˇ < ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ < ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ` ŞŞ ˇ ˇ` ŞŞ ˇ ˇ ÏÏ ˇ > ve - ˇ - ni, )ˇ me )ˇ 2 se (ˇ - que . ˇ re )ˇ fi (ˇ - da (ˇ A (ˇ -bra a - ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ = = = - ma ˇ ÎÎÎÎ ˇ -ta, (ˇ Spon - ˇ so or (ˇ ba (ˇ - ta. (ˇ > ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ < > ˇ ČČ ˇ = = ‹ › ‹ ›  ă I G G K G G 22 22 22 22 22 22 ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ = = = > Tur (ˇ - tur (ˇ ge ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ tr ¯ = = - - - 8 http://icking-music-archive.org/ c 8/2006 Luigi Cataldi (luicatal@interfree.it)
  • 9.
    ‹ › ‹ ›  ă I G G K G G 22 22 22 22 22 22 ˇ ˇ ˇˇ ˇ ˇ ˇ ˇ - - mo, ˇ > ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ = = Tasto solo ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ > tur (ˇ - tur ˇ ÎÎÎÎ ˇ ge ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ > < ˇ > < tr ˘ < = ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ = = = - - - - - - ‹ › ‹ ›  ă I G G K G G 22 22 22 22 22 22 ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ = = = ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ > ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ - - - - - - - - - mo, ˇ ? ac (ˇ < ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ < ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ? - ˇ = c 8/2006 Luigi Cataldi (luicatal@interfree.it) http://icking-music-archive.org/ 9
  • 10.
    ‹ › ‹ ›  ă I G G K G G 22 22 22 22 22 22 spi (ˇ - ro, (ˇ ? ac - ˇ spi - ˇ -ro ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ÃÃ ˇ ? - ˇ - ˇ ˇ in - ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ÏÏÏÏÏÏ ˇ = = te, ˘ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ÏÏÏÏÐÐ ˇ ˇ tur - ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ - tur (ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ = = ‹ › ‹ ›  ă I G G K G G 22 22 22 22 22 22 ge ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ = = ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ĹĹĽĽ ˇ P - - - - - - - mo, - ˇ ac (ˇ ? (ˇ ? (ˇ ? - ˇ = = spi ˇ ˇ ˇ ˇ (ˇ` ˇ ˇ tr ˇ - ro in . ˇ te. ˇ > ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ = = 10 http://icking-music-archive.org/ c 8/2006 Luigi Cataldi (luicatal@interfree.it)
  • 11.
    ‹ › ‹ ›  ă I G G K G G 22 22 22 22 22 22 ˇ ˇ ˇˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ÏÏÏÏÐÐ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ = = = ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ÏÏÏÏÐÐ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ = = = ‹ › ‹ ›  ă I G G K G G 22 22 22 22 22 22 ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ > ˇ ˇ ˇ ˇ ˇ ˇ ˇ ČČČČ ˇ ˇ ˇ ˇ ČČČČ ˇ ˇ ˇ ˇ ČČČČ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ČČČČ ˇ = = = ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ` ĄĄČČ ˇ ˇ` ĄĄČČ ˇ ˇ ˇ ĹĹĽĽ ˇ ˇ óóˇ = = = < < < ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ tr ˇ` - ˇ P > P > P > P ˇ Pˇ Pˇ ˇ áá ˇ ˇ4ˇ 4 ˇ6 ÉÉ ˇˇ Di (ˇ 6 - ræ (ˇ > > > c 8/2006 Luigi Cataldi (luicatal@interfree.it) http://icking-music-archive.org/ 11
  • 12.
    ‹ › ‹ ›  ă I G G K G G 22 22 22 22 22 22 ˇ 4ˇˇ ˇ 4 sor (ˇ 4ˇ 6ˇ ˇ - tis )ˇ tu )ˇ ˇ ˇˇ ˇ so - ˇ ÊÊˇ ˇˇ ŤŤ ˇ -cia )ˇ con )ˇ ˇ ˇˇ ŁŁ ˇ ˘ ˇˇ ˇˇ fi (ˇ -da (ˇ De (ˇ bel - ˇ = = = ˇ ˇ ˘ ˇ - la ˇ ÎÎÎÎ ˇ - ta ˇ ÎÎÎÎ ˇ ˇ ÐÐˇ ˇ Sor (ˇ te in (ˇ ˇ ˇ ˇ` ˇ gra ˇ ÎÎÎÎ ˇ - ta, ˇ ÎÎÎÎ ˇ ˇ 4ÊÊˇ 6 - ˇˇ sor (ˇ te in (ˇ = = = ˇ > < ˇ4ˇ > < -gra (ˇ 4 - ta, (ˇ > > so (ˇ - ciam (ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 6ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 4ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ‹ › ‹ ›  ă I G G K G G 22 22 22 22 22 22 6 læ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 4ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 4ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 6ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ > < = = ˇ 4ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 4ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ - ˇ ˇ ˇ - - - - - - tæ )ˇ ha )ˇ ˇ ˇ ÈÈÉÉ ˇ be (ˇ -bis (ˇ ˇ ŁŁ ˇ ˇ 4 ÔÔ ˇ = = = ˇ ˇ ˇ ˇ ĹĹ ˇ ˇ¯ me. ˇ > ˇ > ˇ > ˇ ˇ ˇ ˇ ˇ 6ˇÉÉÉÉÊÊ ˇ 7 ˇ 6ˇ 4ˇ 4ˇ ˇ 6ˇ < < < 4ˇ ˇ ˇ ˇ ˇ ˇ ˇ ÏÏÏÏÐÐ ˇ 12 http://icking-music-archive.org/ c 8/2006 Luigi Cataldi (luicatal@interfree.it)
  • 13.
    ‹ › ‹ ›  ă I G G K G G 22 22 22 22 22 22 ˇ - ˇ ? 4(ˇ ? 6 (ˇ ? ˇ - ˇ ? 6 - ˇ ? - ˇ ? ˇ (ˇ ? (ˇ ? (ˇ ? > De (ˇ bel - ˇ -la - ˇ 6 -ta (ˇ Sor (ˇ te in (ˇ > - ˇ ? 6 - ˇ ? - ˇ ? > - ˇ ? - ˇ ? - ˇ ? ˇ ÔÔ ˇ > < 6 (ˇ ? - ˇ ? (ˇ ? gra (ˇ ta, (ˇ - ˇ ? - ˇ ? < 2 (ˇ ? ˇ ˇ ˇ ˇ ˇ ˇ - ˇ ? 4 ˘6˘(ˇ ? ˘ sor ˇ ÎÎÎÎ ˇ 6 - te )ˇ in )ˇ gra (ˇ 4 - ta, (ˇ > - ˇ ? 6ˇ > - ˇ ? 6ˇ > ˇ ˇ ˇ ˇ 6ˇ ˇ 4ˇ 6ÐÐÐÐÐÐ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘˘˘ > 6 so (ˇ ˇ ˇ ˇ ˇ -ciam (ˇ 6ˇ ˇ 4ˇ 6ÐÐÐÐÐÐ ˇ ˇ > ˇˇˇ > læ ˇ ˇ 4ˇ ˇ ˇ ˇ ˇ ˇ ˇ > = = - - ‹ › ‹ ›  ă I G G K G G 22 22 22 22 22 22 6ˇ > ˇ > 6ˇˇ ˇˇˇ > ˇ > ˇ 6ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ < ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ = = ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘˘ ˘ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘ˇ ˇ ˇ` 6ˇ ˇ ˇ ÈÈÉÉ ˇ ÁÁÃà ˇ ˇ ĎĎ ˇ ˇ ĎĎ ˇ - - - - - - - - tæ (ˇ ha (ˇ ˇ 6 ÉÉ ˇ = = ˇ ˇ ˇ` - be ˇ ˇ ˇ 4ˇ 6 - bis ˇ tr 4ˇ (ˇ Da Capo P ˘ ˘ P ˘ P me. ˘ P˘ = = c 8/2006 Luigi Cataldi (luicatal@interfree.it) http://icking-music-archive.org/ 13
  • 14.
    Note Criteri editoriali • Vieneimpiegata la notazione moderna e vengono segnalate in nota le divergenze rispetto all’originale. • Gli errori, le omissioni e le sviste presenti sull’autografo sono corretti dal curatore e segnalati in nota. • Di regola non si segnala: il cambiamento della direzione dei gambi delle note; la variazione del numero di note raggruppate sotto la stessa coda; l’indicazione enarmonica equivalente degli accidenti1 ; l’aggiunta delle pause mancanti. Fonte Torino, Biblioteca Nazionale, fondo “Fo`a”, vol. 28, cc. 209– 302. Formato oblungo. Autografo. Edizione in facsimile: “Quaderni dell’Accademia chigiana”, Siena 1948, pp. 1–179. Aria di Juditha: pp. 73–78 (usata per questa edizione). Libretto: “Jacobi Cassetti” (Jacopo Cassetti), Venezia 1716, “Apud Bartolomæum Occhium, sub signo S. Dominici”. Prima rappresentazione: Venezia, Ospedale della Piet`a, novembre 1716. Titolo: Juditha Triumphans devicta Holofernis barbarie, “Sacrum militare oratorium”, RV 644. Titolo dell’aria di Juditha (Pars Prior, n. 23): Veni, veni me sequere fida. Notazione Sistemi da 5 pentagrammi, che, dal basso, sono cos`ı predisposti: Basso (chiave di basso), Juditha (Contralto, chiave di contralto), Viola (chiave di contralto), Violini (chiave di violino), Salmo`e (chiave di violino). Particolarit`a • Estensione della parte del canto: Do 3 – Re4 • Assieme al canto vi `e uno strumento obbligato, il ‘salmo`e’, meglio noto con il nome francese di ‘chalumeau’. Si tratta di uno strumento ad una sola ancia simile al clarinetto. Quello usato qui `e, a giudicare dall’estensione (La3 – Si 4 ), il pi`u acuto (soprano). Vivaldi lo impiega per imitare il gemito della tortora di cui parla il testo. • Per rendere il carattere intimo dell’aria Vivaldi elimina in molti punti il basso con il relativo continuo e lo sostituisce con un ‘bassetto’ di viole e violini. Alle bb. 31-36 questa pratica `e associata ad una strana notazione sintetica: il violoncello tace; sul rigo dei violini `e notata, in chiave di basso la linea inferiore, in un registro inaccessibile per lo strumento; sul rigo della viola compare la scritta “Ut Sup:a ” (come sopra). Vivaldi ha insomma notato il basso come se dovesse essere suonato dal violoncello ed ha lasciato agli esecutori coinvolti (violini e viola) la necessaria trasposizione ad un registro adatto allo strumento. • Compare una sola cifra per il basso alla b. 47. Testo Veni, veni, me sequere fida Abra amata, Sponso orbata. Turtur gemo ac spiro in te. Diræ sortis tu socia confida Debellata Sorte ingrata, Sociam laetæ habebis me. Basso continuo La semplice realizzazione del basso continuo, fornita dal revisore, pensata per l’organo, `e posta in corpo minore. `E anche disponibile una versione della partitura priva della realizzazione del basso continuo, con un rigo vuoto. Note2 24, J. I gambi delle prime tre note sono erroneamente uniti. 28, B. L’indicazione “Tasto solo” `e posta alla b. 29. 31t3–36t2, Vl. La parte `e annotata in chiave di basso un’ottava sotto ed `e dunque fuori dall’estensione del violino. La trascrizione `e stata effettuata all’ottava superiore, con occasionali alterazioni d’ottava alle bb. 33 e 36. Un’esatta trascrizione all’ottava superiore si trova nel rigo della viola. 31t3–36t2, Va. Vi `e una chiave di basso seguita dall’indicazione “Ut Sup:a ” (come sopra). La trascrizione `e stata effettuata all’ottava superiore. 44, Vl. Senza il sul primo fa. 45, Vl. Senza il sul primo mi. 1 Vivaldi usa la notazione relativa degli accidenti: per indicare un suono abbassato di un semitono (es.: do anzich´e do dopo un do ). 2 Le note critiche sono precedute dal numero di battuta e da un simbolo indicante il pentagramma a cui si riferiscono: B (Basso), J (Juditha), Va (Viola), Vl (Violini), S (Salmo`e). 14 http://icking-music-archive.org/ c 8/2006 Luigi Cataldi (luicatal@interfree.it)
  • 15.
    Notes Editorial method employedin this edition • The notation has been modernized and differences from the original source are indicated in the critical notes. • Declarations of the abbreviations and corrections of mistakes are mentioned in the Critical Notes when not evident from the score itself. • Insertion of omitted rests, beamings, stem directions and enharmonic indications of the same pitch have been silently modified1 . The source Torino, Biblioteca Nazionale, “Fo`a”, vol. 28, fols. 209–302. Oblong volume. Autograph. Facsimile edition: “Quaderni dell’Accademia chigiana”, Siena 1948, pp. 1–179. Aria di Juditha: pp. 73–78 (used for this edition). Libretto: “Jacobi Cassetti” (Jacopo Cassetti), Venezia 1716, “Apud Bartolomæum Occhium, sub signo S. Do- minici”. First performance: Venezia, Ospedale della Piet`a, Novem- ber 1716. Title: Juditha Triumphans devicta Holofernis barbarie, “Sacrum militare oratorium”, RV 644. Title of the Juditha’s aria (Pars Prior, n. 23): Veni, veni me sequere fida. Notation 5 staves system ordered in this way (from bottom to top): Bass (bass clef), Juditha (alto, alto clef), Viola (alto clef) Violins (treble clef), Salmo`e (treble clef). Peculiarity • Compass of the vocal part: C 3 – D4 • Vivaldi employs the ‘salmo`e’ (a small reed instrument, resembling a clarinet) in order to emulate the turtledove mentioned in the lyrics. Compass: A3 – B 4 • Frequently the bass remains silent, while a ‘basset’ is played by the viola and by the violins. On bars 31-36 this sort of basset, notated in bass clef, is placed in the violin part and is out of the instrument’s compass. The viola staff is empty and contains only a bass clef followed by the words “Ut Sup:a ” (like above). In this case the choice of the correct range is left to the players. • Only at bar 47 appear a number for the figured bass. Text Veni, veni, me sequere fida Abra amata, Sponso orbata. Turtur gemo ac spiro in te. Diræ sortis tu socia confida Debellata Sorte ingrata, Sociam laetæ habebis me. Figured bass A simple realization of the continuo, intended for organ, supplied by the editor, is given in small print. A version without this realization, with an empty staff, is also available. Notes2 24, J. The stems of the first 3 notes are tied together. 28, B. The inscription “Tasto solo” is placed on b. 29. 31t3–36t2, Vl. Notated in bass clef a octave lower and out of the compass of the instrument. The part have been written an octave upper with occasional octave changes at bb. 33 and 36. See the exact transcription an octave upper in the viola part. 31t3–36t2, Va. Empty bars containing only a bass clef sign followed by the inscription “Ut Sup:a ” (like above). 44, Vl. Without on 1st F. 45, Vl. Without on 1st E. 1 E.g. C in order to indicate C after C . 2 Notes are preceded by the appropriate bar number and a symbol for the staff line: B (Bass), J (Juditha), Va (Viola), Vl (Violins), S (Salmo`e). c 8/2006 Luigi Cataldi (luicatal@interfree.it) http://icking-music-archive.org/ 15