Full - 314+314a

New Discoveries of Vivaldi in Dresden
Thesis by
Francisco Javier Lupiáñez Ruiz
Date: 12th February 2015 - Main subject: Baroque Violin - Student Number: c012182 - Main subject
teacher: Mr. Enrico Gatti - Research coach: Mr. Charles Toet – Master circle leader: Mr. Bart van Oort -
Format: Thesis - Presentation: 24th March, 13:30h, Studio 3

2
Giovanni Battista Tiepolo

Incoronazione di Maria (ca. 1751)
Ceiling mural,
Santa Maria della Visitazione church,
Venice.
The red-haired head behind the violinist

angel in the left could be Vivaldi.
3
Table of Contents
ACKNOWLEDGEMENTS ........................................................................................... 5
INTRODUCTION .......................................................................................................... 6
AUTHENTICATION CRITERIA: STYLISTIC FEATURES AND

CONCORDANCES ........................................................................................................ 8
Concordances ............................................................................................................................................ 10
Symbology for Concordances ................................................................................................................ 12
Symbol = ........................................................................................................................................... 12
Symbol ±............................................................................................................................................ 12
Symbol ≈............................................................................................................................................ 13
THE HISTORICAL CONTEXT ................................................................................ 15
Dresden ...................................................................................................................................................... 15
The Copyists: Grundig, Copyist B and Pisendel .................................................................................... 17

Johann Georg Pisendel ........................................................................................................................... 17
Pisendel in Italy. A Touring Point ..................................................................................................... 18
Copyist B of Dresden Court ................................................................................................................... 20
Johann Gottfried Grundig ...................................................................................................................... 20
THE SONATA IN A MAJOR FOR VIOLIN AND CONTINUO ........................... 22
Introduction: The Sources ....................................................................................................................... 22
First Movement......................................................................................................................................... 23
Copyist B’s Version. An Unknown Adagio ........................................................................................... 23
Grundig’s Copy of the Sonata and the Second Movement of Vivaldi’s RV 205 ................................... 23
Second Movement: Allegro ...................................................................................................................... 29

Description of the Sources ..................................................................................................................... 29
The Links with Vivaldi .......................................................................................................................... 30
Concordances with Other Works by Vivaldi ..................................................................................... 30
Vivaldi’s Style Characteristics ........................................................................................................... 31
Third Movement: Largo/Adagio ............................................................................................................. 37

Analysis ................................................................................................................................................. 38
Fourth Movement: Allegro ...................................................................................................................... 38

Stylistical Analysis ................................................................................................................................. 39
Table of Concordances and Conclusions ................................................................................................ 42
TRIO SONATA FOR VIOLIN, VIOLONCELLO AND CONTINUO .................. 46
The Source ................................................................................................................................................ 46
First Movement......................................................................................................................................... 47
4
Second Movement..................................................................................................................................... 52
Third Movement: Violino Solo ................................................................................................................ 54

First Part: Perfidia .................................................................................................................................. 54
Second part: Adagio ............................................................................................................................... 55
Third Part: Corrente ............................................................................................................................... 56
Fourth Movement: Violoncello Solo ....................................................................................................... 57

First Solo for the Violoncello. Adagio ................................................................................................... 57
Second Solo for the Violoncello. Giga ................................................................................................... 57
Fifth Movement: Corrente....................................................................................................................... 63
VIOLIN CONCERTO IN D MAJOR ........................................................................ 68
Introduction .............................................................................................................................................. 68
Description of the Source ....................................................................................................................... 68
An Unexpected Discovery ........................................................................................................................ 68

“Qui si Ferma a Piacimento”.................................................................................................................. 70
The Anonymous Concerto and Some Related Concertos by Vivaldi ................................................... 71

Violin Resources .................................................................................................................................... 73
Form Peculiarities and Other Similarities with the Last Movement of the RV 574 and RV 562 .......... 77
Concordances and Vivaldi’s Style Characteristics ................................................................................ 79

First Movement ...................................................................................................................................... 79
Second Movement.................................................................................................................................. 81
Third Movement .................................................................................................................................... 82
The Cadenza ............................................................................................................................................. 83
CONCLUSIONS ........................................................................................................... 92
Addendum ................................................................................................................................................. 94
APPENDIX I. CHARACTERISTICS OF VIVALDI’S STYLE. A SELECTED

BIBLIOGRAPHY ......................................................................................................... 96
APPENDIX II. WORKS BY VIVALDI IN THE SCHRANK II ............................ 103
BIBLIOGRAPHY ....................................................................................................... 110
ONLINE RESOURCES ............................................................................................. 115

5
Acknowledgements
I would never have been able to finish my dissertation without: guidance of my

teachers; help from friends, and support from my family.
I would like to express my thankfulness to my Master Coach Mr. Charles Toet
who was always willing to help and give his best suggestions. Besides my master coach,
I would like to thank my master circle leader, Bart van Oort and all the components of
my master circle for their time and advice.
I would like to express my deepest gratitude to my teacher, Mr. Enrico Gatti, for
his excellent guidance, caring and patience. This work would never have started without
his help.
I would like to thank Morag Johnston for her great work proofreading my paper.
I would also like to thank my parents. They were always supporting me and
encouraging me with their best wishes.
I thank my good friend Patrícia Vintém, for her help and support. Also for
playing this wonderful music for first time since it was composed and played in
Dresden in the beginning of the XVIII century.
Finally, I would like to thank my beloved Inés Salinas. She was always there
cheering me up and stood by me through the good times and bad.
6
Introduction
The Schrank II (Cabinet II) collection from the Die Sächsische Landesbibliothek
– Staats- und Universitätsbibliothek Dresden (SLUB) is one of the most interesting
archives that is open to the worldwide audience thanks to internet.
In order to facilitate the work for researchers the SLUB started an online project
named “The Instrumental Music of the Dresden Hofkapelle at the Time of the Saxon-
Polish Union. Inventory, Digitization and Online Presentation”. The resulting digital
collection encompasses the entire instrumental works from the first half of the
eighteenth century which were kept in the so-called Schrank II of the Dresden Court
Church, and which to a large extent came from the legacy of Concert Master Johann
Georg Pisendel. The complete list of works with its links to the digitalized pieces can be
downloaded from their site in internet.1
This collection has been a source of discoveries of the music of Vivaldi. Some
examples includes the very recent discovery of new sources for the concertos RV 206
and RV 241 and the possibility of a complete new and unknown concerto by Vivaldi
(Mus. 2-O-7b).2
One year ago I started preparing a concert program based in anonymous pieces
from the SLUB collections. Playing all the anonymous pieces for violin and continuo I
passed over sixty one pieces for violin and continuo and a trio sonata for violin,
violoncello and continuo.
One of the sonatas for violin and continuo captured my attention because of its
ostensible proximity to Vivaldi. Although the piece was already familiar to me, it was
cataloged as anonymous in the RISM3 and none of the most recent additions to the
Vivaldi catalog mentioned it. The whole first movement of the anonymous sonata is a
very close version of the second movement of the Vivaldi violin concerto RV 205.
After this discovery I came back to the anonymous program. A different piece
attracted my attention, a trio sonata for violin, violoncello and basso continuo. I
performed this sonata for Professor Enrico Gatti and he was the first to notice that the
Giga contained in this trio sonata was almost the same than the Giga contained in the
Vivaldi’s Dresden sonata for violin and continuo RV 10.
1
http://www.schrank-zwei.de
2
An account of this new discovery can be found in the texts by Michael Talbot: “Miscellany” in Studi
Vivaldiani 12, 2012 and Vivaldi and a Search Engine published in the RISM online in 2013
(http://www.rism.info/fr/home/newsdetails/select/rediscovered/article/2/vivaldi-and-a-search-
engine.html)
3
RISM-A/II-212002034 (Trio sonata in G major for violin, cello and continuo) and RISM-A/II-
212001952 (Sonata in A major for violin and continuo)
7
Those similarities encouraged me to deepen research about the authorship of the

sonatas.
The Concerto for Violin in D Major come much later.
The Anonymous Sonata in A major contains the slow movement of the Vivaldi
concerto RV 205. This same movement is also found as an alternative movement in the
RV 212.4 The manuscript that contains the RV 212 also has several cadenzas in
addition. I found that one of those cadenzas is very similar to the cadenza found in the
RV 562.
While revising some anonymous concertos in Dresden, it came to my attention
that one of them had a cadenza, this cadenza was very similar at the beginning and at
the end to the Cadenza from RV 562 and the end of the Cadenza III of RV 212.
Finally I realized that those cadenzas were very close to the one contained in the
anonymous concerto.
End of the Cadenza of RV 562:
End of Cadenza from anonymous concerto:
Also I realized that in the ripieno parts the sentence: “Qui si ferma a piacimento”
is found. I knew that this sentence points strongly to Vivaldi.5
On top of that, I could find a great number of concordances6 with other
Vivaldian works with just a quick exploration of the score. All those facts pushed me to
include the study and analysis of this concerto in this work at the last moment.
4
Mus.2389-O-74
5
Studi Vivaldiani: rivista annuale dell'Istituto Italiano Antonio Vivaldi della Fondazione Giorgio Cini
Miscellany. 2012, p. 97
6
The term concordance will be discussed later. It is translated from the Italian corcondaze, a term used
by Sardelli in his work Catalogo delle concordanze musicali vivaldiane, L. S. Olschki Editore, 2012. In
short, it refers to the musical material reused by Vivaldi in his own works.
8
Authentication Criteria: Stylistic Features and Concordances
Authentication and attribution of an unsigned manuscript are delicate matters,

especially when the manuscript is made by a copyist. In the recent years the matter of
authenticating Vivaldi has led to controversy and lively arguments among
musicologists.7
In the methods of attribution, the analysis of the external features of the source
(paper, handwriting, historical-biographical circumstances, etc.) had enjoyed a dominant
position when compared to internal features (such as musical content and style). In the
case of Vivaldi, the reference works in matter of authentication has been found in the
works by Peter Ryom, from his Verzeichnis der Werke Antonio Vivaldis,8 written in
1974, to the Thematisch-systematisches Verzeichnis,9 2007. Peter Ryom uses style in
order to deny the authenticity, but not for attribution.10
However, as Talbott pointed out, “the consideration of provenance and external
characteristics of the source and filiation, so often prove uninformative or
contradictory”.11 Those contradictions can be found in some misattributions to Vivaldi,
one significant example is the former attribution to Vivaldi of Il pastor fido by
Chédeville.12 The use of the analysis of the music itself and the study of the style had
become a very useful tool for positive identification of Vivaldi works. All those ideas
are well summarized in the following text by Sardelli:
From a consideration of the virtues and the limitations of each kind of
evidence one becomes aware that the reliability and certainty afforded by
the external features is often weak in comparison with that of the internal
features, even if the latter are in their turn subject to the severe limits
imposed in their subjectivity. If we set aside the concept of style as a
category of aesthetic judgment and seek instead with the musical content of
the work recurrent elements created by personal invention that constitute
the composer’s stock of favorite musical ideas, it is possible to overcome the
limitations of the traditional concept of style as it has been used in the past
7
Among other discussions, a good example is the one involving the supposed rediscovering of a new
opera by Vivaldi (Andromeda) by Olivier Fourés while Michael Talbot claimed that the opera is a
pasticcio and Vivaldi has almost nothing to do with the work. The issue was followed in the media, such
as the New York Times:
White, Michael. The Vivaldi Hunters. The New York Times. 21, November, 2004
8
Ryom, Peter. Verzeichnis der Werke Antonio Vivaldis. Kleine Ausgabe, Leipzig et Kobenhavn. 1974
9
Ryom, Peter. Antonio Vivaldi Thematisch-systematisches Verzeichnis seiner Werke (RV) Weisbaden:
Breitkopf & Härtel, 2007
10
Sardelli, Federico Maria. “Dall’esterno all’interno: criterî di autenticità e catalogazione di nuove fonti
vivaldiane” in Studi vivaldiani, 8. 2008
11
Talbot, Michael. The Vivaldi Compendium. The Boydell Press, 2012, p.28.
12
Nicolas Chédeville made a secret agreement in 1737 with Jean-Noël Marchand to publish a collection
of his own compositions as Vivaldi's. Chédeville supplied the money and received the profits, all of
which was attested to in a notarial act by Marchand in 1749. Long attributed to Vivaldi, the set of sonatas
are actually the work of Chédeville. Chédeville varied some pieces by Vivaldi and uses also pieces by
other composers such Meck or Alberti. This case and other similar cases are explained in the chapter “Gli
altri rielaborano Vivaldi” in the book: Sardelli, Federico Maria. Catalogo delle concordanze musicali
vivaldiane, L. S. Olschki Editore, 2012
9
to make attributions and to forge a reliable tool for establishing authorship

even on the basis of internal features alone. 13
The special characteristics of the musical language of Vivaldi allow some
stylistic identification criteria. This kind of approach is very often not possible in other
composers:
Fortunately, Vivaldi is more amenable than most composers to the
authentication via musical analysis, since, in addition to recycling whole
movements or large sections from work to work, he liked to do the same for
tiny musical particles, many of them can accurately be termed “idiolectal”:
that is, peculiar to Vivaldi’s musical language, or at any rate not reported
from studies of other composers. 14
Vivaldi’s musical language had been successfully studied, defined and
catalogued. A brief inventory of those characteristics of the style of Vivaldi and a
selected bibliography can be found at the end of this paper.15
From the extensive literature consulted I extracted about thirty characteristics
that belong directly to Vivaldi’s style.16 Those characteristics in the style of Vivaldi
could be grouped into three degrees of importance or singularity. It is worth to mention
that the study of those characteristics should be developed in an extended way and this
grouping depends heavily on a detailed study of each musical case.
A basic level of characteristics are based on resources favored in the writing of
Vivaldi, but that can be found occasionally in other composers as well. This group
could include the use of the syncopations, use of large intervals, duality
modality/tonality or the juxtaposition of major and minor…
A second group includes those characteristics that we can rarely find in other
composers but that frequently appear in Vivaldi. The so-called composition in building
blocks; the grouping of three units in binary movements; the juxtaposition of musical
sentences and the irregular structure; the use of the perfect cadence repeatedly in a
pattern form – syntactically emancipated treatment of cadential patterns -; harmonic
anticipations in the melody.
Finally there are some characteristics that can be considered “uniquely
Vivaldian”17 like the “acephalic” reprise which is “perhaps the strangest manifestation
of Vivaldi’s style is his readiness to restate the material leaving out its openings notes,
which for more composers (and listeners), form the core of its identity”.18
13
Sardelli, Federico Maria. “Dall’esterno all’interno: criterî di autenticità e catalogazione di nuove fonti
vivaldiane” in Studi vivaldiani, 8. 2008
14
Talbot, Michael. The Vivaldi Compendium. The Boydell Press, 2012, p.28
15
See Appendix I
16
See Appendix I
17
Talbot, Michael. Vivaldi, Antonio. Sonate RV 815 e 816. Critical edition, Ricordi Milano, 2012. Here
Talbot names as “uniquely Vivaldian” the “presence of an ‘acephalic’ reprise […] and the ending of the
first section of the gavota-like third movement in the relative minor key rather than the dominant”
18
10
Concordances
Albeit those characteristics of Vivaldi’s style had been used to ensure the
authenticity of some Vivaldi’s works such the RV 798,19 RV 808,20 the recent
discovered flute concerto “Il gran Mongol” RV 431a21 or the violin sonatas RV 815 and
RV 816, the milestone for stylistic recognition in Vivaldi is based on the recognition of
the reutilization of his own material: the concordances with other Vivaldian works.22
The term concordance will be used as a translation of the Italian word
concordanze, used by Sardelli to define a certain re-use or re-elaboration of Vivaldi’s
musical material by himself.23
It must be pointed out that the absence of those concordances doesn’t discard
Vivaldi as author. A very good example can be found in the RV 798, recently attributed
to Vivaldi, where no concordances are found and the only surviving source is not an
autograph by Vivaldi but a copy.24
Other case of attribution without any concordance is found in the violin sonatas
RV 815 and RV 816, recently discovered and attributed to Vivaldi. The case of those
sonatas are quite significant because the only surviving source is an English
arrangement for solo organ. 25 26
The re-elaboration and re-use of Vivaldi’s own material had been well
documented. An early and extensive study of the reutilization and migration of material
from vocal pieces to instrumental pieces, the utilization of the same musical material
beyond the boundaries of genre or even changing the key of the very same material can
be found in the work by Peter Ryom, Les manuscrits de Vivaldi, written in 1969. 27
Since then, the study and analysis of the material re-used by Vivaldi has resulted
in the elaboration of a list of loci topici [subject areas] linked directly to Vivaldi’s
musical language. This list has been compiled and studied by Federico Maria Sardelli in
his recent work Catalogo delle concordanze musicali vivaldiane.28 The use of those
concordances has proved to be a very useful tool in the dating and in the process of
identification in some of Vivaldi’s works. 29
19
Talbot, Michael. “A New Vivaldi Violin Sonata and Other Recent Finds” in Informazioni e Studi
Vivaldiani, 20. 1999
20
Sardelli, Federico Maria. “Da RV Anh. 76 a RV 808: un nuovo concerto di Vivaldi” in Studi vivaldiani,
7. 2007
21
Wolley, Andrew. “An Unknown Flute Concerto by Vivaldi in Scotland” in Studi vivaldiani, 10, 2010,
pp. 3-38
22
Talbot, Michael. The Vivaldi Compendium. The Boydell Press, 2012, p. 28
23
Sardelli, Federico Maria. Catalogo delle concordanze musicali vivaldiane, L. S. Olschki Editore, 2012
24
“Where a work is attributed to a composer in a single non-autograph source without concordances, it is
wise, however few the grounds for suspecting the contrary, to seek reinforcement of the attribution via a
careful scrutiny of its style” Talbot, Michael. “A New Vivaldi Violin Sonata and Other Recent Finds” in
Informazioni e Studi Vivaldiani, 20. 1999
25
Talbot, Michael. “Vivaldi in the Foundling Museum: Some discoveries in London” in Early Music
performer, 28, 2011, pp 4-16
26
Talbot, Michael. Vivaldi, Antonio. Sonate RV 815 e 816. Critical edition, Ricordi Milano, 2012
27
Ryom, Peter. “Les manuscrits de Vivaldi." Abstracts of Papers read at the annual meeting. Vol. 1970.
1969.
28
Sardelli, Federico Maria. Catalogo delle concordanze musicali vivaldiane, L. S. Olschki Editore, 2012
29
11
Apart from catalogue of those Vivaldian loci topici organized by RV numbers,

the work of Sardelli includes in its one hundred and forty seven pages-long
“Introduzione” which is an extensive study of this reutilization process.
As it is shown in Sardelli’s work, the range of Vivaldi’s reutilization of his own
material is quite vast, from big musical sections and the copy, variation or re-
elaboration of full movements, to the use of little fragments that can be combined in
many different ways. Through a rich account of musical examples, Sardelli shows how
Vivaldi reused his own material almost without boundaries, from the concerto to the
sonata and from the vocal work to the instrumental field.
Such variations in the musical material brings to light some problems about the
nature of those concordances in terms of selection and validity. In this sense, the use of
the term “concordance” is carefully chosen instead quote, or self-quote, being that these
terms presuppose a conscious will of the author to auto quote him, which is not the case
in most of the occasions.
The selection of those concordances must be also carefully done, excluding the
general resources used in the period. As Sardelli points out in his work:
“Only a clear and original musical idea is presented, recognizable as result of the
particular and deliberated creation of the composer, not as generic element of the style
of his time” 30
This definition will exclude some compositional processes that could be also
considered as typical from Vivaldi language such the use of certain harmonic
progressions, harmonic procedures, etc. Those features are just included in Sardelli’s
catalog when there are any exact match at least in the melodic part.31
It must be pointed out that the term concordance doesn’t refer to an exact match
of the musical material.32 To indicate the degree of musical similarity between
concordances Sardelli uses the following symbols: = ≈ ±
Those symbols will be used as base on the cataloging of concordances in the
elaboration of the present work, besides, some variations will be added in order to add
more clarity and detail to the concordances.
30
“solo se presenta un’invenzione musicale chiara e distinta, riconoscibile come frutto di una particolare
e deliberate creazione del comopositiore e non come element generic dello stile del suo periodo” Sardelli,
Federico Maria. Catalogo delle concordanze musicali vivaldiane, L. S. Olschki Editore, 2012, p. CXXV
31
“La ricorrenza di una progressione vivaldiana viene allora registrata solo in quei rari casi in cui essa si
representi in forma idéntica, almeno nelle linee melodiche, distintivo del riutilizzo di un’invenzione
individuale.” Sardelli, Federico Maria. Catalogo delle concordanze musicali vivaldiane, L. S. Olschki
Editore, 2012, p. CXXV
32
“le concordanze musicali sussistono sia quando in materiali concordanti si presentino in forma idéntica,
sia quando ricorrano in modo variato” Sardelli, Federico Maria. Catalogo delle concordanze musicali
vivaldiane, L. S. Olschki Editore, 2012, p. CXXVII
12
Symbology for Concordances
Symbol =
Sardelli uses this symbol when the musical material is identical.33 The symbol is
also used: when there are differences in the key and the material is transposed; when it
is transposed any octave in the same key or when there are articulation changes. The
symbol is even used when there are instrumentation differences.
In this thesis the symbol will be used when the musical material is identical or
when it have been transposed. When there are some variations in the articulation or in
the instrumentation we will use the same symbol in brackets (=). In the following
example34 Sardelli compares the concordance with the symbol =, in this work the
symbol (=) will be used instead.
RV 771, III, 39-40
= RV 5, IV, 21-30
Symbol ±
The musical text is varied: in this case the modifications of the musical text
doesn’t affect the general morphology of the piece. We will find some changes in the
notes or in the rhythm.
RV 432, I, 5-8
± RV 484, I, 1-4
33
“Due o più porzioni di musica vegono considerate identiche anche se presentano in tonalità o modi
diferente, purché restino inalterate le relazioni di grado de la línea melódica […] o con variazione de
articulazione […] di instrumentazione […] di ottava” Sardelli, Federico Maria. Catalogo delle
concordanze musicali vivaldiane, L. S. Olschki Editore, 2012, p. CXXVIII - CXXIX
34
The examples on the use of the symbols are all taken from Sardelli, Federico Maria. Catalogo delle
concordanze musicali vivaldiane, L. S. Olschki Editore
13
We will use the brackets (±) when the changes are quite significant, as long as
the general morphology is not changed.
RV 641 (Non in patris), III (Pro me spinas), 1-4
(±) RV 340, II, 1-2
Symbol ≈
The musical text is paraphrased. Here the musical idea is reformulated or it is

expressed in another way, as long as we can percept the same musical substance.35
RV 33 (Op. V, N.3), I, 1-2
≈ RV 99, II, 1-2
≈ RV 388, II, 1-2
≈ RV 644 (Juditha triumphans), XVIII (Noli o cara), 1-2
Sardelli uses this symbol even when the paraphrases are hidden under several
layers of metamorphosis and variations and the concordance could not be instantly
recognized. In this case the symbol will be used in brackets (≈)
35
“Una certa idea musicale viene riformulata ed espressa in altra forma, senza che ciò impedisce di
percepire l' attinenza alla stessa sostanza musicale” Sardelli, Federico Maria. Catalogo delle concordanze
musicali vivaldiane, L. S. Olschki Editore, 2012, p. CXXI
14
RV 314/RV 314a, I, 1-7
(≈) RV 408, I, 2-736
The analysis of the external factors of the source (such as paper, watermarks and
copyist) in conjunction with the scrutiny of the musical characteristics of the score
based on the analysis of Vivaldi’s idiomatic style and the identification of concordances
will be the basis for the authentication process in this work.
36
In this example Sardelli sets the paraphrased concordance through a third concordance:
± RV 680 (Lungi dal vago volto), IV, 1-5
15
The Historical Context
Dresden
In March of the year 1716 I went to Dresden. Here I soon became aware
that the mere playing of notes as set down by the composer was far from
being the greatest merit of a musician[…] It [the orchestra] distinguished
itself from many other orchestras by its French evenness of performance,
introduced by the concert master at that time, Volumier. Under the next
concert master, Herr Pisendel, who introduced a mixed style, it achieved a
finesse of performance that I never heard surpassed in all my later travels
[…] I was greatly amazed, and my zeal for continuing musical studies was
doubled. I wanted to prepare myself so that in time I too could become a
tolerable member of this excellent company.
J.J. Quantz37
“The time of Saxon-Polish union (1697–1763) is considered the most brilliant

period of Dresden’s music history. It is the epoch which became the quintessence of
Saxony’s cultural flourishing. It began with the election of August the Strong as king of
Poland and lasted till the end of the Seven Years’ War. The center of musical life was
the Dresden Hofkapelle, which from 1733 on became world famous under the direction
of Kapellmeister Johann Adolf Hasse (1699–1783) and his associate, the Vivaldi pupil
and concert master Johann Georg Pisendel (1687–1755), who had belonged to the
Hofkapelle since 1712.”38
At the beginning of the XVIII century the Dresden Hofkapelle is one of the more
important musical institutions in Europe. A personnel list from 1709 shows 22
instrumentalists, together with four Kapellmeisters and composers who also served as
organists or harpsichordists. With two horn players added a year later, a conductor at
a keyboard instrument and a maximum of three trumpeters and a timpanist, the
Kapelle was capable of performing with almost 30 instrumentalists.39
The orchestra’s ensemble, which consisted of many renowned virtuosos,
was soon considered of the highest order. The violin section included the long-
standing concertmaster, Jean-Baptiste Volumier (in Dresden from 1709 to 1728),
Pisendel, and Francesco Maria Veracini (1717–1722); while the leading wind
players were flutists Pierre- Gabriel Buffardin and his student Johann Joachim
Quantz (in Dresden until 1741), oboists François Le Riche and (his student)
Johann Christian Richter, and, finally, musicians such as Jan Dismas Zelenka
(contrabass player from 1710 and later church composer), lutenist Silvius Leopold
37
Quantz, Johann Joachim: Herrn Johann Joachim Quantzens Lebenslauf, von ihm selbst entworfen. Bd.
1, St. 3 (1755), S. 197-250 in Marpurg, Friedrich Wilhelm (ed.) Historisch-Kritische Beyträge zur
Aufnahme der Musik. I. Band, Berlin 1754/55
38
This introductory text has been extracted from the website of the SLUB. The site of the SLUB
dedicated to the Dresden Hofkapelle offers a brief and interesting description of the context:
http://hofmusik.slub-dresden.de/en/themen/schrank-ii/project-description/ (Accessed: 20/01/2015)
39
Landmann, Ortrun. The Dresden Hofkapelle during the Lifetime of Johann Sebastian Bach, Early
Music, Vol. 17, No. 1 (Feb., 1989), pp. 19
16
Weiß, and Pantaleon Hebenstreit. Hiller wrote in his work Lebensbeschreibungen

[Biographies], referring to the time around 1717, that “No orchestra in Europe
could claim as many virtuosos as the Royal Polish and Electoral Saxon Orchestra in
Dresden”40
Vivaldi’s connection with Dresden began on 29 February 1712 when the visiting
electoral prince, Friedrich August, was presented at the Pietá with “un libro di suonate”
[a book of sonatas] of his composition. This travel was following by a longer sojourn in
1716 – 1717, spent principally in Venice, 41 accompanied by violinist Pisendel.
Bellotto, Bernardo. View of Dresden from the Right Bank of the Elbe with the Augustus Bridge (1748)
The music of Vivaldi will take a more important role in Dresden from autumn
1717, when Pisendel returned from Italy. 42
From this date on, Pisendel started to collect instrumental pieces for the Dresden
Orchestra. All those pieces were archived in the Cabinet II of the Dresden court. Today,
the Schrank II (Cabinet II) is one of the most important instrumental musical archives in
Europe.
My own counting and cataloging of Vivaldi’s works in Dresden highlighted one
hundred and seventy two instrumental works.43 In my knowledge, only the collection in
Turin is bigger, with around three hundred44 instrumental woks,
The works by Vivaldi in Dresden includes: eighteen sonatas for violin and
continuo, sixteen orchestral works and one hundred and twenty nine concertos.
40
Hiller, Johann Adam, Wöchentliche Nachrichten und Anmerkungen, die Musik betreffend, Volumen 1
Verlag der Zeitungs-Expedition, 1766
41
42
Heller, Karl. Vivaldi, The Red Priest. Amadeus Press, USA, 1997, p. 226
43
The Appendix II of this paper included a detailed account of the Works by Vivaldi in the Schrank II of
the SLUB.
44
Selfridge-Field, Eleanor. Venetian Instrumental Music from Gabrieli to Vivaldi. Courier Corporation,
1994, p. 249
17
The Copyists: Grundig, Copyist B and Pisendel
Before starting the analysis of the sonatas it is worth to know a little about the
hands that were involved in the copy of the pieces.
Johann Georg Pisendel45
Besides Vivaldi, Pisendel is the more

important character in this paper. He was the
collector of the Schrank II, the collection from all the
pieces of this paper are taken and he is the copyist of
some of the pieces.
Pisendel was born in Cadolzburg (Germany),
the 26th December 1687. Quite soon, in 1697, he
became chorister in Ansbach and started as violinist
in that court in 1704. There he took singing lessons
from Pistocchi and violin lessons from Torelli.
The anonymous trio sonata, discussed in this
paper, is from this period. The piece was probably
copied from Torelli collection. When Pisendel arrived
in Dresden in 1712, he brought all those pieces with Johann Georg Pisendel
him.
From January 1712, Pisendel was employed as a violinist with the Dresden Court
Orchestra. He took over the Konzertmeister’s duties when Volumier died in 1728, the
official title being conferred upon him in 1730. After several tours with the entourage
of the electoral prince, Pisendel will travel to Italy in 1716. This tour will be crucial in
the relationship between Dresden and Vivaldi.
45
This chapter is just a brief biographical note. Among other work it is very recommendable the work of
Köpp about Pisendel: Köpp, Kai, Johann Georg Pisendel (1687-1755) und die Anfange der
neuzeitlichen Orchesterleitung (Tutzing: Hans Schneider, 2005)
18
Pisendel in Italy. A Touring Point
The full story of the visits to Venice and Rome in 1716-17 of the
Dresden violinist Johann Georg Pisendel has still to be told 46
In April 1716, when Johann Georg Pisendel arrived in Venice, he was

twenty-nine. He was not only an accomplished virtuoso on his instrument but
also a musical all-rounder, familiar with both Italian and French styles.47
The Italian visit influenced Pisendel profoundly: a nine-month stay in Venice
(from April 1716) enabled him to study with Vivaldi and a close friendship developed
between the two musicians. In 1717 Pisendel moved on to Rome (where he took lessons
from Montanari), Naples and other Italian cities before returning to Dresden that
autumn.
As previously pointed, the meeting between Pisendel and Vivaldi in Venice will
be a turning point regarding the relationship of Vivaldi and the Dresden Court.
The Lebenslauf Herrn Johann Georg Pisendels (Biography of Johann
Georg Pisendel), published in 1767,48 states that Pisendel in fact “took actual
violin lessons”49 from Vivaldi (and from the “famous violinist, Montanari”, in
Rome, though presumably he mostly taught him modern Italian interpretation in
Vivaldi’s manner). In addition, a recently rediscovered document proves that the
consultations (as we might call Pisendel’s lessons with Vivaldi, using modern
terminology) included composition: the autograph of concerto in A minor
(Mus.2421-O-14) composed by Pisendel in Venice contains corrections in
Vivaldi’s hand.
In the following example it is possible to see Vivaldi’s handwriting in the
bottom staff, correcting the violins accompaniment:
46
Talbot, Michael. Sonates à Pisendel (rv2, 29, 25, 6) by Vivaldi. The Musical Times, Vol. 124, No. 1684
(Jun., 1983), p. 366
47
Heller, Karl. Vivaldi, The Red Priest. Amadeus Press, USA, 1997, p.228
48
49
Cit. in Heller, Karl. Vivaldi, The Red Priest. Amadeus Press, USA, 1997, p.228
19
The relationship between the two musicians was surely more that of a
friendship between professional colleagues than one of teacher and pupil. Not
least of all, the fact that Vivaldi entrusted a considerable number of
compositions to the Dresden violinist would support this view: five violin sonatas
and six violin concertos that are part of the autograph manuscripts of the
Pisendel collection in Dresden bear the dedication “fatto per Maestro Pisendel”.50
The following example is from the Concerto in C major RV 172 (Mus.2389-O-42):
There are several records of the results of this close relationship between both
musicians. A good example is the one narrated by Hiller.51 A Pisendel’s appearance as
virtuoso “between two acts” of an opera at which he played Vivaldi’s Concerto
in F Major “with hunting horns” (RV 571). Hiller provides even the incipit of the
concerto in his narration:52
In that performance, the German violinist took the place of Vivaldi, who
(as we know from Uffenbach’s diary)53 normally shone between the acts of his
operas in violin performances. This was certainly not the only occasion on which
Pisendel performed Vivaldi concertos and sonatas publicly in Venice.54
When Pisendel came back from Dresden in September 171755 he brought with
him a great amount of scores, economizing on cost and weight by using paper of
exceptionally small dimensions, hence the coining by German scholars of the
term Reisepartitur (travelling score).56 I found at least sixty eight57 manuscripts written
in Italian paper58 with this kind of format, forty eight of those manuscript were works
by Vivaldi.
In my research I counted at least a total of one hundred and eighty four works
copied by Pisendel and found in the Schrank II. Seventy are works by Vivaldi.59 This
50
“Composed for Maestro Pisendel”
51
52
Verlag der Zeitungs-Expedition, 1766, p.287
53
Cit. In Heller, Karl. Vivaldi, The Red Priest. Amadeus Press, USA, 1997.p. 74
54
Heller, Karl. Vivaldi, The Red Priest. Amadeus Press, USA, 1997
55
56
Talbot, Michael. Sonates à Pisendel (rv2, 29, 25, 6) by Vivaldi. The Musical Times, Vol. 124, No. 1684
(Jun., 1983), p. 366
57
See Appendix II
58
The paper is featuring the “tre lune” [three moons] watermark, an undoubtable sing the Italian
provenance of the paper.
59
See Appendix II
20
can give us an idea of the importance of Vivaldi and his influence in Pisendel, and
therefore, in Dresden.
Copyist B of Dresden Court
The live of the anonymous copyist named as Copyist B of Dresden Court

remains quite obscure. He was working from 1725 to 173060 in the Dresden Court.
During this period he left an account of 36 surviving copied works.61 Most of his
copies are from Vivaldi works:
- 18 concertos by Vivaldi
- 1 opera by Vivaldi
- 2 concertos by Tesarini
- 2 sonatas by Stölzel
- 1 sonata by Pichler
- 1 sonata by Locatelli
- 1 concerto by Laurenti
- 1 concerto by Giovanni
- 4 anonymous sonatas
- 4 anonymous concertos
Johann Gottfried Grundig
There is not so much information about Grundig.

Previously known as “Scribe A” was identified in 1979 as Grundig by the
scholar Ortrum Landmann.62
His identification clarified the dates of several works, allowing authorship
identifications, a good example was the Chaconne by Vitali,63 largely discussed as a
XIX century composition.
We know that J.G. Grundig was active in Dresden officially from 1733 but who
was copying music privately for Pisendel already in the decade of 1720. 64 During this
period Grundig copied many works by Vivaldi.65
A search in the RISM will show that he copied more than 300 works while he
was working in Dresden, 50 of them are still anonymous works.
60
Poppe, Gerhard (Ed.) Schranck No. II: das erhaltene Instrumentalmusikrepertoire der Dresdner
Hofkapelle aus den ersten beiden Dritteln des 18. Jahrhunderts. Forum mitteldeutsche Barockmusik;
Band 2. Ortus Musikverlag. 2012
61
The list and access to the work of Copyist B of Dresden Court can be accessed easily via RISM
(http://www.rism.info/)
62
Landmann, Ortrun. 1979. Zum Standortbestimmung Dresdens unter den
Musikzentren der ersten Halfte des 18. Jahrhunderts. In SAF 8:51. [Kultur.
ForschungstätteMichaelstein]
63
Mus.2037-R-1
64
Talbot, Michael. “Miscellany” in Studi Vivaldiani 12, 2012, p. 99
65
Checking the RISM we find at least 24 works by Vivaldi copied by Grundig in a date before 1733
21
Telemann, Georg Philipp (55)

Anonymous (50)
Fasch, Johann Friedrich (49)
Graun (25)
Collection (23)
Vivaldi, Antonio (23)
Hasse, Johann Adolf (21)
Händel, Georg Friedrich (17)
Quantz, Johann Joachim (17)
Pisendel, Johann Georg (11)
Reichenauer, Antonín (9)
Heinichen, Johann David (6)
Ristori, Giovanni Al… (6)
Albinoni, Tomaso (5)
Venturini, Francesco (5)
Brescianello, Giusep… (4)
Graun, Johann Gottlieb (3)
Laurenti, Girolamo N… (3)
Meneghetti, Gaetano (3)
Porpora, Nicola (3)
Zelenka, Jan Dismas (3)
Galuppi, Baldassare (2)
Locatelli, Pietro An… (2)
Pfeiffer, Johann (2)
Schmidt, Johann Chri… (2)
Zani, Andrea (2)
Zuccari, Carlo (2)
Alberti, Giuseppe Ma… (1)
Bach, Johann Sebastian (1)
Baghetti, Andrea (1)
Beyer, Johann Ignaz (1)
Caldara, Antonio (1)
Cattaneo, Francesco… (1)
Gallo, Alberto (1)
Gasparini, Francesco (1)
Giay, Giovanni Antonio (1)
Jiránek, František (1)
Linike, Johann Georg (1)
Lotti, Antonio (1)
Montanari, Antonio (1)
Orschler, Johann Georg (1)
Palestrina, Giovanni… (1)
Pisani, Giovanni (1)
Porta, Giovanni (1)
Postel, Christian Go… (1)
Rieck, Karl Friedrich (1)
Schiassi, Gaetano Maria (1)
Seyfert, Martin (1)
Somis, Giovanni Batt… (1)
Tartini, Giuseppe (1)
Toeschi, Alessandro (1)
Visconti, Gasparo (1)
Vitali, Tomaso Antonio (1)
On the left: Composers copied by Grundig and the
amount of works copied in brackets.66
On the right: List of components of the Dresden Hopfkapelle in 1733. Showing
Pisendel (top) and Grundig (bottom).67
66
Extracted from the online search in the RISM (http://www.rism.info/ Accessed: 28 Dec. 2014)
22
The Sonata in A Major for Violin and Continuo
Introduction: The Sources
The sonata is preserved in two different sources: Mus.2-R-8,74 and Mus.2-R-

8,40. The first version (Mus.2-R-8,74) contains a different opening movement than the
second. This first version is copied by the named “Copyist B of Dresden Court” and by
Pisendel. Pisendel’s hand is found just in the end of the first page (second system of the
second movement) and the complete second page of the manuscript (rest of the second
movement). Almost the complete first page (First movement and two system of the
second movement) and the third and fourth pages are by “Copyist B”.68
Copyist Year (RISM) Movements

Mus.2-R-8,40 Grundig, Johann Gottfried 1725-1735 I. Slightly different RV 205, II
II. Allegro
III. Largo
IV. Allegro
Mus.2-R-8,74 Pisendel, Johann Georg and 1720-1735 I. Adagio completely different
Copyist B of Dresden court from Mus.2-R-8,40
II. Allegro
III. Varied of Mus.2-R-8,40 Largo
IV Allegro
Both manuscripts are catalogued as anonymous in the RISM. In both cases they
only mention that one sonata is a variant of the other sonata with a different opening
movement.69
Since none of the sonatas are signed, and taking into account the differences
between both versions, the possibilities of being both pasticcios is very present.
The high number of concordances with other Vivaldian works, and the dates of
those concordances especially between the first and the second movement,70 could point
to the Grundig’s copy a more accurate and consisting copy of a genuine Vivaldi sonata.
But this consideration can be only taken into account after a study of each
movement that will help us to find some links between the movements and to have
some clues about its authorship.
67
Weidmann . Königl. Koln. Khurfürstl. und Sachsischer Hof und Staats Kalender, auf das Jahr 1735...,
1735
68
See example in page 30
69
The entry in the RISM for the Mus.2-R-8,40 (RISM-A/II-212001952) contains the following reference:
“Variante der Sonate D-Dl Mus.2-R-8,74 mit abweichendem Eingangssatz” and the entry in the RISM for
the D-Dl Mus.2-R-8,74 (RISM-A/II-212001933) contains the following reference: “Variante der Sonate
D-Dl Mus.2-R-8,40 mit abweichendem Eingangssatz.”
70
See table of concordances at the end of this chapter
23
First Movement
Copyist B’s Version. An Unknown Adagio
The main difference between the copies by Grundig and Copyist B is the
opening movement of the sonata which is a completely different movement in each
case.
The movement is wrote by Copyist B of Dresden Court but the words “Violino
Solo” and “Adagio” were written by Pisendel. In fact, the hand of Pisendel is found
more times in this manuscript.71
This Adagio does not share as many concordances and elements of Vivaldi’s
musical language as the others. However a deeper research is needed on this movement
to try to unveil more cues about it origin.
One of the more significant compositional resource on this movement is the use
of the Phrygian cadence at the end. This is a feature which is very common in the
baroque72 but rarely found in Vivaldi and not used in any of his violin sonatas.
Pisendel can be pointed as very plausible author of this movement: In the RV
73
25 by Vivaldi, Pisendel adds a slow movement of this composition
Grundig’s Copy of the Sonata and the Second Movement of Vivaldi’s RV 205
The first movement of the sonata (Mus.2-R-8,40), now cataloged as anonymous,

is in fact a variation of the second movement of the violin concerto RV 205 by Vivaldi.
71
See page 29
72
Randel, Don Michael. The Harvard dictionary of music, Harvard University Press, 2003, p.130
73
Mus.2389-R-10,3
24
The slow movement of the concerto RV 205 is preserved in three copies in the
SLUB: Mus.2389-O-123a (RV 205), copied by Pisendel; Mus.2389-O-74 (RV 212),
with both hands: Pisendel and Vivaldi; and Mus.2389-O-123 (RV 205), an autograph by
Vivaldi, all the sources are dated around 1717.
The only surviving sources for the concerto RV 205 are found in Dresden.
Sources for RV 205:
Sources for Description Watermark, Author of
the slow Origin of the the
movement of paper and source
the RV 205 date
Mus.2389-O- RV 205 in score 3 Crecents Antonio
123 Italy Vivaldi
Largo in score for violin, “violini in unisono” and “Violette senza 1716/17
bassi”
Mus.2389-O- RV 205 in parts (5 parts: 4, 2, 2, 2, 2f. - vl conc, vl 1, 2, vla, cemb) 3 Crecents Pisendel
123a Italy
Largo: 1716/17
In score for violin and basso in the part of solo violin
One separate part of violin I ripieno
One separate part of violin II ripieno (unison with violin I)
One separate part for viola (unison with the basso, written in F clef)
“Adagio74 tacet” wrote in the cembalo part, this is the only bass
part of the source besides the one in the solo violin part.
Mus.2389-O- RV 212 and slow movement of RV 205 in parts (11 parts: 6, 2, 2, 3 Crecents Pisendel
74 2, 2, 1, 1, 2, 1, 1, 1f. - vl conc, vl 1 (2x), vl 2, vla, vlc (only Largo Italy
from RV 205), b, cemb, org, ob 1, 2) 1716/17
3 drafts for violin cadenzas in the solo violin part
Largo of RV 205 as alternative slow movement:
in score for violin and basso in the solo violin part
Two separate part of violin I ripieno
One separate part of violin II ripieno (unison with violin I)
One separate part for viola (unison with the basso, written in F clef)
one violoncello separate part with the annotation “violoncelli soli”
“Grave tacet” is placed in the Basso part
Cembalo part is not readable but this movement does not appear
“Grave tacet” is placed in the Organo part
“Adagio tacet” is marked in the Oboe I and Oboe II parts
Mus.2-R-8,40 Anonymous sonata with largo of RV 205 as opening movement, W-Dl-041 – Grundig
marked as Adagio and cataloged as anonymous in the RISM Czech - 1725-
1735
In score for violin and basso continuo
74
The movement is marked as Largo in all the other parts but referred as Adagio in just the Cembalo part.
25
As is shown in the former table, the slow movement is also found in the Ms.
Mus.2389-O-74, which contains the concerto RV 212.
This manuscript contains not only the RV 212, but also the slow movement of
the RV 205, an extra Grave movement (just the solo violin part) and three violin
cadenzas75). This manuscript is written entirely by Pisendel.
Besides this copy by Pisendel there are two autographs of the RV 212 in the
Biblioteca Nazionale Universitaria in Turin.76 None of those autographs contains the
slow movement of the RV 205. Each version contains a different slow movement. One
of the versions uses as slow movement a sonata movement, the third movement from
the sonata RV 22.77 This is the same case as the Anonymous Sonata and the Concerto
RV 205.
In fact, the migration of whole movements between sonatas and concertos have
more examples in Vivaldi’s repertoire:
VIOLIN SONATA CONCERTO

RV 755, III (MANCHESTER MS.) = RV 229, II (Dresden ms.)
RV 755, IV ± RV 299, III
RV 12, I (DRESDEN MS.) ± RV 582 (per la S.Sma Assontione di M.V.), II
(Dresden ms.)
RV 17A, III (GRAZ MS.) ± RV 314, II (Dedicated to Pisendel) (Dresden
ms.)
RV 22, I (MANCHESTER MS.) ± RV 294 (Il Ritiro), II (Op. 7 N.4 and also
Dresden ms.)
RV 22, III ± RV 212a, II
Although the first movement of the anonymous sonata and the slow movement
of the RV 205/212 are very similar, there are some differences and variations. More
slurs and some ornamented passages are added in the concerto version; the movement
of the bass line is slightly different and also the sonata is marked as Adagio and the
movement of the concerto as Largo.
A comparison between the anonymous sonata and the autograph by Vivaldi
Mus.2389-O-123 shows that the same musical material, with little variations, is used in
both cases:
75
It must be pointed out that one of these cadenzas is linked with the anonymous concerto in D major
discussed in this work.
76
RV 212 is found in the Ms. I-Tn, Giordano 29, Bl. 236-237 and the RV 212a in I-Tn, Giordano 29, Bl.
233-235 and 238-244
77
The case of the movement shared between the concerto RV 212a and the Manchester sonata RV 22
could be also of special interest since the Dresden Violin Sonata RV 776, which Vivaldian authorship is
now discussed, also share this same movement. The case of the RV 776 is just one that deserves a deeply
study that still should be done (See Conclusions, Serendipity)
26
Anonymous sonata in A (Mus. 2-R-8,40) and Largo from RV 205 (Mus. 2389-O-123):
27
Those kinds of variations and differences between the concerto and the sonata
versions are also found in other cases. The reutilization of the same material in the
sonata and in the concerto ranges from a literal copy of the musical material without any
variation (like the case of the sonata RV 12 and the violin concerto RV 229), to more
varied cases such as the sonata RV 17a and the concerto RV 314, where also the basso
is varied.
28
The ornaments added in the concert version find also pararell in the way Vivaldi
reused his own material, which is very close to the variations between the flute concerto
RV 432 and the bassoon concerto RV 484 that feature the same kind of added passing
notes and extra slurs.
RV 432, I, 5-8
± RV 484, I, 1-4
Anonymous Sonata, I, beginning:
± RV 205, II, beginning:

29
Second Movement: Allegro
Description of the Sources
The second movement, marked as Allegro, is found in both manuscripts: Mus.2-

R-8,40, in the hand of Grundig, and the Mus.2-R-8,74, in the hand of Copyist B and
Pisendel.
Words Violino solo and Adagio by

Pisendel
Anonymous
First movement
(Copyist B)
Allegro. Copyist
B
Pisendel
handwriting
Pisendel handwriting
As is shown in the example, the first two systems of the second movement are
first in the hand of the Copyist B and then in the hand of Pisendel. The rest of the sonata
(not shown in the example) is completed exclusively by Copyist B.
Copyist B from Dresden Court is also linked to Vivaldi. A search in the RISM
reveals that he copied a total of around forty one pieces in Dresden, twenty of those
copies being works by Antonio Vivaldi.
There are some small differences between Copyist B and Grundig’s versions
from bar 33 to 37. Albeit those variations are very small, they make the Grundig version
a little more complicated and more interesting due to the direct and close dissonance of
the upper voice, where the E is maintained against the D#:
30
This movement has a high number of Vivaldian concordances which makes the
connection between movements more stylistically convincing in the copy by Grundig
than in the copy of the Copyist B.This is the main reason that links this second
movement with Vivaldi
Those concordances and links with Vivaldi style will be analyzed carefully.
The Links with Vivaldi
Concordances with Other Works by Vivaldi
The second movement of the sonata could be easily linked with Vivaldi as a
result of the high number of concordances (at least twenty eight concordances78 had
been found just in this movement). It is also very remarkable that all of those
concordances were written during the same period, ca. 1717, when Pisendel came back
to Dresden from Italy with a large collection of musical manuscripts mostly by
Vivaldi.79
One clear concordance is found in the Laudate Dominum omnes gentes RV 606
by Vivaldi, written in 1717. 80
Anonymous sonata Mus.2-R-8,40 (bars 1 – 7):
RV 606: Laudate Dominum, bb. 1 – 5:
78
See the table at the end of the chapter
79
Heller, Karl. Vivaldi, The Red Priest. Amadeus Press, USA, 1997. Ch. 7
80
Antonio Fanna, Giovanni Morelli. Nuovi Studi Vivaldiani: Edizione E Cronologia Critica Delle Opere,
Parte 2. L.S. Olschki, 1988
31
But more concordances are found in the very beginning of the anonymous
sonata:
RV 446, I, bars 26 – 26 (flute):
RV 46, II bars 8 – 11 (cello)
Besides these promising first bars, this first movement shares more than twenty
concordances with other Vivaldian works compiled at the end of this chapter.
Vivaldi’s Style Characteristics
In addition to these concordances, the movement is full of the characteristics of

Vivaldi’s style.
It is extremely significant that a large number of aspects Vivaldi’s style are
shown just at the beginning of the movement:
Building Blocks
“Vivaldi likes to compose in a modular fashion”.81 This way of composition, by

asembling small units jointly had permited the catalogization and analysis of those loci
topici named concordances, being one of the more important and significant parts of
Vivaldi language.
The way Vivaldi structures those little cells results in other idiomatic features:
more than other composers, Vivaldi’s phrases are asimetrical in his phrases structure,
making the atencendent longer that the consecuent82 or vice versa.83 (2 + 5 bars in the
opening of this movement). Other typical characteristic of this antecent-consecuent
81
82
“Antecedent, consequent. Two musical phrases, the second of which is a concluding response to or
resolution of the first” Randel, Don Michael. The Harvard Dictionary of Music. 2003, p. 47
83
32
concatenation in Vivaldi is that he likes to make the same structural unit serve as the
consequent of the one preceding it and the antecedent of the one following it.84
Ternary Grouping
Other demonstrations of his affinity of asymmetrical structures is the use of

groups of three units of half a bar in common tempo.85 Besides this organization is
mentioned by several authors, maybe Talbot’s definition is the most concise and clear:
“Ternary grouping of cells half a bar in length (in common time) lies behind most of
the ‘irregular’ phrases including an odd half-bar which occur so widely in his music.”86
This kind of grouping is also found in bb. 22-23, 33-35, 41-43, 59-60
This modular composition have also harmonic consequences linked directly with
Vivaldi’s style: the special use of the perfect cadenza.
Special Use of the Perfect Cadenza
The use of the perfect cadence repeatedly in a pattern form and syntactically
emancipated treatment of cadential patterns. He formed melodies from mere cadential
fragments which made the cadence lose its place as a structure organizer. (A phenome
84
Talbot, Michael. Vivaldi. J.M. Dent, London, 1993, Chapter V. “Vivaldi´s musical style”
85
This way of organizing the music has been identified as part of Vivaldi’s musical language by several
authors:
- Sardelli, Federico Maria. Catalogo delle concordanze musicali vivaldiane, L. S. Olschki Editore,
2012, p. 168
- Talbot, Michael. Vivaldi. J.M. Dent, London, 1993,
- Talbot, Michael New Grove. “Points of Style” in Vivaldi.
- Pincerle, Marc. Vivaldi. Norton & Company, New York, 1955, Chapter II, Vivaldi’s Music:
Style and Form
- Kolneder, Walter, Melodietypen bei Vivaldi, Amadeus Verlag, 1973
86
33
well described by Kolneder as ‘Kadenzmelodik’ and extensively developed by Bella

Brover-Lubovsky).87
The lack of syntax is very obvious in the use of the perfect cadence (V-I) and it
is “especially typical of Vivaldi’s fast movements”.88 This harmonic pattern is generally
found in this movement, the words of Bella Brover-Lubovsky defining this Vivaldi
characteristic seems to define the actual harmonic structure of this movement: “As a
result, the harmonic flow of the entire piece becomes riddled with full closed cadences.
For example, the total number of full cadences in the opening Allegro in the concerto
for two mandolins RV 532 is fifty-five, while the closing one is forty-seven.”89
Furthermore other Vivaldian characteristics of those building block groupings

are found.
The Articulation of Phrasing by Rests
The articulation of phrasing by rests, as pointed out by Michael Talbot,90 is

another typical Vivaldian characteristic that is found only at the beginning of the
movement (bars two and seven).
“Interestingly, the breaks occur not only after imperfect cadences (e.g. I–V),
where the incompleteness of the harmonic progression guarantees preservation of the
momentum, but also after perfect cadences”91 which is the case of the articulation by
rests of the major sections of the movement: bb. 7, 19, 25, 32, 46, 53 and 62.
Apart of the musical structure, the very beginning holds other melodic
characteristics of Vivaldi style:
87
This characteristic was analyzed by several authors:
- Talbot, Michael. Vivaldi. J.M. Dent, London, 1993, Chapter V. “Vivaldi´s musical style”
- Talbot, Michael New Grove. Vivaldi. Points of Style
- Pincerle, Marc. Vivaldi. Norton & Company, New York, 1955, Chapter II, Vivaldi’s Music:
Style and Form
- Brover-Lubovsky, Bella. Tonal Space in the Music of Antonio Vivaldi, Indiana University Press,
2008
- Michael Talbot. "Vivaldi, Antonio." Grove Music Online. Oxford Music Online. Oxford
University Press, accessed August 8, 2014
http://www.oxfordmusiconline.com/subscriber/article/grove/music/40120pg7.
88
Brover-Lubovsky, Bella. Tonal Space in the Music of Antonio Vivaldi, Indiana University Press, 2008,
p. 202
89
Brover-Lubovsky, Bella. Tonal Space in the Music of Antonio Vivaldi, Indiana University Press, 2008,
p. 202 - 203
90
Talbot, Michael. Vivaldi. J.M. Dent, London, 1993, Chapter V. “Vivaldi´s Musical Style”
91
34
Large Intervals
The use of large intervals is another favorite Vivaldian resource and pointed out
as a distinctive characteristic in Vivaldi’s language by several authors.92
A characteristic use of those compound intervals is the “two-part writing being
simulated in a single line”93 found in the sequence of bars 17 to 21.
Syncopation
This excerpt also shows other important characteristics of Vivaldi’s language:

the use of syncopation. In the words of Michael Talbot: “Vivaldi’s music would be
unimaginable without syncopation”.94 The extensive use of syncopation has been
widely agreed as part of Vivaldi’s musical language.95
Anapestic rhythm
Anapestic rhythm : Anapestic beginning and use of anapestic patterns as an

identifiable characteristic of Vivaldi style had been also pointed out by several
authors.96 This pattern is used throughout the entire movement.
92
Some bibliography referring large intervals as a characteristic of Vivaldi’s style:
2012, p. CXII
- Talbot, Michael. Vivaldi. J.M. Dent, London, 1993, Chapter V. “Vivaldi´s Musical Style”
- Talbot, Michael. The Vivaldi Compendium. The Boydell Press, 2012,p. 118, p. 127
- Pincherle, Marc. Vivaldi. Norton & Company, New York, 1955, Chapter II, Vivaldi’s Music:
Style and Form
93
94
Talbot, Michael. The Vivaldi Compendium. The Boydell Press, 2012,p 179
95
Syncopation as an inner part of Vivaldi’s musical language:
- Talbot, Michael. The Vivaldi Compendium. The Boydell Press, 2012
Style and Form
96
The use of anapestic patterns is also settled as part of the Vivaldi style in many sources:
Style and Form
35
Besides the anapestic pattern often found in Vivaldi’s works, it is worth

mentioning that the rhythm cell that builds the whole movement could be
also considered as a rhythmical loci topici in Vivaldi. In our table of concordances just
the more obvious concordances had been taken (with a similar melodic shape), even like
this, the number of concordances is very significant (12). The use of this specific pattern
and its simple variation is very common in Vivaldi.
Ostinato Figures
Groups of notes repeated at the same pitch is also considered a characteristic of

Vivaldian language.97 An especial employment of the ostinato done by Vivaldi is that
its use is not limited to the bass parts, which is the typical usage, but also is found
largely in the melody,98 which is the case of the opening theme in this movement.
Pedal Figures
The use of a pedal point /pedal notes is very significant in Vivaldi’s music, not
only in cadence passages but as part of his composition language.99 The beginning of
the Allegro is a very good example of use of the pedal. “[Melody is] outlined in notes
that spout up over a bed of sixteenth or thirty-second notes”.100 Once more, this specific
use of the pedal is widely accepted as part of Vivaldi’s style.101
A special and characteristic use of the pedal is found in the bars 33-35, 41-44
and 54-55. Here the pedal note is in the repeated higher note and one moving bass
note.102
97
98
99
100
Pincerle, Marc. Vivaldi. Norton & Company, New York, 1955, Chapter II, Vivaldi’s Music: Style and
Form
101
The use of the Pedal in Vivaldi:
2012, p. LXII
- Talbot, Michael. Vivaldi. J.M. Dent, London, 1993, Chapter V. “Vivaldi´s musical style”
Style and Form
- Brover-Lubovsky, Bella. Tonal Space in the Music of Antonio Vivaldi, Indiana University Press,
2008
102
“un moto di semicrome spezate ove una voce inferiore esegue il ‘bassetto’ ad una voce superiore che
ribate”. Sardelli, Federico Maria. Catalogo delle concordanze musicali vivaldiane, L. S. Olschki Editore,
2012, p. LIX
36
This characteristic will be also discussed as a “favorite” Vivaldian feature in the

chapter entitled The Violin Concerto in D.103
103
See page 68
37
Third Movement: Largo/Adagio
The third movement of the sonata is a slow movement in F# minor. The

movement is very similar in the copies by Grundig both and Copyist B although there
are some structural differences and small variations. These variations make it even more
difficult to establish Vivaldi as the composer of this movement.
The main variation is found at the end of the central section of the movement
(bars ten and eleven) where the harmonic progression is varied.
In the following example, the differences are marked in red:
The movement doesn’t appear to show any of the personal or distinctive features
of Vivaldi language, but this lack of the “identifiable Vivaldi” also occurs in some slow
movements of Vivaldi violin sonatas, especially the Op. 2. In my opinion it could be by
Vivaldi or other composer including Pisendel.
In addition the fact that the movement is varied even in its harmony (bars ten
and eleven) make me think of it as a slow movement perhaps composed by Pisendel and
38
included later, as it occurs in the RV 25104 (a sonata with Vivaldi’s autograph and where
Pisendel added a slow movement). Many further possibilities exist.
Analysis
In support of Vivaldi as the composer is the harmonic development, especially

the dual tonality/modality in the central section. However this feature is used by other
composers.105
A strong point to deny Vivaldi’s authorship is the form: the recapitulation in bar
twelve, almost exact to the beginning is rarely found in Vivaldi slow movements. One
rare example of this kind of recapitulation is in Sonata Op. 2, N.4, III. But an analysis of
Vivaldi Op. 2 and his sonatas for violin and continuo shows that typical Vivaldian
recapitulations are very varied and extended.
Fourth Movement: Allegro
The last movement, marked as Allegro, is found in almost identical versions in

both manuscripts: Mus.2-R-8,40, in the hand of Grundig and in the Mus.2-R-8,74, in the
hand of Copyist B.
There are just some little variations in the sources. The first one is found in the
passages of bars 20 – 22 and its replica in bars 91 – 94.
bb..20-22 by Copyist B: bb 20-21 by Grundig:
bb. 91-94 by Copyist B and Grundig:
This little note is written later by a different hand of Copyist B, who already
wrote the rest which appears in the Grundig version. The little note could be very
possibly one of the common performance anotations by Pisendel.106
104
Mus.2389-R-10,3
105
Brover-Lubovsky, Bella. Tonal Space in the Music of Antonio Vivaldi, Indiana University Press, 2008
106
Many of the Dresden manuscripts copied by Pisendel (whatever own pieces or by other composers)
present changes and modifications that seems to be intended for the performance. Among other
39
Other small variations are found in the bass line in bars 41-42 and its homologue
in bb. 107-108:
A similar variaton is also found in bars 24, 27, 30 and 33 where a note is missing
in the bass part in Copyist B version:
The last difference is found in bar 91 where an ornament is writen in the bass
line in Copyist B version and not in the Grundig version:
There is a mistake in both copies in bar 115 in the bass line as the first B should
be an A:
Stylistical Analysis
The last movement of the sonata does not share the same high number of
concordances as found in the second movement. However, this last movement of the
sonata features a significant number of characteristics in the style of Vivaldi and some
of them are significant.
At the beginning of the movement there are several typical features of Vivaldi’s
language:
bibliography, the work by Lockey is very recommendable: Lockey, Nicholas. Second thoughts,
embellishments and an orphaned fragment: Vivaldi's and Pisendel's contributions to the Dresden score of
RV 340, «Studi vivaldiani», 10, 2010, pp. 125-142.
40
This beginning features the typical Vivaldian style of modular composition,

syncopation, large intervals, echo reprises and the use of the perfect cadence pattern.
An important stylistic characteristic is the ‘acephalic’ reprise which has been
pointed out as uniquely Vivaldian107 and is found in a very demonstrative way in the b.
87 of this movement. This is a kind of recapitulation or reprise of the musical material
that omits the opening note or notes.108
The phrase structure is also related to Vivaldi’s language. The overlapping of the
musical material is “an essential ingredient of his musical language: the listener is
expected to receive mild joints en route as phrases are cut short or, alternatively,
extended beyond their expected span”.109
Beside those stylistic matches, some musical concordances are found in the
movement.
107
Vivaldi, Antonio. Sonate RV 815 e 816. Critical edition by Michael Talbot, Ricordi Milano, 2012,p .
XVIII
108
“Acephalic reprise: Perhaps the strangest manifestation of Vivaldi’s style is his readiness to restate the
material leaving out its openings notes, which for more composers (and listeners), form the core of its
identity” Talbot, Michael. The Vivaldi Compendium. The Boydell Press, 2012, p.18
109
41
An inversion of the beginning is found in the third movement of the cello

concerto RV 403 (ca. 1720).
Anonymous sonata, IV, beginning:
(±) RV 403, III, bb. 105 - 110
Also the music material used in the bars 20 to 22 of the sonata is used in several
works by Antonio L. Vivaldi.
Anonymous sonata, IV, bb. 20 - 22
(±) RV 116, I, bb 18 - 20
(±) RV 208 and 208a, I, 23 – 24
(±) RV 318, I, 76 - 79
42
Table of Concordances and Conclusions
I. Adagio
(Mus.2-R-8,40)
Complete movement ± RV 205, II. Violin ca. 1717

Complete concerto in D
movement Major
II. Allegro
bb. 1 – 4
1 – 4: 26 – 30: 46- 51 (=) RV 606 Laudate ca. 1717

Dominun
omnes gentes
1–4 ± RV 774 Concerto for ca.
and RV Organ & 1720111
110
123 , I. bars Violin in C
83 – 84 major
3–4 ≈ RV 445, I. Recorder ca.
bars 26 – 27 concerto 1720112
1–4 ±RV 420, I. b Concerto for ca.
52 cello 1710113
1–4 ±RV 416, I. Concerto for ca.
bb. 11-15 cello 1710114
1–4 RV 42 (?)
1–4 (±)RV 632, Motet: Sum in ca.
Alleluia, b. medio 1720115
77-78 tempestatum
1–4 ±RV 206, I, Violin ca.
75 – 80 concerto 1720116
(IMSLP)
1–4 ±RV 46, II, 8- Cello sonata 1740
11 Op. 17 N. 6
1–4 ±RV 441, I Flute concerto
bb. 5 - 6
1–4 (=) RV 602, I, Laudate Pueri ca.
b.7-8, b.9-10 Dominum 1717117
110
First movement is similar in RV 775 and RV 123
111
Ryom, Peter Antonio Vivaldi Thematisch-systematisches Verzeichnis seiner Werke (RV) Weisbaden,
Breitkopf & Härtel, 2007, p. 55
112
113
114
115
RISM ID no.: 212000235
116
RISM-A/II-212001661
117
Talbot, Michael, Vivaldi, Laudate Pueri Dominum, Edizione Critica, Ricordi Milano, 1995. Note
Critiche, p. 115
43
1-4 RV 401, I, b. Cello concerto ca. 1720

16 - 17
5–6 ±RV 46, II, 1 Cello sonata. 1740
-2 Op. 17 N. 6
18 – 21 (±) RV 564a Concerto 1717

I, 61-65 2Ob2Vl Orch
22 – 23 ≈ RV 347, I, La 1716
61-63 Stravaganza,
Op.4 N.5
± RV 158, I, Concerto a ca. 1730

15-16 Quattro (¿)118
± RV 436, I, Flute concert ?
b 69-70
33 – 35 ≈ RV 205, I, Violin ca. 1717
1-8 concerto
33 - 35 ± RV 569, I, Concerto in F 1717 –

bb. 141 - 163 (Vl. Ob (2) 1730
Cor (2) orch.
33 - 35 ± RV 205,I, Violin ca. 1717
60-63 concerto
33 - 35 ≈ RV 582, I, Violin ca.
126 – 131 concerto 1717119
33 - 35 ≈ RV 756, II, Manchester 1720
17 - 20 sonata XI
33 - 35 ±RV 406, I, Cello concerto Ca.
1-2 1720120
33 - 35 ± RV 407, I, Cello concerto Ca.
1-6 1720121
33 - 35 ± RV 339, I, Violin ?
35 concerto
33 - 35 ≈ RV 214, I. Violin 1720
b.34-39; concerto Op.
bb.41-48; 7 N. 12
bb.61-65
33 - 35 ≈ RV 212a, I Violin ca.
b.120-121 concerto 1712122
118
The manuscript is undated but due stylistically analisys Talbot dates the piece before 1730, TALBOT,
MICHAEL , Vivaldi, "Motezuma" and the opera seria: essays on a newly discovered work and its
background, Brepols, 2008
119
RISM-A/II-212000229
120
Fertonani, Cesare. La musica strumentale di Antonio Vivaldi. Vol. 9. LS Olschki, 1998, p. 405
121
122
RISM ID no.: 212000137
44
33 - 35 ≈ RV 208 and Violin 1717

RV 208a concerto
(op.7/11), I
bb. 26 - 39
33 - 35 ≈ RV 339, I Violin ?
bb. 35-39 concerto
33 -35 ≈ RV 569, III, Concerto Ca. 1717
152 - 181
III. Largo
IV. Allegro
1 -2 ±RV 403, III, Cello concerto ca. 1720
105
19 - 22 ≈ RV 116, I, Sinfonia ca.
37 – 38, 39 - 1717123
40
19 – 22 ≈ RV 208 and Violin 1717
RV 208a, I, concerto Op.
bb. 18 – 20; 7 N.11
bb. 23-25
19 – 22 RV 531, I, 23 Concerto for 2 ?
-24 cellos
19 – 22 RV 318, I, 76 Violin 1717
- 79 concerto Op.
VI N. 3
Admitting the possibility that two sources of the sonata are both pasticcios, there
are some proofs that makes the conection of movements in Grundig’s copy of the sonata
very plausible: the stylistic concordances and the references to other works of Vivaldi
(written around 1717) and a significant number of style concordances.
Mov. II More than 20

Mov. IV 3 Concordances
Grundig's copy Mov. I Vivaldis's RV 205 Vivaldi's concordances, Mov. III (a)
(1717) and Vivaldi style
mostly around 1717
Original
Mov. II More than 20
Mov. IV 3 Concordances
Copyist B's Copy Mov I. Anon Largo Vivaldi's concordances, Mov. III (a')
(1717) and Vivaldi style
mostly around 1717
In fact, Vivaldi himself is the point of union of the movements of the sonata
copied by Grundig: the first movement is, in its whole length, a variation of the RV 205
by Vivaldi, a concert in 1717, followed by an Allegro where more than twenty
Vivaldian concordances are found, mostly from dates around 1717, and its style is
closely linked with Vivaldi. The last movement appears to be connected with specific
features of Vivaldi’s style. (The “acephalic” reprise is a strong proof in support of
Vivaldi’s authorship).
123
RISM ID no.: 21200011
45
Whilst the third movement does not present any concordance apparent to me the
style of the composition could fit in the corpus of Vivaldi’s compositions, but its
analysis does not permit a presumption of authorship as is clear in the other movements.
Neither exclude the possibility of Vivaldi’s authorship.
The main conclusion of this study could be summed up as the discovery of a
new source for the 205 RV slow movement. Furthermore the distinct possibility that
two new sonata movements by Vivaldi (second and last movements) have been
discovered. As there are already three of four movements penned by Vivaldi, the
possibility of a complete Vivaldi sonata is very high, although the pasticcio argument is
also very plausible.
46
Trio Sonata for Violin, Violoncello and Continuo
The Source
The Trio Sonata is found in the manuscript D-Dl Mus.2-Q-6 by the hand of
Pisendel. 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 1717.124 The amount of Vivaldi’s works in Dresden is enormous and a big
part of it was copied by Pisendel.125
But the manuscript D-Dl Mus.2-Q-6 is an early copy by Pisendel, dated between
1705 and 1715126 before his journey to Italy in 1717. Although the paper is in the
typically Italian oblong format, the watermark indicates that it is, in fact, German
paper.127
A logical conclusion is that Pisendel copied these pieces during his period in
Ansbach (from 1697 to 1712).128
Thanks to the RISM and the online project of the SLUB it is easy to look for
other sources copied by Pisendel in paper with this same watermark (W-Dl-168) and
contextualize the anonymous sonata. 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, violin
concerto in G minor RV 578 (L’
Estro Armonico. Op. 3 No.2) (D-
Dl Mus.2389-O-71)
- Vivaldi, concerto for
four violins in F Major RV 567 (L’
Cover page from Torelli's trio sonata (D-Dl Mus.2035-Q-3) 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 anonymous sonata (D-Dl
Mus.2-Q-6). The title of the piece is sometimes copied in the first page of music129 but
124
See the previous chapter about Pisendel.
125
A big part of the works by Vivaldi found in this archive are copied by Pisendel (77 of 168 works)
126
RISM-A/II-212002034
127
The Digital Project of the SLUB about the Schrank II (http://www.schrank-zwei.de) 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.
128
See the previous chapter about Pisendel.
129
The title “Concerto” is found at the top of some parts of the RV 578 (D-Dl Mus.2389-O-71)
47
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.
Last page of the unfinished anonymous trio sonata
The sonata has five movements, something not very common in Vivaldi’s trio
sonatas, but not without pararell: RV 73 (Op. 1 n.1), RV 66 (Op. 1 n.4) and RV 60.
The forces used in the sonata are not very common in Vivaldi: although the special
liking of Vivaldi for the violoncello,130 we have just one “Sonata a violino e
violoncello” (RV 83, written around 1720).131 This sonata - RV 83- it is quite different
to the anonymous sonata which is much closer to the sonatas written in the first decade
of 18th century – Op. 1, 1705 and RV 60, ca. 1710132 - when the anonymous manuscript
is dated.133 A close study and analysis of our anonymous sonata will show those
similarities and links with the earlier Vivaldi compositions.
First Movement
The first movement of the anonymous sonata is in form of an introduction of rapid

notes of the violin followed by the violoncello upon a pedal note (perfidia)134 leading to
a contrapuntal section. This form is quite similar to RV 75 (Op. 1 N.9) and RV 60.
130
131
Fertonani, Cesare. La musica strumentale di Antonio Vivaldi. Vol. 9. LS Olschki, 1998. P. 196
132
Fertonani, Cesare. La musica strumentale di Antonio Vivaldi. Vol. 9. LS Olschki, 1998. P. 145
133
RISM-A/II-212002034
134
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
48
Anonymous sonata, first movement (D-Dl Mus.2-Q-6):
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. 139
49
RV 75 (Op. 1 N.9), Incipit:
RV 60, first movement:

50
The same kind of material is used to build the first movement of those three trio
sonatas (Anonymous, RV 60 and RV 75).
Material:
Perfidia (pedal)
Dialogue
(Basso with long values)
Dialogue
(Basso with short values)
Homophonic texture in upper voices
Cadential dialogue
Progression featuring the violin (or upper
voice)
Anonymous trio sonata, first movement:
bb. 1-5 bb. 6-8 bb. 8-9 bb. 10 - 12 bb. 13 – 14

Perfidia (pedal) Dialogue Homophonic Dialogue Cadential dialogue
(Basso with long texture in upper (Basso with short
values) voices values)
Extended dialogue section (I)

bb. 15 – 16 bb. 17 – 20 bb. 20 – 22 bb. 22 – 24
Dialogue Progression featuring Progression featuring Cadential dialogue
(Basso with long the violin the violoncello
values)
Extended dialogue section (II)

bb. 25 – 26 bb. 27 – 29 bb. 30 - 32 bb. 32 - 33
Dialogue Progression featuring Progression featuring Cadential dialogue
(Basso whit short the violin the violoncello
values)

bb. 1 – 8 bb. 9 – 10 bb. 10 – 12
Perfidia (pedal) Dialogue Homophonic texture in upper
(Basso with long values) voices
bb. 12 – 20 bb. 20 – 22 bb. 23 - 24 bb. 25 - 27

Perfidia (Pedal) Dialogue Dialogue Homophonic texture in
(Basso with long (Basso whit short upper voices
values) values)

bb. 1 – 6 bb. 7 – 6 bb. 11 – 15 bb. 16 - 20 bb. 21 - 24
Perfidia (pedal) Dialogue Progression Homophonic Dialogue
(Basso whit short featuring the texture in upper (Basso whit short
values) violin I voices values)
51
These similarities are not only related to the compositional tools used and its
organization, but also with the musical material itself. Those concordances are quite
obvious in the RV 60:
Anonymous sonata, bb. 15 – 16. Dialogue (Basso with long values):
RV 60, I, bb 20 – 22. Dialogue (Basso with long values):
Anonymous sonata, I, bb. 8 – 9. Homophonic texture in upper voices:
RV 60, I, bb. 11 – 12. Homophonic texture in upper voices:

52
Second Movement
The opening motive of the second movement is also characteristic and it is found in
pieces not only by Vivaldi, but also by Arcangelo Corelli and Giuseppe Matteo Alberti.
It is remarkable that, following the chronology, Corelli influenced Vivaldi135 and
Vivaldi influenced Alberti,136 so we can found the motive of the sonata in a reasonable
timing.
Corelli, Op. V, III, III (Roma, 1700):
Anonymous trio sonata, II (1705 – 1715):
Vivaldi, RV 550, II (L’Estro Armonico Op. 3, N.4) (Amsterdam, 1711):
135
136
53
Giuseppe Matteo Alberti, Sonata in E minor, II (Bologna, 1720):
The B section (Adagio, b.12) of the anonymous sonata features a very similar
material that it is used in the concerto above mentioned (RV 550.)
Anonymous trio sonata, II bb. 12-15:
Vivaldi, RV 550 (L’Estro Armonico Op. 3, N.4), I bb.1 -4:
Besides that important concordance the motive is found in other genuine works
of Vivaldi:
RV 43, I, bb. 1 - 4
RV 299, II, bb. 1 - 4
The following sections of the anonymous sonata (third and fourth movement)
are featuring two solo instrument sections: the third movement is a solo for the violin
and the fourth is a solo for the violoncello. Both soli are organized very originally and
in different ways. This originality could be in concordance with the experimental
imprint of other Vivaldi chamber works written in the first decade of 1700.137
137
54
Third Movement: Violino Solo
First Part: Perfidia
This movement is a solo for the violin, the 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.138
The influence of Corelli – proved in Vivaldi’s early works, Opp. 1 and 2139 – Is
again obvious at the beginning of this section in triplets that reminds the opening
movement of Corelli’s Op. 1, N.9:
After the section in triplets the similarities with Vivaldi and the RV 60 are
shown clearly:
Anonymous sonata, III, bb. 1 - 11
RV 60, I, bb. 12 – 16
138
“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, 2012. p. 59
139
55
Second part: Adagio
There is a short adagio (just three bars) following the introduction. This small
slow movement in between two fast movements have more parallels in Op. 1 by
Vivaldi, a comparison of the use of this kind of adagio in the anonymous trio sonata and
Op.1 by Vivaldi makes clear that the use of this formal articulation is related to Vivaldi:
Anonymous: Allegro C140 [perfidia] in G major – Short Adagio C (3 bars) in G major –
Allegro 3/8 [corrente] G major
Op. 1, N.3: II.Allegro C (allemanda) in C major – Short Adagio C (4bars) in the
dominant of A minor– III. Allegro 3/8 (sarabanda) in C major
Op. 1, N. 4: II. Allegro ¾ (corrente) E major- Short Adagio 3/2 (7bars) E major –
III.Allegro C (allemanda) E major
Op. 1, N.9: I.Preludio, Allegro C [perfidia] A major – Short Adagio C (4 bars) A major
– II.Allegro C (allemanda) A major
There are some concordances with other works of Vivaldi such as RV 20 (Op.2
N.3) and RV 75 (Op.1 N.9).
Anonymous Trio Sonata. Solo violin section. Adagio:
RV 75 (Op.1, N.9) Adagio, b.3:
RV 20 (Op.2 N.3), Adagio, bb. 3 -5:
This kind of melodic movement is also found in other composers such as

Bonporti whose influence is clearly found in early works by Vivaldi.141
140
“C” indicates 4/4 time
141
56
Bonporti Op. 7 N.7, I, beginning:
The reutilization of Bonporti’s music by Vivaldi in the first years of XVIII

century is the earliest known example of other composers borrowing Vivaldi’s music.142
Third Part: Corrente
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. Those similarities are linked
with the originality in the articulation. (The anonymous movement is quite original,
especially in the articulation marks – very clearly written in the manuscript – which are
especially demanding because its variety and heterogeneity).
Op. 1, N. II (RV 66), Second movement, Allegro, beginning:
Anonymous trio sonata, Solo violin section,3/8:
142
Sardelli, Federico Maria. Catalogo delle concordanze musicali vivaldiane, L. S. Olschki Editore, 2012,
pp.12 & 114
57
Fourth Movement: Violoncello Solo
First Solo for the Violoncello. Adagio
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 giga.
The fact that the dance is not labelled as giga and that this dance doesn’t occupy
the last movement is also often found in Vivaldi’s chamber music.143
The adagio is very similar to the trio sonata Op. 1 n.5, first movement (RV 69).
Clear concordances can be found in the first and fifth bar of the anonymous trio sonata
with the first and eighth bar of RV 69:
Anonymous Trio Sonata:
RV 69, First Movement.
Second Solo for the Violoncello. Giga
The most significant and important concordance in this piece is found in the
following movement, which is, in its whole duration, a variant of the giga 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.144
The Giga of the sonata RV 10 seems to be a more elaborated version of the giga
in the anonymous sonata, including new material (bars. 14 – 17; 24 – 28; 32 – end) and
an elaborated coda at the end. The material used in the bars 3 – 4 of the anonymous
sonata is modified and expanded in the bars 3 – 6 and 20 – 21 of RV 10. The same idea
143
144
D-Dl, Mus.2389-R-7,1 copied by Pisendel
58
of the bars 3 – 6 and 20 – 21 can be inferred in the pedal sections of the RV 10 (bars 24
– 27 and 32 – 34).
The dating of the sources (1705 – 1710145 for the anonymous sonata and RV 10
ca. 1717146) and the similarities between the two versions could confirm a later
elaboration by Vivaldi of the same material.
Anonymous Trio Sonata, Giga:
145
RISM-A/II-212002034
146
RISM-A/II-212001817
59
RV 10, Giga:
60
The next map shows the similarities and differences between both sonatas:
A section of both sonatas:

Anonymous bb. 1-2 bb. 3 – 4 bb. 5 – 6 bb. 7-10 bb.11-12
= RV 10 ± RV 10 = RV 10 ± RV 10 (Cadential
pattern)
= RV 10
RV 10 bb. 1-2 bb. 3 – 6 bb. 7 – 8 bb. 9-13 bb.14-16 bb. 17-18
= ± = ± New =
material
B section of both sonatas:

Anonymous b. 12 bb. 13-15 b. 16 b. 17 bb. 18-21
=RV ≈ RV 10 = RV 10 (cadential ≈ RV 10
10 ( ± harmonic pattern) (Var. bb. 29-31 RV 10)
pattern) = RV 10
RV 10 b. 19 bb. 20-21 bb. 22-23 bb. 23-
= ( ± harmonic = b.12 24
pattern) Anonymous =
B section, continuation:
Anonymous bb. 22-24 bb. 25 -27 bb. 28 – bb. 30 –

≈ RV 10 ≈ RV 10 30 31
(bb.33 – 35) New = RV 10
material (Cadential
pattern)
RV 10 bb.24-28 bb. 29-31 bb. 32 – 34 bb. 35 –
≈ bb.13-15 ≈ bb.22-24 ≈ bb.13-15 49
Anonymous Anonymous Anonymous New
material
It seems that almost all the material of the anonymous sonatas is found in the RV
10. In addition to this material, the RV 10 provides new material and expands part of
the material used in the anonymous sonata.
This elaboration strongly points to Vivaldi as a very plausible author but the
evidence must be taken carefully. It is very plausible that Vivaldi took the material from
other composer. In the chapter “Vivaldi rielabora gli altri”,147 [Vivaldi re-elaborates the
others] Federico Maria Sardelli shows a large catalogue of example of Vivaldian works
composed with material of other composers. Ruggieri, Lotti, Ziani, Bonporti, Westhoff,
Bononcini, Marini are just some examples of composers that served as inspiration to
Vivaldi.
147
Sardelli, Federico Maria. Catalogo delle concordanze musicali vivaldiane, L. S. Olschki Editore,
2012, pp. LXXVII - LXXXIV
61
Carlo Marini. Sonata Op. VIII, N. 6, I, bb.1-2:
± RV 40, I, bb. 1-2:
On the other hand, the elaboration of his own material in Vivaldi’s compositions
has already been discussed and it is already demonstrated by several authors.148 In
opposition of the former mentioned chapter of Sardelli’s book about “Vivaldi re-making
the others” there is the chapter “Vivaldi rielabora sé stesso”149 [Vivaldi re-elaborates
himself].
The re-elaboration of whole movements is found in the catalogue of Vivaldi’s
compositions. The following works are just some examples of whole movements re-
elaborated from other whole movements:150
RV 755, IV ± RV 229, III
RV 12, I ± RV 582, II
RV 71, II ± RV 516, III
RV 528, I ± RV 383a, I
RV 548, I ± RV 107, II
RV 562, I, II ± RV 562a, I, II
RV 17, I, II, IV ± RV 17, I, II, IV
RV 17, II ± RV 47, II
RV 27, II ± RV 51, II
RV 27, III ≈ RV 51, III
RV 571, I ≈ RV 99, I
148
See Authentication criteria: Stylistic Features and Concordances
149
Sardelli, Federico Maria. Catalogo delle concordanze musicali vivaldiane, L. S. Olschki Editore,
2012, pp. XXI - LXXVI
150
Extracted from Sardelli, Federico Maria. Catalogo delle concordanze musicali vivaldiane, L. S.
Olschki Editore, 2012
62
In addition, it is possible to find concordances in other works by Vivaldi and the

musical material used in the Giga of the Anonymous Trio Sonata. These concordances
strengthen the Vivaldian authorship of this musical material.
Vivaldi, RV 31 (Op. II, N.2), Giga, bb. 6 - 7
Anonymous Trio Sonata, Giga.bb. 5 – 6
The cadential pattern used in the Giga contained in the RV 31 is the same as in
the Giga of the Anonymous Trio Sonata.
RV 31, Giga, Cadential patterns:
b. 13 b. 18
bb. 31 – 32 (Repeated in bb. 34 – 35)
Anonymous Trio Sonata, Giga, cadential patterns:

b. 4 bb. 10 – 11 bb. 28 – 29 (Repeated in bb.30–31)
63
Fifth Movement: Corrente
The last movement of the anonymous sonata is a corrente, even though no

indication or title is given to the movement. The “Large 3” time signature is used also to
mark the ¾. The “Large 3” time signature is used by Vivaldi to indicate any triple meter
just with a large number 3 and it is used specially from the early 1720’s onwards, but
was already known to Vivaldi in early years, since the Sala151 edition of his Op. 1
already features it in certain movements.152
The more obvious similarities of the anonymous corrente with genuine works of
Vivaldi are found in the second movement (corrente) of the trio sonata Op. 1 No. 8, RV
64. Several concordances are found in the two pieces and also the organization of the
musical material is very close between each work.
Anonymous sonata, last movement, beginning:
RV 64, Corrente, 9 - 12
Trio Sonata Op. 1, N. 5. RV 69. Corrente:
Anonymous trio sonata, Corrente, bb. 40 - 47:
151
Giuseppe Sala was a Venetian publisher responsible of the first edition of Vivaldi’ Op. 1. This first
edition is dated between 1703 and 1705. See: Heller, Karl. Vivaldi, The Red Priest. Amadeus Press, USA,
1997, p. 44
152
64
RV 64, corrente, bb. 47 - 53:
In addition to those concordances there are similar concordances also found in

the RV 220, III:
In addition to the literal concordances, we found some passages in the RV 64

that seems to resume some musical ideas of the anonymous sonata, in particular the
material found in the anonymous corrente (bb. 13 – 25):
- The Vivaldian153 use of ostinato figures in the upper voices (using the ostinato in
the upper voice with repeated notes): bb. 15 – 17(violin) & 20 – 26 (violoncello)
- Harmonic pedal: bb. 15 – 17
- The same kind of articulation and rhythm: in one voice and ostinato-
like in the other: from upbeat of b 21 to b 23)
153
Talbot, Michael. Vivaldi. J.M. Dent, London, 1993, p. 82
65
Anonymous sonata, last movement: bb. 13 – 26:
All those ideas (ostinato in the upper voices – open A in the violins -, harmonic
pedal – in the bass part- and same kind of articulation ) seems to be summarized
in the passage of bb. 41 to 46 the Corrente of the RV 64:
66
In order to clarify all the concordances between the anonymous sonata and other
Vivaldi’s works it will be very useful to summarize in a table:
I. Allegro
Complete ≈ RV 60, I General Trio sonata (2 vl, ca. 1708154
movement form BC)
6-9 ± RV 60, I, 6 - 9
15 - 16 ± RV 60, I, 20 - 21
21 - 22 ± RV 60, I, 22 - 23
II. Adagio
1-4 ≈ Alberti, 1720
Giuseppe Matteo.
Sonata vl e BC E
minor, I, 1-4
1-4 ≈ Corelli, 1700
Arcangelo. Op V,
III
1-2 ≈ Somis, Sonata 1723
IV Op. Op.2, I
1-4 (≈) RV 550, II, 1-2 L’Estro Armonico 1711
Op. 3, N.4
12 ± RV 43, I, 1 Cello sonata 1740

12 ± RV 87, II, 1, b 1- Chamber Concerto ca. 1720155
2 for Recorder, Oboe,
Two Violins and
Continuo
12 ± RV 550, I, 1 L’Estro Armonico 1711
Op. 3, N.4
12 ± RV 299, II, 1 Concerto 'per Anna Ca. 1712156
Maria' for violin
12 ± RV 30, I, 27-30 Violin sonata
12 ± 621, I, b.2 Stabat Mater 1712
III.I Solo violin [perfidia]
1-5 ± Corelli, Trio sonata (2vl + 1681
Arcangelo. Op. 1 BC)
N.9, I, 1 - 9
6 - 10 ≈ RV 60,I, 12 - 15 Trio sonata (2vl + Ca. 1710
BC)
III.II Solo violin (adagio)
2 ± RV 20, III, 3 Sonata for violin and 1709
BC (Op. 2 N.3)
2 ± RV 75, II, 4 Trio sonata Op. 1 N.9 1705
(2vl + BC)
154
155
156
Fertonani, Cesare. La musica strumentale di Antonio Vivaldi. LS Olschki, 1998, p. 77
67
2 ± Bonporti, Sonata for violin and 1707

Francesco A. Op. 7 BC
N.7 I, b.1
III.III Solo violin [Allegro]
1-2 RV 66, II, 1-2 Trio sonata Op. 1 n.4 1705
IV.I. Solo violoncello (Adagio)
1 ≈ RV 69, I, b. 1 & Trio sonata Op. 1 n.5 1705
10
5 ≈ RV 69, I, 8 - 9
1 ± RV 20, Sonata for violin and 1709
Allemanda, b.1 BC (Op. 2 N.3)
IV.II. Solo violoncello [giga]
Complete ≈ RV 10, IV Sonata for violin and ca. 1716
movement (Complete continuo (Dresden)
movement)
5-7 = RV 31, Giga, 6 - Sonata for violin and ca. 1709
7 continuo (Op. II, N.2)
Cadential Pattern: = RV 31, Giga, Sonata for violin and ca. 1709
4, 10-11, 28-29, Cadential Pattern: continuo (Op. II, N.2)
30-31 13, 18, 31-32, 34-
35
V. [Corrente – Allegro]
1-4 ± RV 64, II, 9 - 12 Trio sonata Op. 1 n.8 1705
38 - 46 ± RV 64, II, 47 -
53
1-4 ± RV 220, III, 1-4 Violin concerto 1717
1-4 (±) RV 69, III, 1-4 Trio sonata Op. 1 n.5 1705
Pisendel’s manuscript of the anonymous trio sonata is found in a collection

dated in the beginning of 18th century (1705 – 1710).157 This set contains two genuine
works of Vivaldi and there are no pasticcios in the collection.158 The lack of pages can
easily explain the absence of the name of the composer.
The high number of concordances and similarities with other works of Vivaldi,
especially from Op. 1 (ca. 1703) and the trio sonata RV 60 (ca. 1710) - which dates and
genre are very much in concordance with the anonymous sonata.
The Giga of the RV 10 (ca. 1717) is the strongest point that can highlight this
sonata as a genuine work by Antonio Lucio Vivaldi.
On the other hand there is also the possibility that this anonymous composer
served as inspiration to Vivaldi. Vivaldi could compose the giga of his RV 10 by
copying this anonymous composer. In this case, all the concordances found in the
anonymous trio sonata and the links with other Vivaldian works could be said to be
“common features” which influenced Vivaldi in the earliest stage of his career as a
composer. In this extreme case, this anonymous sonata could be considered as a new
discovery in the sources of Vivaldi’s music.
157
RISM-A/II-212002034
158
The watermark W-Dl-168 is only found in a trio sonata by Torelli (D-Dl Mus.2035-Q-3), a concerto
by Artemio Motta (D-Dl Mus.2186-O-1), a concerto (sonata) by Pepush (D-Dl Mus.2160-O-1) and two
works by Antonio Vivaldi: the Violin Concerto in G minor RV 578 (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).
68
Violin Concerto in D Major
Introduction
Description of the Source
The work is preserved in parts under the signature Mus.2-O-1,45, as part of the
Schrank II in the SLUB. The work was enterely copied by Pisendel in its totality. The
copy is dated between 1720 and 1730.159
The exact title written in the folder that contains the music is:
Concerto. | co VV.ni Ob: Cor: Fag: V.la e | Basso.
The folder contains the following parts:
1 Violino principale, 1 Violino primo, 1 Violino secondo, 1 Violetta, 1 Violoncello, 1
Violone, 1 Cembalo, 1 Corno da Caccia primo, 1 Corno da Caccia secondo
There are several possibilities for the lack of concordance with the
instrumentation written in the folder and the instrumental parts. The title could be
mistaken160 or the parts can be lost. Although the music is quite convincing and finished
with the provided instrumentation, the possibility that the parts are lost is very plausible.
Especially taking into account a set of concertos by Vivaldi written for this combination
of instruments (the one in correspondence with the title): RV 562, RV 568, RV 569, RV
571 and RV 574. Those concertos are a quite homogenous group written around 1717 –
1720 and, it is very possible that they were composed for the orchestra in Dresden.161
An Unexpected Discovery
The discovery of this concerto come while researching the previous works of
this paper.
The Sonata in A Major shares the slow movement of the Vivaldi concerto RV
205. This same movement is also found as alternative movement in the RV 212.162 The
manuscript that contain the RV 212, also contains several cadenzas. I found also that
one of those cadenzas is very similar to the cadenza found in the RV 562.
159
The RISM (RISM ID no.: 212003601) dates this work between 1720 and 1740 but the study of
watermark of the paper (W-Dl-081) made by the SLUB (http://hofmusik.slub-
dresden.de/en/kataloge/wasserzeichenkatalog/) dates it between 1720 and 1730. As a curiosity, this same
watermark is also found in the copy of Copyist B of the Sonata in A Major previously discussed in this
work.
160
Mistaken labels are common in the Schrank II, for instance, the RV 569 (Mus.2389-O-93a), a piece for
solo violin, 2 oboes, 2 corni da caccia, bassoon and string orchestra is labelled as: Concerto | co Vno
conc: VVni Viola e Basso.
161
Fertonani, Cesare. La musica strumentale di Antonio Vivaldi. Vol. 9. LS Olschki, 1998. Pp. 464 – 539.
162
Mus.2389-O-74
69
End of Cadenza I of the RV 212:
End of Cadenza III of RV 212:
A careful look at the scratched part of the cadenza of the RV 562 will show the
final tutti that appears at the end of the Cadenza I of the RV 212. This suggest that
Vivaldi used the same material for both concertos. This makes sense if we take also a
look to the end of the Cadenza II of the RV 212 which is very close to the RV 562.
The similarities of the end of the Cadenza II of RV 212 and RV 567 with the
anonymous concerto Mus.2-O-1,45 are obvious:
70
“Qui si Ferma a Piacimento”
The second clue that points the Vivaldi authorship is the representative mark
“Qui si ferma a piecimento”. Very recently, in 2012, this very same sentence was
pivotal for finding of another new Vivaldi concerto163 164 also found in Dresden.165
Anonymous concerto Mus.2-O-1,45:
The indication “Qui si ferma a piacimento”, in words of Talbott is “one small

notation detail [that] strongly strengthens the case for Vivaldi. […] The vital point is
that the phrase has to my knowledge been linked to only one composer besides
Vivaldi”.166
The other composer that Talbot is referring is Francesco Maria Cattaneo,167
which also uses the sentence “Qui si ferma a piacimento” in the Concerto in A Major
(Mus.2468-O-2). But the strong concordances with Vivaldi, (especially with other
similar concertos in Dresden, such RV 205, RV 206, RV 212…) points to Vivaldi as a
more plausible author, as will be discussed in more detail.
It is worth mentioning that this sentence just appeared in one Concerto by
Cattaneo: the concerto in A major preserved in the manuscript Mus.2468-O-2. The
Concerto is copied by Pisendel and dated after 1726.168
“Si ferma a piacimento” in the “Violino Primo” part (end of third movement) of
Cattaneo’s concerto in A major (Mus.2468-O-2):
Its use is more frequent in Vivaldi pieces and I have found at least six concertos
in Dresden169 with that sentence:
RV 179 (Mus.2389-O-59)
163
Studi Vivaldiani: rivista annuale dell'Istituto Italiano Antonio Vivaldi della Fondazione Giorgio Cini
Miscellany. Pages: 12 (2012), 95-105
164
The new was also published online in the blog of the SLUB:
http://blog.slub-dresden.de/beitrag/2012/07/04/wieviel-vivaldi-musikhandschrift-bietet-neuen-
diskussionsstoff-fuer-die-forschung/
165
Mus.2-O-7a
166
Talbot is speaking here about the RV 206. Studi Vivaldiani: rivista annuale dell'Istituto Italiano
Antonio Vivaldi della Fondazione Giorgio Cini Miscellany. Pages: 12 (2012), p. 97
167
Talbott keeps the mystery of the name of this composer till page 101 in the same article. Studi
Vivaldiani: rivista annuale dell'Istituto Italiano Antonio Vivaldi della Fondazione Giorgio Cini
Miscellany. Pages: 12 (2012), p. 101
168
RISM ID no.: 212001051
169
Outside of Dresden, I noticed this sentence in the RV 513 (VI concerti a cinque stromenti, Libro
secondo, published by Gerhard Fredrik Witvogel. Amsterdam 1736)
71
RV 205 (Mus.2389-O-123 and Mus.2389-O-123a)

RV 206 (Mus.2727-O-1)
RV 370 (Mus.2389-O-55a)
RV 212 (Mus.2389-O-74)
RV 562 (Mus.2389-O-94)
Autograph of Vivaldi of the Violin concerto in D major RV 205 (Mus.2389-O-123):
Pisendel copy of the Violin concerto in D major RV 205 Mus.2389-O-123a
All those significant links to Vivaldi and the strong concordances that can be
noticed with a quick revision of the score encourage me to include this concerto in the
main work of this thesis.170
The Anonymous Concerto and Some Related Concertos by Vivaldi
There are some characteristics which could link the anonymous concerto to other
concertos by Vivaldi in Dresden.
As pointed out earlier in this text, the manuscript of anonymous concerto is
contained in a folder which on the label has the title of:
Concerto. | co VV.ni Ob: Cor: Fag: V.la e | Basso.
That is, Concerto with violins, oboes, horns, bassoon, viola e Basso. There are
no oboes and no bassoon parts in the folder.
My search in the SLUB archive didn’t find any other concerto with solo violin
with just horns and strings in its accompaniment. Together with the horns there are
always other wind instruments, such oboes or flutes.171 I just found this kind of
orchestration (solo violin, 2 corni and string orchestra) in later repertoire, a good
170
Two months before the deadline!
171
There are examples of this kind of orchestration in concertos by Pisendel (Concerto in D, Mus.2421-
O-6,1) Fasch (Concertos Mus.2423-O-4, Mus.2423-O-7), or Grazziani: concerto for 2 violins, 2 Ob, 2
Cor and strings (Mus.3736-O-1)
72
example could be the Concerto in D Major by Benda (Mus.2981-O-2), this manuscript

is dated ca. 1740
The role of the horns is quite important in this concerto, both in the tutti and as
soloists.
Anonymous concerto, III Movement, bb. 27 - 34
This kind of orchestration could indicate that the horns are part of the original
scoring of the concerto, and they are not a later addition to a concerto for violin and
strings.172
The scoring of the concerto could help to put it into context.
There are a group of concertos by Vivaldi in the SLUB for solo violin, oboes,
horns and strings: RV 562, RV 568, RV 569, RV 571 and RV 574.
In addition to those concertos I also found the Serenata RV 690 interesting, Mio
cor, povero cor173 which features also 2 corni and a solo violin part in its
instrumentation and was written in the same period (ca. 1719).
Also the mentioned concordances with the cadenza link this anonymous
concerto, at least, with two other violin concertos: RV 212 and RV 205.
All those pieces were written in the same period: between 1716 and 1720.
Looking at those pieces some compositional resources are noticed as typically
used by Vivaldi. Those resources are based on a technical and musical basis that is
repeated and used in a similar way. The way in which Vivaldi uses a certain pattern for
the arpeggios or the use of very similar patterns for double stops cannot be considered
as concordances in the ways discussed in this work using Sardelli’s method.174 However
they can be used as a way to demonstrate similarities and differences between works
and those patterns can be also linked to the personal style of the composer.
172
There are several examples of works arranged especially for the Dresden Orchestra by Pisendel. For
instance the concerto RV 294 “Il Ritiro” is found in a version with oboes in Dresden: RV 294a,
Mus.2389-O-156
173
Biblioteca nazionale universitaria Torino - IT-TO0265
174
As shown in the introduction, Sardelli’s method of concordances is mostly based on a melodic
structure. The patterns referred here could be link with technical resources. Those technical resources
could have as a result a certain pattern, that can be very variable in its melodic result but that can have lot
of similarities in other aspects.
73
Violin Resources
All the following violin features are related especially in the use of the pedal
note in an ostinato or repeated-pattern context. As shown in previous chapters of this
paper, the use of the pedal notes and ostinato is frequently found in Vivaldi.175
A.- Using repeated notes as pedal and single notes as basso in the violin part.
This specific use of the pedal has been discussed earlier176 in this work and marked by
Sardelli as a “favorite” Vivaldian resource. 177
This feature has as a result a very recognizable graphic shape: the pedal note in a
long-value note and the moving notes usually written in eight notes.
RV 562, I, bb. 76 – 77: RV 569, III, bb. 159 – 162:
RV 212, Cadenza II, beginning:
Anonymous concerto, I, bb. 31 – 33:
B. - “One – three formula”. In other words, a single note followed by three repeated
notes. Usually, those repeated notes are use as harmonic pedal note.
Autograph, RV 690. Mio cor, povero cor. Aria XVII. Ad infiammar quel seno, bb. 6–7:
175
See Appendix I. Ostinato and Pedal notes.
176
See page 35
177
“un moto di semicrome spezate ove una voce inferiore esegue il ‘bassetto’ ad una voce superiore che
ribate”. Sardelli, Federico Maria. Catalogo delle concordanze musicali vivaldiane, L. S. Olschki Editore,
2012, p. LIX
74
RV 574, I, bb.83 – 85:
RV 562, I, bb. 54 – 55:
A common resource is to use this “one-three formula” to develop a

harmonic progression 7 – 6.178
RV 569, I, bb. 32 - 36
RV 562, III, bb. 71 – 73:
C. - Ascending sequences to very high notes, using open strings as pedal note.
RV 574, I, bb. 76 - 78
RV 212, Cadenza III, beginning:
RV 205, III, bb. 249 - 253
178
Marked with (p) in the following chart
75
RV 690. Mio cor, povero cor. Aria XVII. Ad infiammar quel seno, bb. 23 – 24
Anonymous concerto, I, bb. 42 - 46
Anonymous concerto, III, 108 – 112:
D. - A passage in double stops with a pedal note in one voice and a repeated moving
interval in the other
RV 562, I, b. 67
RV 571, I, bb. 73 - 76
RV 212, III, bb. 25 - 28
RV 690. Mio cor, povero cor. Aria XVII. Ad infiammar quel seno, b. 17
Anonymous, Cadenza, bb. 3 – 5:

76
The following table will summarize all those features and its appearances in the
selected works:
A B C D
Anonymous concerto I. bb. 31 – 33 I. bb. 86 – 95 (p) I. bb. 42 – 47 III. bb. 128 – 131
I. bb. 52 – 54 Cadenza, bb. 29 - 30 I, bb. 82 - 85 Cadenza, bb 3 – 7
III. bb. 115 – 127 III. bb. 108 - 114 Cadenza, bb. 16 - 21
Cadenza, bb. 40 - end
Concerto “Per la I, bb. 66 – 77 I. bb. 54 – 55 - III. bb. 66 - 67
III, bb. 33 – 44 I. b. 146
Solen[n]ità di S: Lorenzo” III, bb. 104 – 108 III. bb. 46 – 60
RV 562 Cadenza, b. 21 I. bb. 30 – 33 (p)
[vl solo, 2 Ob, 2 Cor, Cadenza, bb. 35 – 43 III. bb. 71 – 73(p)
Cadenza, bb. 75 - end III. bb. 94 – 96(p)
Strings] III. bb. 165 - 167(p)
RV 568 - - - -
[vl solo, 2 Ob, 2 Cor,
Strings]
RV 569 III, bb. 143 – 165 I, bb. 30 – 32 - -

III, bb. 167 - 169 III. bb. 140 – 161
[vl solo, 2 Ob, 2 Cor, III. 165 – 166
Strings] I, bb. 33 – 37 (p)
I, bb. 38 – 40(p)
I, bb. 66 – 68(p)
I, bb. 77 – 78(p)
I, bb. 120 – 126(p)
I, bb. 128 – 129(p)
I, bb. 130 - 131(p)
RV 571 - - - I. bb. 68 - 79
Strings]
RV 574 - I. bb. 85 – 95 I. bb. 75 – 78 -
III. bb. 93 - 97
Strings]
RV 212 I. bb 64 – 73 (H) Cadenza III, bb. 7 – Cadenza III, bb. 1 -5 III. bb. 25 - 28
I. bb. 120 – 122 11 III. bb. 170 - 173
[vl and strings] Cadenza II, bb. 1 – 7 Cadenza II, bb. 48 –
Cadenza III, bb. 59 - 63 (p)
??179
RV 205 I. bb. 31 - 37 I. bb. 10 – 11 III. bb. 147 - 153 I, bb. 23 – 25.
I, b.27 b.29
[vl and strings] III. b. 17 (?)180
RV 690. Mio cor, povero bb. 50 - 51 bb. 6 – 8 b. 9 – 11 b. 16 - 17

bb. 14 -15 (p) b. 24 - 25
cor. Aria XVII. Ad bb. 35 – 36
infiammar quel seno bb. 48 – 50
179
Unfortunately the manuscript is poorly conserved and it is impossible to read some parts.
180
Doubtful notation.
77
Form Peculiarities and Other Similarities with the Last Movement of the RV 574
and RV 562
From the corpus of concertos, previously mentioned, the proximity of the last
movement of the RV 574 and RV 562 with the last movement of the anonymous
concerto is also very remarkable.
A striking peculiarity found in the movement is its contrasting sections.
Minuet-like Section
A minuet-like part, written in an homophonic style is confronted with a more

lively part. This creates a clear change in the texture and also in the character.
Minuet-like section Contrasting section

RV 562, III RV 562, III, b.31 – 33:
RV 574, III RV 562, III, bb. 31 – 39:
Anonymous concerto, III, bb. 87 – 94: Anonymous concerto, III, bb. 49 – 54:
78
Section with Rests
All those movements feature passages in sixteenths notes which is why a section
written in a very homophonic style of quarter notes and rests in striking:
RV 562, III, bb. 18 – 23 RV 574, III, bb. 138 – 142 Anonymous concerto, III, bb. 87 –
94:
Besides those compositional similarities, some important and significant

concordances are also found in those movements:
RV 574, III, bb. 120 -123 (Corni da caccia):
RV 562, III, bb. 156 – 161 (Corni da caccia):
Anonymous concerto, III, bb. 26 – 28 (Corni da caccia):
After all those concordances and similarities, it is very plausible to include the
anonymous concerto in the same group of concertos of the Vivaldi concertos with corni
and solo violin. Those concertos are linked also with the RV 205 and RV 212. All those
links can be used as a clue to date all those pieces in the same period (around 1717).
79
Concordances and Vivaldi’s Style Characteristics
In addition to all those concordances and links with the group of concertos
previously mentioned, there are more concordances with other Vivaldian works.
First Movement
The concerto is full of concordances with other works by Vivaldi. Starting from
the very first bar of the concert.
± RV 347, I, b.1 – 2:
All the solos in the first movement have concordance with other Vivaldian works.
Anonymous concerto, I, bb. 25 – 30
± RV 224a, III, bb. 129 - 132
≈ RV 298, I, bb. 105 - 107
Anonymous concerto, I, bb. 60 - 66
≈ RV 238, I, bb. 73 - 76
80
Those concordances include long passages like this passage in the anonymous
Concerto, I, bb. 70 – 78:
(±) RV 238, I, bb. 234 – 250:
In addition to all those concordances, the possibility of Vivaldi’s authorship is

strengthened by the characteristics found in the anonymous concerto.
The very first tutti features some the typical construction in building blocks with
the irregularity that usually is found in Vivaldi, showing the preference of Vivaldi of
grouping by 3 its blocks:
The use of large intervals in a very Vivaldian way is also found just at the
beginning of the concerto:
Where he uses large intervals we often find either that two-
part writing is being simulated in a single line (the lower ‘part’ may
be a pedal-note) or that an expected simple interval has been
displaced upwards or downwards by one or two octaves181
That is exactly what happens in bb. 17 – 21 of the first movement of the
anonymous concerto:
Continuing with Talbott dissertation about Vivaldi’ style, he just follows his
former quote with some words about diactinism/chromaticism:
He shows no general preference for diatonicism or chromaticism in
his melodies, tending to either as the occasion warrants, but it is
remarkable how often melodic chromaticism is introduced without
prompting from the harmonic progressions182
181
182
81
This quote is exemplified in the bars 13 – 21 of the opening movement of the

anonymous concerto:
Second Movement
The second movement, Grave, appears to be related in the first bars, with the
Grave of the RV 124. The similarities are quite obvious in the first five bars of the
anonymous concerto:
RV 124, III, bb. 1 – 5:
Anonymous concerto, III, bb. 1 – 6:
The following bars show a similar melodic line but the harmonic concordances
are more distant:
RV 124, bb. 6 – 11:
Anonymous concerto, III, bb. 7 – 14:

82
Other Vivaldian features are found in the slurs of bar 17 of the Anonymous
Concerto:
Talbot name this kind of slurring as “syncopated slurring”, pointing Vivaldi as a

significant exception in its use: “Italian composers were quite conservative in this
regard, rarely exploiting its possibilities, but Vivaldi constitutes a significant
exception”.183
Third Movement
The similarities and concordances of the third movement have already been
discussed in previous chapters of this paper, stabilizing a clear relationship with the RV
574 and RV 562.
In order to strength the assumption of Vivaldi’s authorship, it is worth to show
more concordances with other Vivaldian works.
RV 242, III mov b. 1 ± Anonymous concerto, III b. 18
RV 242, III mov bb. 29 – 32 (=) Anonymous concerto, III bb. 20 -22, bb,
22 – 26, bb. 26 – 28
Anonymous concerto, III, bb. 68 - 77
(±) RV 205, III, bb. 154 – 164:
183
Talbot, Michael. The Vivaldi Compendium. The Boydell Press, 2012. P. 179
83
The Cadenza
Toward the end Vivaldi played a splendid solo accompaniment to which he

appended a fantasy [cadenza] that gave me a start because no one
has ever played anything like it, for his fingers were within a straw’s
breadth of the bridge so that there was no room for the bow. He played
a fugue on all four strings at unbelievable speed, astonishing everyone;
still, I cannot say that it charmed me because it was fuller in artifice
than pleasing to the ear.
Uffenbach. Venice, 4th February 1715184
It is very exciting and enlightening to find some of the features described by

Uffenbach in the surviving cadenzas by Vivaldi.185 Some of the best examples of those
cadenzas are found in Dresden, such as the cadenzas found in the Mus.2389-O-74 (for
the RV 212) or the Mus.2389-O-94 (for the RV 562).
Actually, the similarities with those two Vivaldian sources (RV 212 and RV
562) and the anonymous concerto came really to the front of the Cadenza.
Cadenza for the RV 562 (Mus.2389-O-94):
184
Cit. In Heller, Karl. Vivaldi, The Red Priest. Amadeus Press, USA, 1997.p. 74
185
Vivaldi concertos including long cadenzas (Listed in Kolneder, Walter. Vivaldi, his life and work,
University of California Press, 1970.pp. 122-123)
Violin concerto in D major RV 219 Dresden. Mus.2389-O-85 1716 - Copyist C of Dresden court. ?
1730
Violin concerto in A major RV 340 Dresden, Mus.2389-O-43 1717 Autograph, Cadenza at the end
of 3rd mov.
Violin concerto in D major (with winds) RV 562 Dresden 1717 Pisendel, Cadenza related with
Mus.2389-O-94 RV 212
Violin concerto in C major RV 179 Dresden, Mus.2389-O-59 Turin 1720- Pisendel, short cadenza?
1736
Violin concerto in D major (Concerto Per la RV 212 Dresden, Mus.2389-O-74 Turin 1717 Pisendel. 3 cadenzas, one related
Solennità della S. Lingua di S. Antonio in with RV 562
Padua)
“Concerto con due violini principali” in C major RV 507 Dresden, Mus.2389-O-98a and Mus.2389- “Qui se ferma a piacimento”
O-98, Turin (Mus.2389-O-98), ¿
Violin concertó in F major RV 292 Dresden, Mus.2389-O-79 Vienna 1717 Pisendel, ?
RV 583 Turin
RV 268 Turin, Paris
My additions
Violin concerto in D major RV 213 Dresden, Mus.2389-O-61 1720 – 1730 Pisendel, “Fantasia” at the end of 3rd mov.
Violin concerto Grosso mogul RV 208 Turin and Schwerin
Anna Maria part book ? ? ? ?
84
Cadenza for the anonymous concerto (Mus.2-O-1,45):
Despite the fact that both cadenzas are exactly fifty three bars long there are
strong concordances regarding the musical material in both cadenzas.
The beginning and the end of both cadenzas are very similar:
Cadenza from RV 562 (beginning):
Cadenza from anonymous concerto (beginning):
End of Cadenza from the Anonymous Concerto:

85
It is also very remarkable that this ending is also used in other cadenzas of
Vivaldi: The Cadenza III found in the manuscript Mus.2389-O-74, which contains three
cadenzas, the RV 212 and the slow movement of the RV 205:
Just after the very beginning comes a favorite feature of Vivaldi which was
already previously discussed. A passage of double stops with a pedal note in one voice
and a repeated moving interval in the other. But besides the RV 562, RV 571, RV 212
and RV 205, the passage find more concordances in Vivaldi.
Anonymous concerto, Cadenza, bb. 3 – 7:
Anonymous concerto, Cadenza, bb. 15 – 21:
(±) RV 94, I, b. 45 - 52
(±) RV 224a I, bb. 90-91
(≈) RV 206, I, bb. 19 - 24
Actually, the violin concerto RV 206 contains a passage which feature several
important concordances in a row which is found in the first movement, bb. 85 – 99:
86
± Anonymous concerto, III, bb. 108 - 114
± Anonymous concerto, Cadenza, bb. 40 – 44:
± Anonymous concerto, Cadenza, bb. 3 – 8:
All those concordances and other are summarized at the end of this chapter.
After this favorite Vivaldian resource comes other passages in double stops
which also finds strong concordances.
Anonymous concerto, Cadenza, bb. 8 - 15:
Cadenza from RV 562, bb 14-17:
A very similar passage is found in the Cadenza II from the RV 212, bb. 8 – 11
87
I. Allegro
b.1 - 1 (±) RV 347, I, b.1 – 2 Violin 1714
Concerto in A
major - La
stravaganza,
Op.4 (No.5)
bb. 26 – 30 ± RV 224a, III, bb. 129 Violin concerto 1720 –
- 132 in D 1730
(Copy)186
≈ RV 298, I, bb. 105 - Violin concerto 1716
107 in G - La
stravaganza,
Op.4 (No.12)
bb. 60 – 66 ≈ RV 238, I, bb. 73 - 76 Violin concerto 1727
in d - La Cetra,
Op.9 (No.8)
bb. 70 – 78 (±) RV 238, I, bb. 234 - Violin concerto 1727
250 in d - La Cetra,
Op.9 (No.8)
bb. 86 – 95 (±) RV 301, I, bb. 66 - Violin concerto 1716
76 in G - La
stravaganza,
Op.4 (No.3)
(±) RV 569, I, bb. 31 - Concerto in F 1717 –
39 (Vl. Ob (2) Cor 1730
(2) orch. (Copy)187
126 (Vl. Ob (2) Cor 1730
(2) orch.
II. Grave
(≈) RV 124, II, bb. 1 - 5 Concerto for 1726
strings - 6
Concerti, Op.12
(No.3)
III. Allegro
b. 18 (=) RV 206, III, Violin concerto 1720 –
b.45,b.57,b.49… in D 1730
(Copy)188
(=) RV 242, III, b.1, Violin concerto 1725
b.2,b.3,b,7… in d - Il
cimento
dell'armonia e
dell'inventione,
Op.8 (Nr.7)
186
RISM ID no. 212000142
187
RISM ID no.: 212000221
188
RISM ID no.: 212001661
88
bb. 26 – 28 (±) RV 547, III, bb. 9 - Concerto in F 1717 –

13 (Vl. Ob (2) Cor 1730
(2) orch. (Copy)189
(±) RV 547, III, bb. 78 - Concerto in F 1717 –

80 (Vl. Ob (2) Cor 1730
(2) orch. (Copy)
(±) RV 547, III, bb. 120 Concerto in F 1717 –

- 122 (Vl. Ob (2) Cor 1730
(2) orch. (Copy)
bb. 29 – 32 (±) RV 242, III, bb. 20 - Violin concerto 1725

22, bb, 22 – 26, bb. 26 – in d - Il
28 cimento
dell'armonia e
dell'inventione,
Op.8 (Nr.7)
bb. 68 – 77 (±) RV 205, III, bb. 154 Violin concerto 1717
- 164 in D
bb. 61 – 66 (±) RV 569, III, bb. 41 - Concerto in F 1717 –

45 (Vl. Ob (2) Cor 1730
(2) orch.
bb. 108 – 115 (=) RV 206, I, bb. 81 - Violin concerto 1720 –
84 in D 1730
(Copy)190
± RV 213, I, bb. 20 - 23 Violin concerto 1720 –
in D 1730
(Copy)191
(=) RV 213, III, bb. Violin concerto 1720 –
96(112) – 99(115)192 in D 1730
(Copy)193
(±) RV 10, I, bb. 18 - 22 Dresden violin Ca. 1717
sonata in D
(±) RV 177, I, bb. 24 - Violin concerto 1716 -
25 in C 1730194
(±) RV 212 Cadenza III, Violin concerto Ca. 1717
bb. 1 - 6 in D and 3
Cadenzas
(±) RV 690 Mio cor, Serenata à 3, 2 Ca. 1719
povero cor. Aria XVII Canti, e Tenore
Ad infiammar quel con
seno. Bb. 9 - 11 Strom[en]ti,
189
RISM ID no.: 212000226
190
RISM ID no.: 212001661
191
RISM ID no.: 212000138
192
The manuscript presents some corrections, making the bar numbers doubtful. The bars in brackets are
taking into account those corrections.
193
RISM ID no.: 212000138
194
RISM ID no.: 212000123
89
Corni dà
Caccia, et Oboé
e Fagotto
bb. 126 – 131 (≈) RV 94, I, b. 45 - 52 Chamber 1720 -
concerto in D195 1724
(±) RV 224a I, bb. 90- Violin concerto 1720 –

91 in D 1730
(Copy)196
(≈) RV 362 I, bb. 24 - Violin concerto 1720
27 in Bb Op. 8 N.
10 Il cimento
dell'armonia e
dell'inventione
(±) RV 315, III, bb. 73 - Violin concerto 1720
78 in g Op. 8 N. 3
Il cimento
dell'armonia e
dell'inventione
(≈) RV 206, I, bb. 19 - Violin concerto 1720 –
24 in D 1730
(Copy)
95 in D 1730
(Copy)
(=) RV 224a bb. 66 - 68 Violin concerto 1720 –
in D 1730
(Copy)
(±) RV 240, I, bb. 97 - Violin concerto 1720 –
100 in d 1730
(Copy)197
(≈) RV 177, III, bb. 255 Violin concerto 1716 -
- 265 in C 1730198
79 (Vl. Ob (2) Cor 1730
(2) orch. (Copy)199
(±) RV 690 Mio cor, Serenata à 3, 2 Ca. 1719
povero cor. Aria XVII Canti, e Tenore
Ad infiammar quel con
seno. Bb. 16 - 17 Strom[en]ti,
Corni dà
Caccia, et Oboé
e Fagotto
Cadenza
bb. 1-2 = RV 562, Cadenza, bb. Concerto “Per Ca. 1717
1-2 la Solen[n]ità
di S: Lorenzo”
bb. 8 – 15 (=) RV 562, Cadenza, Concerto “Per Ca. 1717
195
I-Tn, Giordano 31, Bl. 412-419
196
RISM ID no. 212000142
197
RISM ID no.: 212000153
198
RISM ID no.: 212000123
199
RISM ID no.: 212000223
90
bb. 14 - 17 la Solen[n]ità
di S: Lorenzo”
(±) RV 212, Cadenza II, Violin concerto Ca. 1717
bb. 7 - 10 in D and 3
Cadenzas
bb. 16 – 21 ≈ RV 94, I, b. 45 - 52 Chamber 1720 -
concerto in D200 1724
(±) RV 224a I, bb. 90- Violin concerto 1720 –

91 in D 1730
(Copy)
(±) RV 315, III, bb. 73 - Violin concerto 1720
78 in g Op. 8 N. 3
Il cimento
dell'armonia e
dell'inventione
24 in D 1730
(Copy)
95 in D 1730
(Copy)
(±) RV 224a I, bb. 56 - Violin concerto 1720 –
68 in D 1730
(Copy)
100 in d 1730
(Copy)201
(±) RV 177, III, bb. 255 Violin concerto 1716 -
- 265 in C 1730202
79 (Vl. Ob (2) Cor 1730
(2) orch. (Copy)
b. 33 = RV 513, I, b.151 2 Violins Ca.
concerto in D 1720203
= RV 212, Cadenza II, Violin concerto Ca. 1717

bb. 27 - 28 in D and 3
Cadenzas
200
I-Tn, Giordano 31, Bl. 412-419
201
RISM ID no.: 212000153
202
RISM ID no.: 212000123
203
Dated by Fertonani, Cesare. La musica strumentale di Antonio Vivaldi. Vol. 9. LS Olschki, 1998. P.
436
91
bb. 38 – 39 ± RV 96, I, bb. 29 - 31 Chamber 1720 -

± RV 511, I, b. 11 2 Violins Ca.

bb. 40 – 44 (±) RV 206, I, bb. 84 - Violin concerto 1720 –
90 in D 1730
(Copy)
(±) RV 335, I, bb. 107 - Violin concerto 1759
116 in A (Late
copy)206
bb. 45 – 53 (=) RV 562, Cadenza, Concerto “Per Ca. 1717
bb. 45 - 53 la Solen[n]ità
di S: Lorenzo”
(=)(?) RV 212, Cadenza Violin concerto Ca. 1717

III, bb. 59 - ??207 in D and 3
Cadenzas
The high number of concordances with other Vivaldian works (mostly dated
around 1720), the concordances and similarities with concertos of the same kind by
Vivaldi and “one small notation detail [that] strongly strengthens the case for
Vivaldi.”208 (Qui si ferma a piacimento) are proofs strong enough to point this concerto
as a genuine Vivaldian work.
Of course some questions remain unanswered, such as the original
instrumentation of the concerto. Even if the music is quite convincing with the provided
instrumentation (for instance, there is no place with long rests). Looking at the concerto
in its context, it seems the oboe parts are missing.
204
RISM ID no.: 212000118
205
Dated by Fertonani, Cesare. La musica strumentale di Antonio Vivaldi. Vol. 9. LS Olschki, 1998. p.
436
206
Late copy by J.H. Roman. RISM ID no.: 190023857
207
Unfortunately the manuscript is poorly conserved and it is impossible to read some parts.
208
Talbot is speaking here about the RV 206. Studi Vivaldiani: rivista annuale dell'Istituto Italiano
Antonio Vivaldi della Fondazione Giorgio Cini Miscellany. (2012), p. 97
92
Conclusions
It is not too exaggerated to assume that Vivaldi is one of the most popular and
famous classical composers. Just the idea of having a single new discovery of a
composer like Vivaldi is very appealing, and this is made more exciting with three
different discoveries: a sonata for violin and continuo, a trio sonata and a violin
concerto with its own cadenza apparently written by Vivaldi. All these discoveries
should be taken very carefully, and the final conclusion cannot be led by a single study
like this.
The final goal of this work is to highlight the possibility Vivaldi an authorship as
much as possible. In other words, attempting to put together the strongest proofs and
facts that can be used to point to Vivaldi as author of the analyzed pieces.
The Violin Sonata in A Major
Even if the possibility of a pasticcio is always present, the Sonata in A major
presents very interesting links with Vivaldi. First and more important is the use of the
slow movement of RV 205 by Vivaldi. Until now it was an unknown source for this
Vivaldian movement. The high number of concordances and links of Vivaldi style in
the second movement of the anonymous sonata are very good reasons to support
Vivaldi as author of this movement. The same case occurs with the last movement of
the anonymous sonata, which assembles a big number of concordances. Its Vivaldian
authorship is strengthened by the appearance of a feature that had been recognized as
uniquely Vivaldian: the “acephalic” reprise.
The Trio Sonata in G major209
We can say that there is a clear connection between this trio sonata and Vivaldi
thanks to the high number of concordances and similarities with other works of Vivaldi,
especially from Op. 1 (ca. 1703) and the trio sonata RV 60 (ca. 1710). In all those cases,
dates and genre are very much in concordance with the anonymous trio sonata.
The correlations with the Giga of the RV 10 (ca. 1717) are the strongest point
that can show that this sonata is a genuine work by Antonio Lucio Vivaldi.
On the other hand, there is also the possibility that this anonymous composer
served as inspiration to Vivaldi. Vivaldi could compose the giga of his RV 10 copying
this anonymous composer. In this case, all the concordances found in the anonymous
trio sonata and the links with other Vivaldian works could be taken as part of “common
features” that influenced Vivaldi in the earliest stage of his career as a composer. In this
extreme case, this anonymous sonata could be considered as a new discovery in the
sources of Vivaldi’s music.
The Violin Concerto in D Major
The Concerto in D for Violin and Orchestra is also an exciting discovery. The
links with other Vivaldian concertos of the same period and instrumentation are clear. In
addition, a large number of concordances are found in this concerto.
209
See Addendum, page 94
93
The links with Vivaldi are more obvious in the Cadenza. The Cadenza itself
features strong concordances with other Vivaldi cadences and its indication in the tutti
part entitled with “Qui si ferma a piacimento” has been hightlight as a strong proof for
Vivaldi as composer.210
Serendipities
In addition to the rediscovering of the music itself other interesting serendipities
have been brought to light in this paper.
The compilation of Vivaldi’s characteristics regarding style are spread in a large
bibliography that has been compiled in this paper. Despite the usefulness of this work,
there is still a lot of work to be done. A thorough study of these characteristics could be
a different avenue of research by itself and its utility could be very valuable in terms of
date and attribution of other Vivaldi’s works.
In addition some recognizable features have been established when analyzing
the violin concerto:
- The use of repeated notes as pedal and single notes as basso in the violin part
and its recognizable graphical representation
- The one-three pattern
- The use of open strings as pedal note or the passage in double stops with a pedal
note in one voice and a repeated moving interval in the other
- Ascending sequences to very high notes, using open strings as a pedal note
These typical features deserve deeper research and could be added to the study and
knowledge of Vivaldi’s language.
All the material and information gathered in order to complete this paper are a
valuable base for future research. The study of: the manuscripts that Pisendel brought
from his travel to Italy; the ornamentations and annotations in the parts for the Dresden
orchestra are just some of the themes that can be developed in the future.
Furthermore, by completing work, I went through all the available anonymous
pieces in the SLUB. There are some pieces that present clear similarities in style and
could also be an interesting group to be studied. Even if the attribution problem of these
pieces is not solved, it is worth to rediscover and bring to the live these great pieces,
where the quality of the music is in front of any composer’s name.
Some of the most appealing aspects in the field of the Historical Informed
Performance is the spirit of discovering: discover how music was played, how an
ornament was done, how a passion was imbued into the audience using rhetoric. In this
case the reward is doubled, at least for me, as HIP violinist, by playing these
anonymous pieces which have not been played since they were composed just because
of the lack of a recognizable name, and by making my contribution to the rediscovering
of our cultural heritage.
210
Talbott, Michael. Studi Vivaldiani: rivista annuale dell'Istituto Italiano Antonio Vivaldi della
Fondazione Giorgio Cini Miscellany. (2012), p. 97
94
Addendum
On 4th February 2015 the news of a Vivaldi discovery was announced in the
Italian press:211
“[…] è una composizione strumentale su un manoscritto anonimo ritrovata dal

musicologo e direttore d’orchestra Federico Maria Sardelli in una biblioteca tedesca.”212
[It is an instrumental piece contained in an Anonymous manuscript found by the
musicologist and conductor Federico Maria Sardelli in a German library]
The piece is the Trio Sonata for violin, violoncello and continuo discussed in
this paper.
The Trio Sonata has been catalogued with the RV 820 in the official catalog of
works of Vivaldi.
The discovering of the sonata by Mr Sardelli is having a great covering by the press all
around the world:
“This is a very important discovery which is set to thrill the world of music, Maestro
Sardelli told the BBC.”213
This piece was announced as world premiere in a concert in Florence on 9th
February 2015, and on the 10th the recording for Sony of a CD including this piece
started.214
The news is a two-edged sword: on one hand it ratifies my attribution
methodology and confirms my hypothesis regarding this piece. On the other hand it is
obvious that it makes the chapter of this paper dedicated to this Trio Sonata outdated in
terms of attribution.
211
Stabile, Elena. Il giovani Vivaldi inédito in primizia mundiale.
http://destabile.blogautore.espresso.repubblica.it/2015/02/04/il-giovane-vivaldi-inedito-in-prima-
mondiale/
212
Stabile, Elena. Il giovani Vivaldi inédito in primizia mundiale.
http://destabile.blogautore.espresso.repubblica.it/2015/02/04/il-giovane-vivaldi-inedito-in-prima-
mondiale/
213
http://www.bbc.com/news/entertainment-arts-31146354
214
http://portalegiovani.comune.fi.it/pogio/jsp/webzine_publish/musica_dettaglio.jsp?ID_REC=18225
95
I would like to highlight that I previously performed this sonata and I claimed its
Vivaldian authorship in the Dutch radio station Concertzender Nederland.
The program was recorded on16th August and was broadcasted on 29th August
2014. It can be listen in the following link:
http://www.concertzender.nl/programmagids/?detail=72474
During this program I was interviewed and I spoke about the Sonata in A major
and the Trio Sonata (time: 00:53:28 of the interview). I explained how the high number
of concordances with Vivaldi are able to assure the Vivaldian authorship.
In addition I recorded the first movement of the Trio Sonata almost one year ago
(March, 2014). The file of this recording is online since then:
https://soundcloud.com/lupianbaroque/anonymous-sonata-a-violino-e-
2?in=lupianbaroque%2Fsets%2Fanonymous
In opposition to the statement done by a large number of media the previous
mentioned performances and Vivaldian attribution of this Trio sonata are the first ones
in my knowledge.
96
Appendix I. Characteristics of Vivaldi’s style. A Selected

Bibliography
The following list is just a brief enumeration of the main characteristics that are
linked to Vivaldi’s style. Each characteristic is linked with a selected bibliography. An
extensive research on each characteristic still needs to be done. For that purpose this list
could be a good starting point.
Acephalic Reprise (Pruned recapitulation)
Perhaps the strangest manifestation of Vivaldi’s style is his readiness to restate

the material leaving out its opening notes, which for more composers (and listeners),
form the core of its identity
TalVC, TalSon, TalViv,
Aeolian Scale
This is the “natural” minor scale. Vivaldi has an unusual fondness for using this
scale in its ascending form in a context where most other composers would prefer to
sharpen the sixth and seventh degrees.
TalVC, TalViv
Anapestic Rhythm
The first fact to note about Vivaldi’s rhythm is his liking, particularly at the
opening of phrases, for anapaestic patterns such as or , where two notes on
the strong division of a bar (or beat) are followed by one on a weak division.
TalVC, TalViv, PinViv, TalNG
Asymmetry
The overlapping of the musical material is “an essential ingredient of his musical
language: the listener is expected to receive mild joints en route as phrases are cut short
or, alternatively, extended beyond their expected span”
TalNvv, TalVC
97
Augmented Second
His treatment of the variable sixth and seventh degrees of the minor scale was
amazingly flexible, admitting the augmented 2nd as a melodic interval even in an
ascending line
TalVC, TalViv, TalNG
Building Blocks
“Vivaldi likes to compose in a modular fashion”.215 This way of composition, by
asembling small units congently had permited the catalogization and analysis of those
loci topici named concordances, being one of the more important and significant parts
of the language of Vivaldi.
TalNvv
Concordant Passages or Self-Borrowing

Self-borrowing of his own music: sonata movements are transported to
concertos, concerto movements to operas; eleven movements from sacred vocal works
to the concerto medium. Binary movements are expanded into ritornello form;
movements in ritornello form are redesigned as da capo aria. The portion borrowed is
highly variable. Sometimes one or even two movements are taken over as they stand, or
with minimal change in instrumentation. Sometimes the principal but not the subsidiary
material is appropriated
TalVC, TalViv, SarCat
Dominant Eleventh Chord

TalVC
Echo Repeats
TalVC
Enharmonic Changues
TalVC
Faux-Naif Style
TalVC, PinViv
215
98
Harmonic Anticipation
Another peculiarity of his harmony, (and the cause of some pungent effects), is
the inexact synchronization of a harmonic progression in the different parts: one part (or
more) moves to the new chord before the beat; the others arrive on the beat. Then, there
are cases of dissonance in Vivaldi’s more florid writing which cannot be justified by
any harmonic principle but seem to arise from the technique of the instrument itself –
one might say, from the action of the fingers.
TalVC, TalViv, BroTon
Harmonic Ellipsis
TalVC, BroTon
Fluctuating Harmonic Rhythm
The harmonic rhythm of his music – the rate at which chords change – fluctuates
more widely and more abruptly than in the music of any contemporary. He seems to
delight in teasing the listener, unexpectedly freezing the movement and then, once the
ear has adjusted to the slower pace, suddenly unleashing a quickfire series of chords.
TalVC, TalViv, TalNG, BroTon
Masculine-Feminine Antithesis
TalVC, TalViv
Largue Intervals
In Vivaldi’s melody one notes first a broad sweep and a great fondness for
unusually wide intervals. What distinguishes Vivaldi is the expressive value he attaches
to the octave and compound intervals. Where he uses large intervals we often find either
that two-part writing is being simulated in a single line.
TalVC, TalViv, PinViv, TalNG, SarCat
Modal Shift
He shows no general preference for diatonicism or chromaticism in his

melodies, tending to either as the occasion warrants, but it is remarkable how often
melodic chromaticism is introduced without prompting from the harmonic progressions
TalVC, TalViv, PinViv, TalNG, SarCat, BroTon
99
Modally Alterable Themes

Motto Form
TalVC
Movement Interchange
TalVC
Ostinatio Figuration
He is also exceptionally fond of ostinato. Ground basses, which may either stay
in the same key throughout or be transported to other keys, are found in sonata and
concerto movements, arias in cantatas and operas, even in one chorus. Vivaldi often
grants a repeated figure the harmonic licence of a pedal-note, superimposing it on the
texture regardless of any clashes.
Pedal Cadenza
TalVC, PinViv, BroTon
Pedal Note
The use of pedal note is the other favorite Vivaldian resource. Especially in
upper voices. More significant are the melodies outlined in notes that spout up over a
bed of sixteenth or thirty-second notes. Its use had been also discussed in this paper (see
the chapter about the Violin Concerto in D: Violin Resources)
TalVC, PinViv, BroTon
Group Units of Equal Length in Threes
Ternary grouping of cells half a bar in length (in common time) lies behind most
of the ‘irregular’ phrases including an odd half-bar which occur so widely in his music.
TalVC, TalViv, PinViv, TalNvv
100
Sequence
The use of the sequence as a favorite resource had been pointed out by several
authors and a deeper research will show that it is possible to find characteristics that
make Vivaldi’s use of the sequence different from other composers. A good example is
the ascending sequence using open strings in the violin, as mentioned in this paper.
Syncopation
“Vivaldi’s music would be unimaginable without syncopation”.216

TalVC, TalViv, PinViv, TalNG
Minor Key Pararell within Cadences
Vivaldi is also fond of fleeting visits to the parallel minor key (the key sharing a
tonic with a major key), especially as a diversion before a final, clinching phrase. Such
enclaves are often pathetic and lyrical in character, making a contrast with the more
vigorous surrounding material.
Juxtaposing Major and Minor Versions of the Same Material
He exploited with a sure sense of drama the contrast between the major and
minor modes than any previous composer. It is normal for many, if not all, of the
principal ideas of a movement to appear at some point in the relative key, major or
minor, or one of its satellite keys in the same mode, paraphrased if necessary. This is
something never found in Corelli and practised only in the most timid and restricted
fashion by Albinoni and Torelli, though it must be said that German composers were
somewhat more adventurous.
Melodies from Mere Cadential Fragments
The use of the perfect cadence repeatedly in a pattern form and syntactically
emancipated treatment of cadential patterns. He formed melodies from mere cadential
fragments making the cadence to lose its signification as a structure organizer (a
phenome well described by Kolneder as ‘Kadenzmelodik’ and extensively developed by
Bella Brover-Lubovsky).
216
Talbot, Michael. The Vivaldi Compendium. The Boydell Press, 2012,p 179
101
The lack of the syntax is very obvious in the use of the perfect cadence (V-I) and
it is “especially typical of Vivaldi’s fast movements”.217 This harmonic pattern is
generally found in this movement, the words of Bella Brover-Lubovsky defining this
Vivaldi characteristic seems to define the actual harmonic structure of this movement:
“As a result, the harmonic flow of the entire piece becomes riddled
with full closed patterns. For example, the total number of full cadences in
the opening Allegro in the concerto for two mandolins RV 532, is fifty-five,
while the closing one is forty-seven.”218
TalNG, BroTon
Use of the Seventh

No previous composer had used the seventh in a chord with greater licence. To
be sure, he normally introduces the seventh in one of three ways current at the time:
from the same note in the previous chord; from a note a step away; from another note of
the same chord. Sometimes, however, the seventh is introduced by a leap from another
chord.
TalNG, BroTon
The Saccadé Rhythmic Formula

The a repetitive use of the normal dotted group is adopted by Vivaldi in certain
stereotyped situations: the imposing tutti peroration; the illustrative accompaniment (in
the central movement of La Primavera to represent the rustling of leaves – in the ‘Eja
Mater’ of the Stabat Mater, the lashing of whips and imitation of the French style (as in
the aria ‘Tornar voglio al primo ardore’, headed Alla francese, from the last act of
Arsilda).
TalViv
Phrasing Articulation by Interpolating Rests
He likes to articulate his phrases by interpolating rests (sometimes amplified by

a fermata) in all the parts. Interestingly, the breaks occur not only after imperfect
cadences (e.g. I–V), where the incompleteness of the harmonic progression guarantees
preservation of the momentum, but also after perfect cadences. In these cases the
cadence will have occurred earlier than the listener anticipated, so that he is prepared for
a continuation of the paragraph after the general pause.
TalViv
217
Brover-Lubovsky, Bella. Tonal Space in the Music of Antonio Vivaldi, Indiana University Press,
2008, p. 202
218
Brover-Lubovsky, Bella. Tonal Space in the Music of Antonio Vivaldi, Indiana University Press,
2008, p. 202 - 203
102
Lack of Thematic Links between Movements
Thematic links between movements of the same work are quite often
conspicuous. Here one must be cautious before imputing ‘cyclic’ intentions to him.
TalViv
Dynamics
TalViv, PinViv
Original Articulation
TalViv
French Style
No discussion of Vivaldi’s style can be complete without a fuller mention of his

occasional adoption, as a novelty or a compliment to a patron, of elements of the French
style.
TalViv, PinViv
Bibliography
BroTon - Brover-Lubovsky, Bella. Tonal Space in the Music of Antonio Vivaldi,

Indiana University Press, 2008
PinViv - Pincerle, Marc. Vivaldi. Norton & Company, New York, 1955, Chapter II,
Vivaldi’s Music: Style and Form
SarCat - Sardelli, Federico Maria. Catalogo delle concordanze musicali vivaldiane, L.
S. Olschki Editore, 2012, p. 168
TalViv - Talbot, Michael. Vivaldi. J.M. Dent, London, 1993, Chapter V. “Vivaldi´s
musical style”
TalNG - Talbot, Michael New Grove. Vivaldi. Points of Style
TalVC - Talbot, Michael. The Vivaldi Compendium. The Boydell Press, 2012
TalSon - Vivaldi, Antonio. Sonate RV 815 e 816. Critical edition by Michael Talbot,
Ricordi Milano, 2012
KolMel - Kolneder, Walter, Melodietypen bei Vivaldi, Amadeus Verlag, 1973
TalNvv - Talbot, Michael. “A New Vivaldi Violin Sonata and Other Recent Finds” in
Informazioni e Studi Vivaldiani, 20. 1999
103
Appendix II. Works by Vivaldi in the Schrank II
The following chart orders my own work cataloguing the works by Vivaldi in
the Scrhank II, ordered by RV. All the information had been collected using the online
catalog provided in the Schrank II. Website of SLUB’s project The Instrumental Music
of the Dresden Hofkapelle at the Time of the Saxon-Polish Union. Inventory,
Digitization and Online Presentation.219 And completed with the information provided
by the RISM.220
This compilation could be extremely useful, since the majority of works
published are offering outdated information about this archive.221Also this chart puts
exteraneous information about the works, including more information regarding the
paper. This is of vital importance in order to know how many works by Vivaldi were
brought from Italy by Pisendel.
Work Ms. Key RV Copyist Date Notes

Violinsonate 2389.R.9 Sonate op. 2 Amsterdam Edition 1712
s
Violinsonate 2389-R-10,1 C RV 2 Pisendel, Johann Georg 1716- Italian watermark222
Major 1717
Sinfonie 2389-N-2,5 G RV Grundig, Johann 1720- Vivaldi oder Alberto
Major 148 / Gottfried 1730 Gallo
RV Morgenstern, Johann
Anh.68 Gottlieb
Pisendel, Johann Georg
Sinfonie 2389-N-2,5 G RV Grundig, Johann 1720- Vivaldi oder Alberto
Major 148 / Gottfried 1730 Gallo
RV Morgenstern, Johann
Anh.68 Gottlieb
Violinsonate 2389-R-7,3 C RV 3 Pisendel, Johann Georg 1716- Italian watermark
Major 1724
Violinsonate 2389-R-8,2 C RV 5 Pisendel, Johann Georg 1716- Italian watermark
minor 1717
Violinsonate 2389-R-10,4 C RV 6 Vivaldi 1716- Italian watermark
minor 1717
Violinsonate 2389-R-7,1 D RV 10 Pisendel, Johann Georg 1716- Italian watermark
Major 1717
minor 1717
minor 1724
Kompilation aus 2389-O-158 Bb RV Copyist S-Dl-039 1710-
Violinkonzert RV 364 Major Anh.18 1735
und anonymen Sätzen
Violinsonate 2389-R-6,2 F RV 19 Late copy (XIX?) XIX c
Major
Violinsonate Sonatas - F RV 19 Vivaldi
Rés.ms.2225 Major
Violinsonate 2389-R-10,3 G RV 25 Vivaldi 1716- Italian watermark
major 1717
Violinsonate 2389-R-11,1 G RV 26 Pisendel, Johann Georg 1716- Italian watermark
219
http://hofmusik.slub-dresden.de/en/themen/schrank-ii/
220
http://www.rism.info/en/home.html
221
Selfridge-Field, Eleanor. Venetian Instrumental Music from Gabrieli to Vivaldi. Courier Corporation,
1994. This book, for instance, mention that the SLUB holds “nearly 100” instrumental works. My list
contains 172 works.
Heller, Karl. Vivaldi, The Red Priest. Amadeus Press, USA, 1997, mention just 90 concertos, my account
is of 129 concertos.
222
The paper features the famous “Tre lune” (3 Crecents) watermark, which indicates the italian
procedence of the paper.
104
minor 1724
Violinsonate Mus.2389-R- G RV 28 Richter, Johann Christian 1716-
6,1 - restauriert minor 1725
Sonate 2389-R-6,1 G RV 28 Richter, Johann Christian 1716-
minor 1725
Violinsonate 2389-R-10,2 A RV 29 Vivaldi 1716- Italian watermark
major 1717
Violinsonate 2389-R-11,2 Bb RV 34 Pisendel, Johann Georg 1716- Italian watermark
Major 1724
Violinsonate Mus.2389-S-1 C RV 53 Copyist S-Dl-060 1715-
Major 1740
Oboensonate 2389-S-1 C RV 53 Copyist S-Dl-060 1715-
minor 1740
Trio Sonate Vl, Fl, 2389-Q-8 D RV 84 Morgenstern, Johann 1725-
BC Major Gottlieb 1735
Sinfonie 2389-N-11 A RV Copyist S-Dl-019 1715-
Major Anh. 1730
85
Konzert 2389-Q-10 D RV 96 Grundig, Johann 1720-
minor Gottfried 1730
Konzert 2389-Q-9 G RV Grundig, Johann 1710-
minor 107 Gottfried 1730
Sinfonie 2389-N-10 C RV Copyist S-Dl-019 1715-
Major 111a 1730
Sinfonie 2389-N-6 C RV Grundig, Johann 1725-
Major 112 Gottfried 1735
Morgenstern, Johann
Gottlieb
Sinfonie 2389-N-9 C RV Pisendel, Johann Georg 1717-
Major 116 1740
Sinfonie 2389-N-9a C RV Copyist M of Dresden 1730-
Major 116 court 1745
Sinfonie 2389-N-2,2 D RV Grundig, Johann 1730-
Morgenstern, Johann
Gottlieb
Copyist M of Dresden
court
Copyist n of Dresden
court
Sinfonie 2389-N-1,2 F RV Copyist j from Dresden 1725-
Morgenstern, Johann
Gottlieb
Sinfonie 2389-N-1,1 F RV Morgenstern, Johann 1720-
Major 140 Gottlieb < 1740
(Var.) Copyist M of Dresden
court
Copyist j from Dresden
court
Sinfonie 2389-N-2,3a G RV Copyist S-Dl-073 1725-
Major 146 1735
Sinfonie 2389-N-2,3b G RV Pisendel, Johann Georg 1728- Italian watermark
Major 146 1735
Sinfonie 2389-N-2,1 G RV Morgenstern, Johann 1725-
Major 147 Gottlieb 1735
Sinfonie 2389-N-3 Bb RV Grundig, Johann 1720-
Morgenstern, Johann
Gottlieb
Violinkonzert 2389-O-75 C RV Pisendel, Johann Georg 1716- Italian watermark
Major 170 1717
Violinkonzert 2389-O-42 C RV Vivaldi 1716- Italian watermark
Major 172 1717
Kompilation aus 2389-O-42a C RV Grundig, Johann 1720- Vivaldi; Tessarini,
Violinkonzert RV Major 172a Gottfried 1735 Anonym
172, VeiI. Tes4 und
einem anonymen Satz
172, VeiI. Tes4 und
105
einem anonymen Satz

172, VeiI. Tes4 und
einem anonymen Satz
Violinkonzert 2389-O-83 C RV Pisendel, Johann Georg 1716-
major 177 1730
Violinkonzert 2389-O-83a C RV Copyists of Dresden 1720-
Major 177 1740
Major 179 1736
Violinkonzert 2389-O-90 D RV Copyist C of Dresden 1720-
Violinkonzert 2389-O-66a C RV Vivaldi, Giovanni 1710-
Major 189 Battista 1720
Violinkonzert 2389-O-66 C RV Seyfert, Johann Caspar 1720-
Major 189 1723
Sinfonie 2389-N-7a C RV Pisendel, Johann Georg 1710-
Major 192 Copyist S-Dl-013 1725
Violinkonzert 2389-O-117 C RV Copyist S-Dl-071 1716- Italian watermark
Major 195 1717
Violinkonzert 2389-O-118 C RV Pisendel, Johann Georg 1716- Italian watermark
minor 196 1717
Violinkonzert 2389-O-102 C RV Copyist B of Dresden 1720-
minor 198 court 1735
Violinkonzert 2389-O-78 C RV Copyist C of Dresden 1716-
minor 202 Copyist B of Dresden 1735
court
Violinkonzert 2389-O-123a D RV Pisendel, Johann Georg 1716- Italian watermark
Major 205 1717
Violinkonzert 2389-O-123 D RV Vivaldi 1716- Italian watermark
Major 205 1717;
Violinkonzert 2727-O-1 D RV Copyist B of Dresden 1720-
major 206 court 1730
Violinkonzert 2389-O-61 D RV Pisendel, Johann Georg 1720-
Major 213 1730
Violinkonzert 2389-O-61a D RV Grundig, Johann 1720-
Copyist k of Dresden
cour
Violinkonzert 2389-O-57 D RV Scribe 18 and partial 1716-
Major 224 autograph 1717
Major 224a Gottfried 1730
major 225 1730
Violinkonzert 2389-O-58 D RV Grundig, Johann 1720-
Violinkonzert 2389-O-58a D RV Pisendel, Johann Georg 1720-
Major 228 Grundig, Johann 1730
(Var.) Gottfried
Morgenstern, Johann
Gottlieb
Violinkonzert 2389-O-58b D RV Copyist S-Dl-012 1720-
Major 228 Copyist S-Dl-014 1740
(Var.)
minor 237 1717
Violinkonzert 2389-O-151 D RV Pisendel, Johann Georg 1717- Italian watermark
minor 237 1730
Violinkonzert 2389-O-68 D RV Copyist h of Dresden 1715-
106

Violinkonzert 2389-O-53 D RV Vivaldi, Giovanni 1720-
minor 240 Battista 1736
minor 241 1735
minor 242/1 1717
minor 246 1735
Violinkonzert 2389-O-69 Eb RV Pisendel, Johann Georg 1717- W-Dl-270 H [letter
Major 252 1730 "H"];
Violinkonzert 2389-O-62 Eb RV Vivaldi, 1716- Italian watermark
Major 253 Pisendel, Johann Georg 1717
Violinkonzert 2389-O-111 Eb RV Pisendel, Johann Georg 1716- Italian watermark
Major 259 1717
Violinkonzert 2389-O-101 Eb RV Vivaldi 1715-
Major 260 1730
Violinkonzert 2389-O-101a Eb RV Grundig, Johann 1720-
Violinkonzert 2389-O-91 Eb RV Copyist C of Dresden 1716-
Violinkonzert 2389-O-60 E RV Pisendel, Johann Georg 1725-
Major 267 1750
Kompilation aus: 2389-N-7b C RV Morgenstern, Johann 1725- Vivaldi, Antonio;
Sinfonie RV 192 und Major 192 Gottlieb 1735 Albinoni, Tomaso
Konzert für 2 Oboen (Var.),
GiaA
76
Kompilation aus: 2389-N-7b C RV : Morgenstern, Johann 1725- Vivaldi, Antonio;
Sinfonie RV 192 und Major 192 Gottlieb 1735 Albinoni, Tomaso
Konzert für 2 Oboen (Var.),
GiaA
76
Violinkonzert 2389-O-155 E RV Pisendel, Johann Georg 1717-
minor 279 Grundig, Johann 1730
Gottfried ; Copyist k of
Dresden court
Violinkonzert 2389-O-103 F RV Pisendel, Johann Georg 1716-
Major 285 1717
Violinkonzert 2389-O-79 F RV Pisendel, Johann Georg 1716- Italian watermark
Major 292 1717
Major 294a 1717
Violinkonzert 2389-O-156 F RV Copyist a of Dresden 1717-
Major 294a court 1725
Violinkonzert 2389-O-156a F RV Grundig, Johann 1717-
Major 294a Gottfried 1730
Violinkonzert 2389-O-92 G RV Pisendel, Johann Georg 1717-
Major 298 1730
Violinkonzert 2389-O-56,2 G RV Pisendel, Johann Georg 1716- Italian watermark
Major 299 1717
Violinkonzert 2389-O-95 G RV Pisendel, Johann Georg 1716- Italian watermark
major 302 1717;
Violinkonzert 2389-O-70 G RV Vivaldi 1716- Italian watermark
Major 314 1717
Violinkonzert 2389-O-70a G RV Morgenstern, Johann 1700-
Major 314 Gottlieb 1749
Violinkonzert 2389-O-86a G RV Pisendel, Johann Georg 1715-
minor 319 1725
minor 319 1717
Violinkonzert 2389-O-89 G RV Pisendel, Johann Georg 1720-
court
Kompilation aus 2 2-O-1,1 G RV Grundig, Johann 1720-
anonymen minor 326 Gottfried <1773+> 1735
Konzertsätzen und Morgenstern, Johann
Grave Violinkonzert Gottlieb <1687-1763
g-Moll
Kompilation aus 2 2-O-1,1 G RV Grundig, Johann 1720- Anonymus / Vivaldi
anonymen Major 326 Gottfried 1735
Konzertsätzen und Morgenstern, Johann
107
Grave Violinkonzert Gottlieb

g-Moll
minor 328 1717
Violinkonzert 2389-O-105 G RV Copyist C of Dresden 1717-
Violinkonzert 2389-O-152 G RV Grundig, Johann 1720-
Violinkonzert 2389-O-43 A RV Vivaldi 1716- Italian watermark
Major 340 1717
Violinkonzert 2389-O-108 A RV Copyist C of Dresden 1715-
Violinkonzert 2389-O-112 A RV Copyist C of Dresden 1716-
Violinkonzert 2389-O-51 A RV Grundig, Johann 1720-
Violinkonzert 2389-O-50 A RV Copyist g of Dresden 1715-
Violinkonzert 2389-O-65 A RV Pisendel, Johann Georg 1717-
Major 349 Copyist B of Dresden 1730
court
Violinkonzert 2389-O-114 A RV Pisendel, Johann Georg 1720-
court
Violinkonzert 2389-O-63 Bb RV Copyist S-Dl-094 1717-
Major 362 1730
Violinkonzert 2389-O-73 Bb RV Copyist g of Dresden 1715-
Violinkonzert 2389-O-160 Bb RV Copyist S-Dl-107 1710-
Major 364a 1730
Violinkonzert 2389-O-121b B RV Pisendel, Johann Georg 1700-
Major 366 1749
Violinkonzert 2389-O-121a B RV Copyist of Wien 1700-
Major 366 1749
Violinkonzert 2389-O-113 Bb RV Copyist B of Dresden 1720-
Violinkonzert 2389-O-55 Bb RV Vivaldi 1716- Italian watermark
Major 370 1717
Violinkonzert 2389-O-154 Bb RV Pisendel, Johann Georg 1716-
Major 373 1717
Violinkonzert 2389-O-64a Bb RV Copyist, German 1715-
Major 379 1730
Violinkonzert 2389-O-64b Bb RV Pisendel, Johann Georg 1720-
court
Violinkonzert 2389-O-126 Bb RV Pisendel, Johann Georg 1716- Italian watermark
Major 383 1717
Violinkonzert 2389-O-88 B RV Pisendel, Johann Georg 1720-
court
Violinkonzert 2389-O-120 B RV Pisendel, Johann Georg 1716- Italian watermark
minor 388 1717
Konzert für Viola 2389-O-84 D RV Pisendel, Johann Georg 1720-
d'Amore Major 392 Copyist B of Dresden 1735
court
Konzert für Viola 2389-O-82 A RV Pisendel, Johann Georg 1720-
d'Amore minor 397 Copyist B of Dresden 1735
court
Violinkonzert 2389-O-74 D RV Pisendel, Johann Georg / 1716- Italian watermark
Major 205 Antonio Vivladi 1717
and rv
212
Violoncellokonzert 2389-O-110 A RV Copyist C of Dresden 1720-
Konzert für 2 2389-O-52 C RV Grundig, Johann 1720-
Violinen major 506 Gottfried 1730
Konzert für 2 2389-O-98 C RV Pisendel, Johann Georg 1716-
Violinen Major 507 1725
Konzert für 2 2389-O-98a C RV Vivaldi, Giovanni 1710-
Violinen Major 507 Battista 1720
Grundig, Johann
Gottfried
Violinkonzert 2389-O-49 C RV Grundig, Johann 1720-
108

Morgenstern, Johann
Gottlieb
Konzert für 2 2389-O-159 A RV Copyist S-Dl-123 1715-
(Var.)
Konzert für 2 2389-O-54 A RV Copyist C of Dresden 1715-
Violinen Major 521 court 1735
Konzert für 2 2389-O-54a A RV Grundig, Johann 1720-
Violinen Major 521 Gottfried 1730
Morgenstern, Johann
Gottlieb
Konzert für Violine 2389-O-97 F RV Grundig, Johann 1720-
und Orgel Major 542 Gottfried 1730
Konzert für 4 2389-O-119 F RV Pisendel, Johann Georg 1720-
Violinkonzert 2389-O-94 D RV Pisendel, Johann Georg 1716- Italian watermark
Major 562 1717
Konzert 2389-O-161 D RV Pisendel, Johann Georg 1716- Italian watermark
Major 564a 1717
Konzert für 4 2389-O-100 F RV Pisendel, Johann Georg 1711-
Konzert 2389-O-47 F RV Copyist f of Dresden 1716- Italian watermark
major 568 court 1726
Violinkonzert 2389-O-93a F RV Pisendel, Johann Georg 1716-
Major 569 Grundig, Johann 1730
Gottfried
Major 569 1730
Violinkonzert 2389-O-48,1 F RV Copyist f of Dresden 1717- Italian watermark
Violinkonzert 2389-O-48,2 F RV Copyist r of Dresden 1717-
Violinkonzert 2389-O-48a F RV Grundig, Johann 1700-
Major 571 Gottfried, Pisendel, 1749
Johann Georg
Konzert 2389-O-157 F RV Pisendel, Johann Georg 1717-
Major 574 1730
Konzert für Oboe und 2389-O-125 G RV Lindner, Johann Jacob 1710-
Violine Minor 576 1725
Konzert 2389-O-71 G RV Copyist S-Dl-034 1715-
minor 578 1725
Verlust 0 B RV lost Concerto for 4 violins in
minor 580 B minor
Konzert für Violine 2389-O-67 D RV Pisendel, Johann Georg 1717-
und 2 Orchester Major 582 1730
Konzert für Violine 2389-O-67a D RV Pisendel, Johann Georg 1717-
und 2 Orchester Major 582 Copyist B of Dresden 1740
cour
Konzert 2389-O-77 A RV Vivaldi 1708- Italian watermark
major 585 1709
L'Incoronazione di 2389-N-8 C RV Copyist B of Dresden 1720-
Dario. 719 court 1730
Opernouvertüre Pisendel, Johann Georg
Morgenstern, Johann
Gottlieb
La verità in cimento. 2389-F-5 G RV Copyist S-Dl-011 1716-
Opernouvertüre 739 1717;
Verlust 0000-N-00 C RV lost Sinfonia, en do majeur,
Major 741 pour cordes (perdue)
Violinsonate 2389-R-13 Bb RV Pisendel, Johann Georg ? Italian watermark
Major 759
Kompilation aus 2 2389-O-47a F RV Morgenstern, Johann 1725-
Konzerten Major 568 Gottlieb 1735
(Var.),
RV
202
Violinsonate 2-R-8,73 G RV Pisendel, Johann Georg 1720- Anonymous/Vivaldi
court
Quartett 2389-Q-14 C RV Vivaldi 1708 Italian watermark
Major 779 (1708c
109
)
Violinsonate 2389-R-12 D RV Pisendel, Johann Georg
Major 810
Violinkonzert 2-O-1,20 A RV Pisendel, Johann Georg 1725-
Major 817 1740
Violinkonzert 2-O-1,20 A RV Pisendel, Johann Georg 1725- Vivaldi, Antonio?
Major 817 1740
Sammlung: 2 2389-N-2,4 RV Pisendel, Johann Georg 1716-
Ouvertüren: 719; 1717
L'Incoronazione di RV
Dario; Arsilda Regina 700
di Ponto
Violinkonzert mit 2389-O-55a Bb RV Pisendel, Johann Georg 1700-

alternativem 2. Satz Major 370, 1749
RV
362 /2
Violinsonate 2456-R-21 G Pasticc Grundig, Johann 1720- Vivaldi; Somis
Major io Gottfried Pisendel, 1735
RV Johann Georg
22/3;
BraT
G27;
RV
776 ;
RV
2007
Anh.98
Violinkonzert 2-O-7c A RV ? Grundig, Johann 1725- Anonymous, vivaldi?
Major Gottfried 1735
Violinkonzert 2-O-7a A RV ? Unknow copist 1720- Anonymous, vivaldi?
Major 1735
Violinkonzert 2-O-7b A RV ? Morgenstern, Johann 1725- Querverweis: Vivaldi,
Major Gottlieb 1735 Antonio, Pisendel,
Johann Georg, Cattaneo,
Francesco Maria
Pasticcio 2456-R-21 RV Pisendel, Johann Georg Vivaldi; Somis (¿)
22/3; Grundig, Johann
BraT Gottfried
G27;
RV
776 ;
RV
2007
Anh.98
Violinkonzert 2389-O-70b G RV Unbekannter Schreiber 1700-
Major 314a/3 1749
14
110
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auf das Jahr 1735..., 1735
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Musical Association, Vol. 113, No. 1 (1988), pp. 47-56
Woolley, A. Vivaldi highs and lows. Early Music, 39(1), 2011, pp. 131-134.
Woolley, Andrew, An unknown flute concerto by Vivaldi in Scotland, «Studi

vivaldiani», 10 (2010), pp. 3-38
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instrumental works. Oxford University Press, USA, 2008.
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http://www.oxfordmusiconline.com/subscriber/article/grove/music/40120pg7.
115
Online Resources
Sonata for violin, violoncello and continuo in G major

Mus.2-Q-6
http://digital.slub-dresden.de/werkansicht/dlf/24315/1/cache.off
Sonata for violin and continuo in A major
Mus.2-R-8,74
Mus.2-R-8,40
Concerto for violin in D major
Mus.2-O-1,45
The Schrank II
Website of SLUB’s project The Instrumental Music of the Dresden Hofkapelle
at the Time of the Saxon-Polish Union. Inventory, Digitization and Online Presentation.
In this website it is possible to access to a wide range of resources linked with
the Schrank II such as bibliography, last additions and identifications, database of
copyists, database of watermarks, etc.
http://hofmusik.slub-dresden.de/en/themen/schrank-ii/
RISM
This project from the SLUB is also linked with the RISM, using its search
engine online:
http://www.rism.info/en/home.html

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New Discoveries of Vivaldi in Dresden

Format: Thesis - Presentation: 24th March, 13:30h, Studio 3

Giovanni Battista Tiepolo

The red-haired head behind the violinist

AUTHENTICATION CRITERIA: STYLISTIC FEATURES AND

THE HISTORICAL CONTEXT ................................................................................ 15

The Copyists: Grundig, Copyist B and Pisendel .................................................................................... 17

THE SONATA IN A MAJOR FOR VIOLIN AND CONTINUO ........................... 22

Introduction: The Sources ....................................................................................................................... 22

Second Movement: Allegro ...................................................................................................................... 29

Third Movement: Largo/Adagio ............................................................................................................. 37

Fourth Movement: Allegro ...................................................................................................................... 38

Table of Concordances and Conclusions ................................................................................................ 42

TRIO SONATA FOR VIOLIN, VIOLONCELLO AND CONTINUO .................. 46

The Source ................................................................................................................................................ 46

Third Movement: Violino Solo ................................................................................................................ 54

Fourth Movement: Violoncello Solo ....................................................................................................... 57

Fifth Movement: Corrente....................................................................................................................... 63

Table of Concordances and Conclusions ................................................................................................ 66

VIOLIN CONCERTO IN D MAJOR ........................................................................ 68

An Unexpected Discovery ........................................................................................................................ 68

The Anonymous Concerto and Some Related Concertos by Vivaldi ................................................... 71

Concordances and Vivaldi’s Style Characteristics ................................................................................ 79

The Cadenza ............................................................................................................................................. 83

Table of Concordances and Conclusions ................................................................................................ 87

APPENDIX I. CHARACTERISTICS OF VIVALDI’S STYLE. A SELECTED

APPENDIX II. WORKS BY VIVALDI IN THE SCHRANK II ............................ 103

BIBLIOGRAPHY ....................................................................................................... 110

ONLINE RESOURCES ............................................................................................. 115

I would never have been able to finish my dissertation without: guidance of my

Those similarities encouraged me to deepen research about the authorship of the

End of Cadenza from anonymous concerto:

Authentication Criteria: Stylistic Features and Concordances

Authentication and attribution of an unsigned manuscript are delicate matters,

to make attributions and to forge a reliable tool for establishing authorship

Apart from catalogue of those Vivaldian loci topici organized by RV numbers,

Symbology for Concordances

RV 771, III, 39-40

RV 641 (Non in patris), III (Pro me spinas), 1-4

(±) RV 340, II, 1-2

The musical text is paraphrased. Here the musical idea is reformulated or it is

RV 33 (Op. V, N.3), I, 1-2

≈ RV 99, II, 1-2

≈ RV 388, II, 1-2

≈ RV 644 (Juditha triumphans), XVIII (Noli o cara), 1-2

RV 314/RV 314a, I, 1-7

(≈) RV 408, I, 2-736

The Historical Context

“The time of Saxon-Polish union (1697–1763) is considered the most brilliant

Weiß, and Pantaleon Hebenstreit. Hiller wrote in his work Lebensbeschreibungen

The Copyists: Grundig, Copyist B and Pisendel

Johann Georg Pisendel45

Besides Vivaldi, Pisendel is the more

Pisendel in Italy. A Touring Point

In April 1716, when Johann Georg Pisendel arrived in Venice, he was

Copyist B of Dresden Court

The live of the anonymous copyist named as Copyist B of Dresden Court

Johann Gottfried Grundig