Nicholas Erneston Music Library

I. Overview

Granata's largest and most ambitious work, including suites of pieces in various tunings and the only printed pieces for the chitarra atiorbata, a guitar with extended bass strings in the manner of the long-necked lutes of the period.

Title: Soavi concenti di sonate musicali per la chitarra spagnuola . . . (Bologna: Giacomo Monti, 1659).

Description:
168 pp. in movable type (portrait engraved)
68 pieces
Foliation: (A)BCDEFGHIKLMNOPQRSTVX (4 ff. each)
Page Size -- I-Bc, US-Wc:: 22 cm. (width) X 16.5 cm.; I-VIb: 22.4 cm. (width) X 16 cm.

II. Prefatory Material

p. (1) -- [MISSING from facsimile and E-Mn copy: engraving of a two-masted sailing ship arriving on shore. Plank opends from ship to beach where a nude figure is being given (or giving?) a viol and a bow along with a book by one clothed man and a robed woman. 15+ figures on the ship are sparsely detailed (nude?) and seem to be variously in repose or gesticulating. At least two other ships and a town can be seen on a distant shore in the background. A panel below the scene reads: "Miscet utile dulci." Architectural border contains two square columns: on the left column hangs a guitar (11+ pegs?, 8 strings sparsely detailed, few frets visible, deep rosette, a viol? of 4 strings and a harp; to the right a lute, viol and two horns shaded with very sparse detail. Photographed here from the US:Wc exemplar:]

 

p. (2) -- blank

p. (3) -- Soavi Concenti di Sonate Musicali PER LA CHITARRA SPAGNUOLA DI GIO. BATTISTA GRANATA OPERA QUARTA DEDICATA A gl'Illustrissimi Signori CONVITTORI NOBILI DEL COLLEGIO DI S. FRANCESCO XAVIERO DELLA COMPAGNIA DI GIESU'. . . . IN BOLOGNA, Per Giacomo Monti. 1659. Con licenza de'Superiori.

p. (4) -- blank

p. 5 -- ILLUSTRISSIMI SIGNORI La debilezza del mio plettro posta in elevazione da gli onori cortesi delle Signorie VV. Illustriss. vanterà mai sempre frà le prime sue glorie una tenera servitù egualmente inferiore al loro merito, che disuguale à miei desideri: Mà poiche riconosco l'inabilità delle mie forze al pieno soddisfacimento d'una divota ambizione, non posso meglio riverire la loro grandezza, che sospendendo in omaggio all'ARGONAVE di sì fiorito Collegio, coll'ammutolito mio legno, le fatiche del mio picciol talento, ed inchinando la

p. 6 -- sovranità di tanti Giasoni, che portano in trionfo il Vello d'oro della Virtù, appellarmi al silenzio per non recar pregiudizio con la povertà delle forme nello sprimere l'osservanza de miei sentimenti, alla integrità d'un fino ossequio, con cui bramo di farmi conoscere

Delle Signorie Vostre Illustriss.
Bologna li 20. Aprile 1659.
Divotissimo, & Obligatissimo
Gio. Battista Granata.

pp. 7-9 -- L'ORFEO RAVVIVATO / DALLA VIRTU' / DEL SIGNOR GIO. BATTISTA GRANATA. / Oda del Sig. Marchese GIO. GIORDANO GONZAGA. / [poem to Granata]

p. 10 -- A' LETTORI . . . [profession as a surgeon, reasons for writing

p. 11 -- [preface, cont.: inlfluences, chitarra tiorbata . . .]

p. 12 -- [preface ended: pieces included]

pp. 13-14 -- Tavola delle Sonate [index]

p. 15 -- blank

p. 16 -- [Granata portrait: 9 evenly spaced strings, 9 pegs (music illegible). Facsimile good for composer but much more detail in the background of the original: domed building and "pyramid" (tomb?); behind arcade. "(DM?) Canuti (?) T (?) / il B s (almost illegible?)"]

No alfabeto chart (hypothetical usage from Op. 1)

 

 

III. Notation

Tablature: Alfabeto and Italian tablature with measure lines, meter signs, and rhythm signs.

Range (highest fret used on each course):

Left-hand ornaments used: trillo (.T. )/vibrato (SS)

Instrument: 5-course guitar

IV. Indices

Index of Pieces (solo guitar):

 

Index of Pieces (other):

Notes:

1. These pieces continue on the next page, but Granata dedicates the continuing parts to new patrons. Return to text

Index of Genres:

The following chart summarizes the contents of the book by genre. Major genres are given by the form used in the New Grove Dictionary of Music and Musicians, 2d ed., with the forms actually used in the book in parentheses.

Index of Keys Used:

Keys used in the book; an * indicates that the key is only used in a passacaglia. Note that the pitch is relative and that since the guitarist was using tablature, there was no need to think in terms of traditional key signatures.

Index of Names:

ARRIVABENI, Giovanni
Alemanda. AL SIG. CONTE GIOVANNI ARRIVABENI MANTOVANO / p. 21

ASTE, Tomaso dall'
Passacalli. AL SIGNOR TOMASO DALL'ASTE FORLIVESE / p. 68

BARTOLUCCI, Girolamo
Alemanda. AL SIGNOR GIROLAMO BARTOLUCCI DA GUASTALLA / p. 69

BERTOLOTTI, [Bartolotti?; lute pieces stolen by a certain "Professore della Chitarra Spanguola"]
". . . E' ben vero, che mi rincresce, ch'io abbia a dire di havere conosciuto, che questi medesimi habbino (come pur troppo si vede) spolpate le Stampe de i Bertolotti, de i Piccinini da Bologna, de i Gottieri, de i Monsù de Fò, & altri, e le mie ancora, e trasportando dal Leuto alla Chitarra, dal Francese all'Italiano, e da un tuono in un'altro, e voglioni sotto nomi Anagramatici con l'esaltar se stessi sepelire la èfacile à conoscere da i Professori dell'arte." / p. 11

CALDOGNA, Marc'antonio
Balletto. AL SIG. CONTE MARC'ANTONIO CALDOGNA VICENTINO / p. 50

CASTELLI, Antonio
Balletto. AL SIGNOR ANTONIO CASTELLI COMASCO / p. 74

CASTELLI, Girolamo
Corrente. AL SIGNOR GIROLAMO CASTELLI COMASCO / p. 75

CORBICI, Gio.
Alemanda. A SIGNOR GIO. CORBICI FORLIVESE / p. 72

COSTA, Giorgio
Balletto. AL SIGNOR GIORGIO COSTA PIACENTINO / p. 52

de FO', Monsù [Dufaut? lute pieces stolen by a certain "Professore della Chitarra Spanguola"]
". . . E' ben vero, che mi rincresce, ch'io abbia a dire di havere conosciuto, che questi medesimi habbino (come pur troppo si vede) spolpate le Stampe de i Bertolotti, de i Piccinini da Bologna, de i Gottieri, de i Monsù de Fò, & altri, e le mie ancora, e trasportando dal Leuto alla Chitarra, dal Francese all'Italiano, e da un tuono in un'altro, e voglioni sotto nomi Anagramatici con l'esaltar se stessi sepelire la fama altrui, com'è facile à conoscere da i Professori dell'arte. "/ p. 11

FACHINI, Giovanni
Alemanda. AL SIG. CONTE GIOVANNI FACHINI MANTOVANO. / p. 44

FOSCARINI, [G.P.? lute? pieces stolen by a certain "Professore della Chitarra Spanguola"]
". . . E' ben vero, che mi rincresce, ch'io abbia a dire di havere conosciuto, che questi medesimi habbino (come pur troppo si vede) spolpate le Stampe de i Bertolotti, de i Piccinini da Bologna, de i Gottieri, de i Monsù de Fò, & altri, e le mie ancora, e trasportando dal Leuto alla Chitarra, dal Francese all'Italiano, e da un tuono in un'altro, e voglioni sotto nomi Anagramatici con l'esaltar se stessi sepelire la fama altrui, com'è facile à conoscere da i Professori dell'arte. "/ p. 11

FOSCARINI, Nicoletto
Corrente. AL SIGNOR NICOLETTO FOSCARINI NOBILE VENETIANO / p. 47

GONZAGA, Gio. Giordano [poet]
L'ORFEO RAVVIVATO DALLA VIRTU' DEL SIGNOR GIO. BATTISTA GRANATA. Oda del Sig. Marchese GIO. GIORDANO GONZAGA / p. 7 [poem]

Corrente. AL SIG. MARCHESE GIO GIORDANO GONZAGA MANTOVANO / p. 55

GONZAGA, Rodomonte
Toccata. AL SIG. MARCHESE RODOMONTE GONZAGA MANTOVANO / p. 24

GOTTIERI, [Gautier? lute pieces stolen by a certain "Professore della Chitarra Spanguola"]
". . . E' ben vero, che mi rincresce, ch'io abbia a dire di havere conosciuto, che questi medesimi habbino (come pur troppo si vede) spolpate le Stampe de i Bertolotti, de i Piccinini da Bologna, de i Gottieri, de i Monsù de Fò, & altri, e le mie ancora, e trasportando dal Leuto alla Chitarra, dal Francese all'Italiano, e da un tuono in un'altro, e voglioni sotto nomi Anagramatici con l'esaltar se stessi sepelire la fama altrui, com'è facile à conoscere da i Professori dell'arte. "/ p. 11

GRANATA, Gio. Battista
Soavi Concenti di Sonate Musicali PER LA CITARRA SPAGNUOLA DI GIO.

BATTISTA GRANATA OPERA QUARTA . . . / p. (3)

[dedication signed:] Bologna li 20. Aprile 1659 . . . Gio. Battista Granata / p. 6

L'ORFEO RAVVIVATO DALLA VIRTU' DEL SIGNOR GIO. BATTISTA GRANATA. Oda del Sig. Marchese GIO. GIORDANO GONZAGA / p. 7 [poem]

. . . Tù Granata frà tanto, Ch'anche nel suol da le rotanti

GRIMALDI, Gioseppe Maria
Passacagli. AL SIGNOR GIOSEPPE MARIA GRIMALDI GENOVESE / p. 64

GRIMALDI, Gio. Giacomo
Alemanda. AL SIGNOR GIO. GIACOMO GRIMALDI GENOVESE / p. 60

GRIMALDI, Pierfrancesco
Alemanda. AL SIGNOR PIERFRANCESCO GRIMALDI GENOVESE / p. 32

GUERRIERO, Tullo
Passacagli. AL SIG. MARCHESE TULLO GUERRIERO MANTOVANO / p. 38

LAZARI, Giulio
Corrente. AL SIGNOR GIULIO LAZARI VICENTINO / p. 54

MAIOLI, Agostino
Gigue. AL SIGNOR AGOSTINO MAIOLI DA RAVENNA / p. 86

MARTINENGHI, Gasparo
Gigue. AL SIGNOR CONTE GASPARO MARTINENGHI DA BERGAMO / p. 36

MONTI, Giacomo [printer]
IN BOLOGNA, Per Giacomo Monti / p. (3)

Protesta dello Stampatore . . . / p. 168

ORSI, Checco
Brando. AL SIGNOR CHECCO ORSI FORLIVESE / p. 53

PICCININI, -- [lute pieces stolen by a certain "Professore della Chitarra Spanguola"]
". . . E' ben vero, che mi rincresce, ch'io abbia a dire di havere conosciuto, che questi medesimi habbino (come pur troppo si vede) spolpate le Stampe de i Bertolotti, de i Piccinini da Bologna, de i Gottieri, de i Monsù de Fò, & altri, e le mie ancora, e trasportando dal Leuto alla Chitarra, dal Francese all'Italiano, e da un tuono in un'altro, e voglioni sotto nomi Anagramatici con l'esaltar se stessi sepelire la fama altrui, com'è facile à conoscere da i Professori dell'arte. "/ p. 11

PIOVENI, Cesare
Toccata. AL SIG. CONTE CESARE PIOVENI NOBILE VENETIANO / p. 17

PIOVENI, Gabrielle
Passacagli. AL SIGNOR CONTE GABRIELLE PIOVENI NOBILE VENETIANO / p. 92

PIOVENI, Lelio
Toccata. AL SIGNOR CONTE LELIO PIOVENI NOBILE VENETIANO / p. 82

Preludio. AL SIGNOR CONTE LELIO PIOVENI NOBILE VENETIANO / p. 97

PORTO, Antonio Maria
Sarabanda. AL SIGNOR CONTE ANTONIO MARIA PORTO VICENTINO / p. 91

RAMONI, Gio. Battista
Preludio. AL SIGNOR GIO. BATTISTA RAMONI FAENTINO / p. 67

RANGONI, Filippo
Passacagli. AL SIG. MARCHESE FILIPPO RANGONI MODANESE / p. 58

SACRATI, Alfonso
Alemanda. AL SIG. CONTE ALFONSO SACRATI FERRARESE / p. 41

SCROFFA, Lodovico
(toccata cont., ?) AL SIGNOR CONTE LODOVICO SCROFFA VICENTINO / p. 25

SOLZA, Alessandro
Corrente. AL SIGNOR ALESSANDRO SOLZA DA BERGAMO / p. 90

SPILIMBERGO, Antonio
Alemanda. AL SIGNOR ANTONIO SPILIMBERGO FORLANO / p27

TERZI, Antonio
Brando. AL SIGNOR ANTONIO TERZI DA BERGAMO / p. 76

TERZI, Maffeo
Alemanda. AL SIGNOR MAFFEO TERZI DA BERGAMO / p. 79

VALMARANA, Giacomo
Alemanda. AL SIG. CONTE GIACOMO VALMARANA VICENTINO / p. 29

VALMARANA, Giovanni
(Passacagli cont.?) AL SIGNOR CONTE GIOVANNI VALMARANA VICENTINO / p. 39

XAVIERO, S. Fracesco
Soavi Concenti di Sonate Musicale . . . DEDICATA A gl'Illustrissimi Signori CONVITTORI NOBILI DEL COLLEGIO DI S. FRANCESCO XAVIERO DELLA COMPAGNIA DI GIUSU' . . . / p. (3)

[dedication to] / p. (5)

V. Bibliography

Boye, Gary R. "Giovanni Battista Granata and the Development of Printed Guitar Music in Seventeenth-Century Italy" (diss., Duke Univeristy, 1995).

________. "Performing Seventeenth-Century Italian Guitar Music: the Question of an Appropriate Stringing" in Performance on Lute, Guitar and Vihuela: Historical Practice and Modern Interpretation, ed. V.A. Coelho (Cambridge: Cambridge University Press, 1997).

Danner, Peter. "Giovanni Paolo Foscarini and His 'Nuova Inventione.'" Journal of the Lute Society of America VII (1974): 4-18.

Eisenhardt, Lex. "Bourdons as Usual." Lute Society Journal (UK) XLVII (2007): 1-37.

Frisoli, Patrizia. "The Museo Stradivariano in Cremona." Galpin Society Journal XXIV (1971): 33-50.

Goy, François-Pierre. "Three Versions of Pierre Gaultier's Bataille (1626, 1638, 1650)." Journal of the Lute Society of America XLII-XLIII, Essays in Celebration of Arthur J. Ness's 75th Birthday, Part II (2009-2010): 1-89.

Répertoire international des sources musicales: Einzeldrucke vor 1800. RISM A/I [G 3393.

Strizich, Robert. "Reviews, Books: Giovanni Battista Granata, Capricci armonici sopra la chittarriglia spagnuola (Bologna 1646) [SPES facsimile]." Journal of the Lute Society of America XII (1979): 87-93.

Tyler, James, and Paul Sparks. The Guitar and Its Music: From the Renaissance to the Classical Era (Oxford: Oxford University Press, 2002): 74, 89.

VI. Exemplars

E-Mn = Spain: Madrid, Biblioteca Nacional

Not yet visited; the facsimile was made from this copy.

 

I-Bc = Italy: Bologna, Civico Museo Bibliografico Musicale G. B. Martini (visited in 1991-1992)

Condition: thin, somewhat mildewed pages, but in excellent condition overall; few wrinkles or tears; ink somewhat faded on smaller figures (especially some .T. 's)

Binding: light red binding (original?); vertical bend in middle; cover very worn

Manuscript additions:
Cover -- blue tape: "AA6/1 INTAVOL."; ink: "Granata Gio. Battista / Soavi Concenti per la Chitarra / Opera IV. Bologna
1659"
Spine -- tape: "AA6"
[NO pp. (1-2)]

p. (3) -- top left, ink: "2856"; center bottom, blackened out, blue stamp: "BIBLIOTECA DEL LICEO MUSICALE DI BOLOGNA"
p. 8 -- stanza 6, ink: "Deh ferma il piè sù le Felsinee soglie" underlined with "notisi"[?] beside it
p. 9 -- last stanza, ink: "Ch'anche nel suol da le rotantì "underlined

p. 168 -- black stamp: "LICEO MUSICALE G.B. MARTINI BIBLIOTECA BOLOGNA"
1 blank folio at end (original??)

corrigenda in brownish ink [compared with E-Mn facsimile and I-VIb copy]:
p. 18 -- st. 1, m. 1, 5th rhythm sign: 1/8 > 1/16 [E-Mn, I-VIb]; m. 2, 2nd, 4th, 6th, 8th rhythm signs- 1/8 > 1/16 [E-Mn, I-VIb]
p. 19 -- st. 1, m. 3, 2&: 1/16 > 1/8 [E-Mn, I-VIb]
p. 20 -- st. 1, m. 2, bt. 1: 1/8 note added [E-Mn, I-VIb]
p. 22 -- st. 4, m. 1, 1&: 4/3rd [cf. I-VIb]
p. 23 -- st. 1, m. 3, 3&: ?/2nd > 5/2nd [E-Mn, cf. I-VIb]; st. 2, m. 4, bt. 1: 1/2 > 1/4 note [E-Mn, I-VIb]; st. 3, m. 4, bt. 1: dotted 1/4 > 1/2 [E-Mn, I-VIb]
p, 26 -- st. 3, m. 2, 3&: 3/3rd > 2/3rd, 3 times [E-Mn, I-VIb]; st. 4, m. 5, bt. 1: 1/4 1/8 1/4 > dotted 1/4 . . . [E-Mn, I-VIb]
p. 27 -- st. 1, m. 1, 4&: upstroke > downstroke [stamped by hand?; cf. I-VIb]; m. 3, 1&: 1/16 note added [E-Mn; I-VIb]; bt. 2: 1/16 > 1/8 note [E-Mn; I-VIb]
p. 28 -- st. 3, m. 2, bt. 4: 2/3rd erased for 2/2nd [E-Mn; I-VIb]
p. 29 -- st. 1, m. 2, 2&: 5/1st > 6/1st underd 8 5 [E-Mn; I-VIb]; st. 2, m. 1, bt. 2: 0 2/5th erased for 0 2/4th [E-Mn, I-VIb]
p. 30 -- st. 2, m. 1, bt. 3: downstroke > upstroke [E-Mn, I-VIb]; st. 3, m. 1, 3&: 3/2nd > 2/2nd [E-Mn, I-VIb]
p. 31 -- st. 1, m. 1, bt. 1: P > P3 [E-Mn, I-VIb]; st. 2, m. 1, bt. 1: 1/4 > 1/2 tied 1/4 notes [E-Mn, I-VIb]; m. 8, 2&: 1/8 > 1/16 [E-Mn, I-VIb]; bt. 3: 1/4 added [E-Mn, I-VIb]; st. 3, m. 3, 2&: 1/8 > 1/16 [E-Mn, I-VIb]
p. 32 -- st. 2, m. 1, 1&: ?/1st > 2/1st [E-Mn, I-VIb]; m. 2, 2&: ?/2nd > 5/2nd [E-Mn, I-VIb]; st. 3, m. 1, 4&: upstroke added [E-Mn, I-VIb]; m. 3, bt. 3: 2/4th cancelled? (1/4th??) [E-Mn, I-VIb]; 3&: 1/2nd > 2/2nd [E-Mn, I-VIb]
p. 33 -- st. 1, m. 1, 1&: 3/2nd erased for 2/2nd [E-Mn, I-VIb]; m. 3, bt. 2: 5/3rd erased for 5/4th [E-Mn, I-VIb]; st. 2, m. 4, 3&: 8/3rd erased for 8/2nd [E-Mn, cf. I-VIb]
p. 34 -- st. 3, m. 4, bt. 1: 0/2nd > 2/2nd [E-Mn, I-VIb]; 2/1st > 0/1st [E-Mn, I-VIb]; m. 7, bt. 2: 3/2nd > 5/2nd [E-Mn, I-VIb]
p. 36 -- st. 3, m. 4, bt. 3: 3/3rd > 0/3rd [E-Mn, I-VIb]; 0/2nd > 3/2nd [E-Mn, I-VIb]
p. 37 -- st. 4, m. 4, bt. 2: 1/4 > 1/8 note [E-Mn, I-VIb]
p. 38 -- st. 2, m. 4, bt. 1: 6/3rd > 7/3rd [E-Mn, I-VIb]; 7/2nd > 6/2nd [E-Mn, I-VIb]
p. 40 -- st. 2, m. 2, bt. 1: 1/4 > dotted 1/4 [E-Mn, I-VIb]; st. 4, m. 4, bt. 1: 1/4 note added [E-Mn, I-VIb]; m. 5, bt. 1: 1/8 note added [E-Mn, I-VIb]
p. 41 -- st. 1, m. 3, 4&: 1/8 > 1/16 note [E-Mn, I-VIb]; st. 1, m. 4: last barlined crossed out [E-Mn, I-VIb]; st. 2, m. 2, bt. 1: 1/16 note added [E-Mn, I-VIb]; 4&: 3/2nd added [E-Mn, I-VIb]
p. 42 -- st. 2, m. 2, bt. 4: 1/16 > 1/8 [E-Mn, I-VIb]; st. 3, m. 5, 4&: 3/1st > 3/2nd [I-VIb]; st. 4, m.1, 4&: downstroke > upstroke [E-Mn, I-VIb]
p. 44 -- st. 1, m.1, 4&: downstroke > upstroke [E-Mn, I-VIb]; st. 1, m. 4, 1&: 1/5th > 3/5th [E-Mn, I-VIb]; st. 3, m. 3, bt. 3: downstroke added [E-Mn, I-VIb]
p. 45 -- st. 3, m. 1, bt. 4: 2/5th > 3/5th [E-Mn, I-VIb]; st. 4, m. 2, 4&: 1?/2nd > 1/1st [E-Mn, I-VIb]; m. 4, 3&: 1?/2nd erased for 1/1st [E-Mn, I-VIb]
p. 46 -- st. 3, m. 5, bt. 2: barline crossed out [E-Mn, I-VIb]
p. 47 -- st. 1, m. 1, bt. 3: downstroke > upstroke [E-Mn, I-VIb]
p. 48 -- st. 1, m. 3, 3&: ?/1st > 3/2nd [E-Mn, I-VIb]; st. 4, m. 3, bt. 1: 1/4 note upstroke added [E-Mn, I-VIb]; 3&: 1?/1st erased for 1/2nd [E-Mn, I-VIb]
p. 49 -- st. 2, m. 6, 1&: 0/4th erased for 0/3rd [I-VIb]
p. 50 -- st. 1, m. 1, 4&: downstroke > upstroke [E-Mn, I-VIb]; st. 3, m. 2, bt. 4: 3/3rd > 7/3rd [E-Mn, I-VIb]
p. 53 -- st. 1, m. 5, bt. 3: barline XXX [E-Mn, I-VIb]; st. 2, m. 1, bt. 2: 5?/2nd > 7/2nd [E-Mn, I-VIb]; 7/1st > 5/1st [E-Mn, I-VIb]; m. 4, bt. 2: 1/8 > dotted 1/8 [E-Mn, I-VIb]; m. 6, bt. 3: barline XXX [E-Mn, I-VIb]
p. 54 -- st. 1, m. 8, 2&: barline XXX [E-Mn, I-VIb]
p. 55 -- st. 2, m. 5, 4&: downstroke > up [E-Mn, I-VIb];
p. 61 -- st. 2, m. 1, 2&: ?/4th erased for 7/5th [E-Mn, I-VIb]
p. 63 -- st. 2, m. 5, bt.3: barline XXX [I-VIb]
p. 65 -- st. 4, m. 6, bt.1: 1/4 note added [E-Mn, I-VIb]
p. 66 -- st. 4, m. 1, 4&: 2/4th erased and moved back [E-Mn, I-VIb]; m. 4, bt. 2: 2?/5th erased for 2/4th [E-Mn, I-VIb]
p. 69 -- st. 3, m. 4, 4&: downstroke > up [E-Mn, I-VIb]
p. 71 -- st. 3, m. 1, bt.2: upstroke > down? [E-Mn, I-VIb]
p. 72 -- st. 3, m. 3, 4&: 3/4th > 2/4th [E-Mn, I-VIb]; m. 5, bt. 3: N5 > N3 [E-Mn, I-VIb]
p. 74 -- st. 3, m. 4, bt. 2: 8 7 5/1st > 8 6 5/1st [E-Mn, I-VIb]
p. 77 -- st. 3, m. 2, bt. 3: 1/8 > 1/4 note [E-Mn, I-VIb]; m. 3, bt. 2: dotted 1/8 > dotted 1/4 [E-Mn, I-VIb]
p. 78 -- ["7" of 78 missing in I-Bc only]; st. 3, m. 5: 3?/5th > 2/5th [E-Mn, I-VIb]; 2?/2nd > 3/2nd [E-Mn, I-VIb]; st. 4, m. 3: 1/8 and 1/4 notes added [E-Mn, I-VIb]
p. 80 -- st. 1, m. 1, 3&: 0/3rd erased for 0/4th [E-Mn, I-VIb]
p. 81 -- st. 4, m. 5, bt. 1: ?/4th > 3/4th [E-Mn, I-VIb]; ?/1st > 5/1st [E-Mn, I-VIb]; m. 6, bt. 1: 1/4 note added [E-Mn, I-VIb]; bt. 3: dotted 1/2 > dotted 1/4 note [E-Mn, I-VIb]; m. 7, bt. 1: 5/2nd > 6/2nd [E-Mn, I-VIb]
p. 84 -- st. 2, m. 6, bt. 3: barline XXX [I-VIb]; st. 3, m. 1, bt. 4: 1/8 1/16 > 1/16 1/8 1/16 [E-Mn, I-VIb]; st. 4, bt. 1: 2/5th > 1??/5th or 2 highlighted? [cf. I-VIb]
p. 85 -- st. 2, m. 5, bt. 3: 2/5th erased [E-Mn, I-VIb]; 3&: 1/2nd added [E-Mn, I-VIb]; st. 4, m. 5, bt. 2: 2/2nd erased for 2/3rd [E-Mn, I-VIb]
p. 86 -- st. 3, m. 1, bt. 1: ?/4th > 3/4th [E-Mn, I-VIb]
p. 92 -- st. 2, m. 3, bt. 3: ?/2nd > 3/2nd [E-Mn, I-VIb]
p. 93 -- st. 2, m. 3, bt. 4: 3 or 5?/3rd erased for 5/2nd [E-Mn, I-VIb]
p. 94 -- st. 2, m. 9, 2&: 9/2nd erased for 9/1st [E-Mn, I-VIb]
p. 106 -- st. 3, m. 3, bt. 2: bass note 9 > 8 [E-Mn, I-VIb]
p. 107 -- st. 3, m. 5, last #: 2?/2nd erased for 2/2nd [E-Mn, I-VIb]
p. 109 -- st. 3, m. 5, bt. 1: 1?/3rd > 2/3rd [E-Mn, I-VIb]; m. 6, bt. 1: dotted 1/8 > dotted 1/4 [E-Mn, I-VIb]
p. 110 -- st. 1, m. 4, bt. 2: 1/2nd erased and moved under 6 in bass [E-Mn, I-VIb]
p. 115 -- Title added in pencil: "Sonata di Chitarra e Violino col B.C."
p. 118 -- st. 3, m. 2, 9th note: 1/4 > 1/8 note [E-Mn, I-VIb]
p. 119 -- st. 1, m. 1, last note: natural? added [I-VIb]; 1/4 > 1/8 note [I-VIb]; st. 2, m. 1, bt. 3: 1/4 > dotted 1/4 [E-Mn, I-VIb]
4&: 1/8 added [E-Mn, I-VIb]
p. 120 -- st. 2, m. 3, bt. 1: dotted 1/8 > dotted 1/4 [E-Mn, I-VIb]; 2&: 1/16 > 1/8 note [E-Mn, I-VIb]
p. 124 -- st. 2, last note: # moved to last note 6 [E-Mn, I-VIb]
p. 125 -- st. 2, m. 3, bt. 1: 6 added [E-Mn, I-VIb]
p. 127 -- st. 1, m. 3, last 6 notes: > 1/16 notes [E-Mn, I-VIb]
p. 130 -- st. 1, m. 4, bt. 1: 1/2 note added [E-Mn, I-VIb]
p. 138 -- st. 1, m. 1: all 1/8's > 1/16's [E-Mn, I-VIb]; st. 3, m. 2, bt. 1: # > F line [E-Mn, I-VIb]
p. 149 -- st. 2, m. 6, bt. 1: 1/8 > 1/16 [E-Mn, I-VIb]; m. 8, bt. 1: 1/8 > 1/16 tied [E-Mn, I-VIb]
p. 151 -- st. 1, m. 4, 3&: 1/4 > 1/8 [I-VIb]
p. 153 -- st. 2, mm.9-11: # added over G A B (3rd) [E-Mn, I-VIb]; st. 4, mm. 1-2: # added over D E [E-Mn, I-VIb]; mm. 8,11,12: flats added over C,F,G [E-Mn, I-VIb]
p. 154 -- st. 1, m. 10: 2/1st > 1?/1st (XXX?) [E-Mn, I-VIb]; st. 3, m. 1: 5/2nd > 4/2nd [E-Mn, I-VIb]; 5/1st > 4/1st [E-Mn, I-VIb]; st. 3, m. 3: 2/4th added [E-Mn, I-VIb]; 2/3rd > 0/3rd [E-Mn, I-VIb]; 1/1st > 3/1st [E-Mn, I-VIb]
p. 157 -- st. 2, mm.6-7: flat added to F,G [E-Mn, I-VIb]
p. 160 -- st. 4, m. 5, bts. 1 and 3: whole notes added (?) [E-Mn, I-VIb]


I-VIb = Italy: Vicenza, Biblioteca Civica Bertoliana (visited in 1992)

Condition: pages somewhat colored and wrinkled with a few tears but very legible; uneven page cut especially at the bottom

Binding: plain brown cardboard (original?; original without covering??); soiled, worn and dented in places; two binding ties

Manuscript additions:
Cover -- white tape: "BIBLIOTECA BERTOLIANA MUSICA; [ink:] FF 2.5.122"
Inside cover -- black ink, crossed out: "a.26.6.32"; w/ red ink: "H 15.3.22"
[p. (1) ship engraving as in I-Bc "Miscet utile dulci"]

p. (15) -- blank
p. 16 -- portrait

corrigenda in lighter black ink [also see I-Bc copy above]:
p. 22 -- st. 4, m. 1, 1&: 3/3rd > 4/3rd [not added?]
p. 23 -- st. 2, m. 3, 3&: ?/1st erased for 5/2nd
p. 27 -- st. 1, m. 1, 4&: downstroke erased for upstroke
p. 33 -- st. 1, m. 3, 1&: 1/8 > 1/16 1/16 [=E-Mn]; st. 2, m. 4, 3&: 8/3rd > 9?/2nd; 2/2nd added; m. 7, 1&: 1/16 moved [=E-Mn]
p. 34 -- st. 1, m. 1, 2&: 3/2nd > 5/2nd

[p. 78 -- lower corner torn off; no music missing]
p. 82 -- st. 3, m. 1: barlined added after 6th harmony
p. 84 -- st. 3, bt. 1: ? erased for 2?/5th
p. 106 -- st. 3, m. 3, bt. 2: 0/2nd added

1 folio added at end (original) -- all but 4-6 cm. of left side torn off

 

US-Wc = United States: Washington, DC, Library of Congress, Music Division (visited in 2012)

Condition: binding: outer back edge of spine is detached; in need of repair; text: heavily foxed, thin paper in the beginning; thicker, better quality paper for inner fascicles with less foxing

Binding: modern cardboard with leath half binding; stamp on front: "M 126 .G75"; gold on spine: "GRANATA"

inside front cover and recto of fly leaf marbled; stamp on inside front cover: "THE LIBRARY OF CONGRESS 1800" "Class [pencil:] M126" and "Book [pencil:] G 75 Case"

fly leaf verso blank; additional fly leaf blank both sides

2 fly leaves added in back as in front, with marbling on 2v and inside back cover

Manuscript additions:
p. 4 [pencil]: "acc. 610540" "352098 ... 26" "M126 .G75 Case"
p. 5 [pencil]: "H.B. Mch 1929"

p. 18 -- st. 1, m. 1, 5th rhythm sign: 1/8 > 1/16 [US-Wc]; m. 2, 1st rhythm sign changed from 1/16 > 1/8, 2nd, 4th, 6th, 8th rhythm signs- 1/8 > 1/16 [US-Wc]
p. 19 -- st. 1, m. 3, 2&: 1/16 > 1/8 [NOT in US-Wc; other corrigenda NOT in US-Wc deleted from here . . .]
p. 20 -- st. 1, m. 2, bt. 1: 1/8 note added [US-Wc]
p. 23 -- st. 2, m. 4, bt. 1: 1/2 > 1/4 note [US-Wc]; st. 3, m. 4, bt. 1: dotted 1/4 > 1/2 [US-Wc]
p. 26 -- st. 3, m. 2, 3&: 3/3rd > 2/3rd, 3 times [US-Wc]
p. 27 -- st. 1, m. 1, 4&: upstroke > downstroke [written in in US-Wc]
p. 29 -- st. 2, m. 1, bt. 2: 0 2/5th erased for 0 2/4th [US-Wc]
p. 30 -- st. 2, m. 1, bt. 3: downstroke > upstroke [US-Wc]; st. 3, m. 1, 3&: 3/2nd > 2/2nd [US-Wc]
p. 31 -- st. 1, m. 1, bt. 1: P > P3 [US-Wc]
p. 32 -- st. 2, m. 1, 1&: ?/1st > 2/1st [US-Wc]; m. 2, 2&: [US-Wc: it's a 4/2nd; unchanged here]
p. 33 -- st. 1, m. 1, 1&: 3/2nd changed to 2/2nd [US-Wc]; m. 3, bt. 2: 5/3rd erased for 5/4th [US-Wc]; st. 2, m. 4, 3&: 8/3rd erased for 8/2nd [US-Wc]
p. 34 -- st. 1, m. 1, bt. 2: 3/2nd > 5/2nd [US-Wc]; st. 3, m. 4, bt. 1: 0/2nd > 2/2nd [US-Wc]; 2/1st > 0/1st [US-Wc]; m. 7, bt. 2: 3/2nd > 5/2nd [US-Wc]
p. 36 -- st. 3, m. 4, bt. 3: 3/3rd > 0/3rd [US-Wc]; 0/2nd > 3/2nd [US-Wc]
p. 37 -- st. 4, m. 4, bt. 2: 1/4 > 1/8 note [US-Wc]
p. 38 -- st. 2, m. 4, bt. 1: 6/3rd > 7/3rd [US-Wc]; 7/2nd > 6/2nd [US-Wc]
p. 40 -- st. 2, m. 2, bt. 1: 1/4 > dotted 1/4 [US-Wc]; st. 4, m. 4, bt. 1: 1/4 note added [US-Wc]; m. 5, bt. 1: 1/8 note added [US-Wc]
p. 41 -- st. 1, m. 3, 4&: 1/8 > 1/16 note [US-Wc]; st. 1, m. 4: last barlined crossed out [US-Wc]; st. 2, m. 2, bt. 1: 1/16 note added [US-Wc]; 4&: 3/2nd added [US-Wc]
p. 42 -- st. 2, m. 2, bt. 4: 1/16 > 1/8 [US-Wc]; st. 3, m. 5, 4&: 3/1st > 3/2nd [US-Wc]; st. 4, m.1, 4&: downstroke > upstroke [US-Wc]
p. 44 -- st. 1, m.1, 4&: downstroke > upstroke [US-Wc]; st. 1, m. 4, 1&: 1/5th > 3/5th [US-Wc]; st. 3, m. 3, bt. 3: downstroke added [US-Wc]
p. 45 -- st. 3, m. 1, bt. 4: 2/5th > 3/5th [US-Wc]; st. 4, m. 2, 4&: 1?/2nd > 1/1st [US-Wc]; m. 4, 3&: 1?/2nd erased for 1/1st [US-Wc]
p. 46 -- st. 3, m. 5, bt. 2: barline crossed out [US-Wc]
p. 47 -- st. 1, m. 1, bt. 3: downstroke > upstroke [US-Wc]
p. 48 -- st. 1, m. 3, 3&: [it's a 3 in the US-Wc  and unchanged] 3/1st > 3/2nd; st. 4, m. 3, bt. 1: 1/4 note upstroke added [US-Wc]; 3&: 1?/1st erased for 1/2nd [US-Wc]
p. 49 -- st. 2, m. 6, 1&: 0/4th erased for 0/3rd [US-Wc]
p. 50 -- st. 1, m. 1, 4&: downstroke > upstroke [US-Wc]; st. 3, m. 2, bt. 4: 3/3rd > 7/3rd [US-Wc]
p. 53 -- st. 1, m. 5, bt. 3: barline XXX [US-Wc]; st. 2, m. 1, bt. 2: 5?/2nd > 7/2nd [US-Wc]; 7/1st > 5/1st [US-Wc]; m. 6, bt. 3: barline XXX [US-Wc]
p. 54 -- st. 1, m. 8, 2&: barline XXX [US-Wc]
p. 55 -- st. 2, m. 5, 4&: downstroke > up [US-Wc] 
p. 61 -- st. 2, m. 1, 2&: 7[recognizable in US-Wc]/4th erased for 7/5th [US-Wc]
p. 65 -- st. 4, m. 6, bt.1: 1/4 note added [US-Wc]
p. 66 -- m. 4, bt. 2: 2 [yes US-Wc]/5th erased for 2/4th [US-Wc]
p. 69 -- st. 3, m. 4, 4&: downstroke > up [US-Wc]
p. 71 -- st. 3, m. 1, bt.2: upstroke > down? [US-Wc]
p. 72 -- st. 3, m. 3, 4&: 3/4th > 2/4th [US-Wc]; m. 5, bt. 3: N5 > N3 [US-Wc]
p. 74 -- st. 3, m. 4, bt. 2: 8 7 5/1st > 8 6 5/1st [US-Wc]
p. 77 -- st. 4 [!], m. 2, bt. 3: 1/8 > 1/4 note [US-Wc]; m. 3, bt. 2: dotted 1/8 > dotted 1/4 [US-Wc]
p. 78 -- ["7" of 78 missing in I-Bc and US-Wc]; st. 3, m. 5: 3?/5th > 2/5th [US-Wc]; 2?/2nd > 3/2nd [US-Wc]; st. 4, m. 3: 1/8 and 1/4 notes added [US-Wc]
p. 80 -- st. 1, m. 1, 3&: 0/3rd erased for 0/4th [US-Wc]
p. 81 -- st. 4, m. 5, bt. 1: ?/4th > 3/4th [US-Wc]; ?/1st > 5/1st [US-Wc]; m. 6, bt. 1: 1/4 note added [US-Wc]; bt. 3: dotted 1/2 > dotted 1/4 note [US-Wc]; m. 7, bt. 1: 5/2nd > 6/2nd [US-Wc]
p. 84 -- st. 2, m. 6, bt. 3: barline XXX [US-Wc]; st. 4, bt. 1: 2/5th > 1??/5th [US-Wc]
p. 85 -- st. 2, m. 5, bt. 3: 2/5th erased [US-Wc]; 3&: 1/2nd added [US-Wc]
p. 86 -- st. 3, m. 1, bt. 1: ?/4th > 3/4th [US-Wc]
p. 92 -- st. 2, m. 3, bt. 3: ?/2nd > 3/2nd [US-Wc]
p. 93 -- st. 2, m. 3, bt. 4: 3 or 5?/3rd erased for 5/2nd [US-Wc]
p. 94 -- st. 2, m. 9, 2&: 9/2nd erased for 9/1st [US-Wc]
[p. 99 -- "LC" cutout in dots, US-Wc]
p. 106 -- st. 3, m. 3, bt. 2: bass note 9 > 8 [US-Wc]
p. 107 -- st. 3, m. 5, last #: ?/2nd erased for 2/2nd [US-Wc]
p. 109 -- st. 3, m. 5, bt. 1: 1?/3rd > 2/3rd [US-Wc]; m. 6, bt. 1: dotted 1/8 > dotted 1/4 [US-Wc]
p. 110 -- st. 1, m. 4, bt. 2: 1/2nd erased and moved under 6 in bass [US-Wc]
p. 118 -- st. 3, m. 2, 9th note: 1/4 > 1/8 note [US-Wc]
p. 119 -- st. 1, m. 1, last note: natural? added [US-Wc]; 1/4 > 1/8 note [US-Wc]
p. 124 -- st. 2, last note: # moved to last note 6 [US-Wc]
p. 125 -- st. 2, m. 3, bt. 1: 6 added [US-Wc]
p. 127 -- st. 1, m. 3, last 6 notes: > 1/16 notes [US-Wc]
p. 138 -- st. 1, m. 1: all 1/8's > 1/16's [US-Wc]; st. 3, m. 2, bt. 1: # > F line [US-Wc]
p. 149 -- st. 2, m. 6, bt. 1: 1/8 > 1/16 [US-Wc]; m. 8, bt. 1: 1/8 > 1/16 tied [US-Wc]
p. 153 -- st. 2, mm.9-11: # added over G A B (3rd) [US-Wc]; st. 4, mm. 1-2: # added over D E [US-Wc]; mm. 8,11,12: flats added over C,F,G [US-Wc] 
p. 154 -- st. 1, m. 10: 2/1st > 1?/1st (XXX?) [US-Wc]; st. 3, m. 1: 5/2nd > 4/2nd [US-Wc]; 5/1st > 4/1st [US-Wc]; st. 3, m. 3: 2/4th added [US-Wc]; 2/3rd > 0/3rd [US-Wc]; 1/1st > 3/1st [US-Wc]
p. 160 -- st. 4, m. 5, bts. 1 and 3: whole notes added, changing note from space to line above [US-Wc]