Vivaldi's Esoteric Instruments

Author(s): Eleanor Selfridge-Field

Source: Early Music, Vol. 6, No. 3 (Jul., 1978), pp. 332-338
Published by: Oxford University Press
Stable URL: http://www.jstor.org/stable/3125802 .
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 Vivaldi'smusichas been curiouslyservedby modern
Vivaldi S; scholarship,for despitean enormousamountof well
intended effort and a high degree of public recog-
esoteric instruments nition, a balancedand thorough impressionof the
composer'sfull statureremainselusive. This is one
reflectionthat can be made on the thirdcentenaryof
ELEANOR Vivaldi'sbirth(4 March1678).
SELFRIDGE-FIELD Becauseeditions,performancesandrecordingshave
given heavyemphasisto Vivaldi'sconcertos,so much
so that his name has become synonymousin some
minds with the solo concerto,it is little appreciated
that some important questions about even this
categoryof his oeuvreremain. Praiseand familiarity
that rest on an acquaintancewith the well-known
sonatacollection,II op. 13 (containingsix
works usually edited pastor.fido,
for cross flute) are irrelevant,
since the opus is now believedto be spurious.'Our
impressionof Vivaldi'scapabilitiesin other musical
domainstendsto be vague.Of his 48 survivingoperas,
only Laninfafidahad up to this yearbeen edited.The
current season brings four Vivaldi operas to the
stage-Farnaceat La Fenice,Venice;TitoManlioat La
Scala,Milan;Orlandofurioso underClaudioScimonein
Verona (also on record);and L'incoronazione di Dario
underNewellJenkinsfor Siena(26August)and Castel-
franco (2 September);and there is the EnglishBach
Festival'sconcertperformanceof Griselda in the Queen
Elizabeth Hall, London, this year. A New York
productionof FarnaceunderJenkins, scheduledfor
November,will be the firstmodernstagingof a Vivaldi
opera in the English-speakingworld. Apart from
Judithatriumphans (happilyservedby a facsimile,two
modern editions and at least five recordings),which
could laysome claimto beingthe finestoratorioof the
Italianbaroque,none of Vivaldi'soratorioshavecome
to the noticeof the modernpublic.Witha fewnotable
exceptions,suchas the imposingBeatusVir,Gloria, and
DixitDominus, his cantatasand the bulk of his sacred
vocalworksareknownonly to a handfulof specialists.
Given this state of affairs,it would seem that our
knowledgeof Vivaldi'sinstrumentalworksshouldrest
on relativelysecurefoundations.This is only trueto a
degree,however,for Vivaldi'smusic, havingbeen in
the vanguardof pre-Bachexplorations,began to be
revived rather sooner than standards for editing early
instrumental music became differentiated from those
pertaining to any music for orchestra. In particularthe
identification of instruments merits careful scrutiny.
Baryton byJacques Sainprae (London, Victoria& Albert Museum no. 1444-
1870). Originally having six gut and 25 wire strings, this instrument is
rumouredto have belongedto Quantz, a great admirer of Vivaldi.

Portraitof AntonioVivaldi(1678-1741) engravedbyF. M. La Cave,1724.
While Vivaldi was meticulous in designating instru-
ments, the wide assortment for which he scored is not
alwaysportrayed accurately,that is, in accordancewith
what was available in early 18th-centuryVenice.
Despite countless modern editions of the two war-
horses op. 3 (containing the bulk of the concertos tran-
scribed by Bach) and op. 8 (containing The Four
Seasons),the backbone of the recorded repertory is
formed by the complete edition published by Ricordi
and prepared under the guidance of Gian Francesco
Malipiero.2 It comprises 530 instrumental pieces. In
the case of variant versions, the earliest is not invari-
ably the one included, for the choices were based more
on expediency than chronology. Initiated in 1947, the
complete edition was geared to the instruments avail-
able in the modern orchestra. A brief comparison of
designations in the original sources with those in the
complete edition reveals that wherever Vivaldi strayed
from the familiar territoryof violins, flutes, oboes and
bassoons, his aberrations have been set right by the
editors with the substitution of such decidedly non-
baroque instruments as the cor anglais. Since Vivaldi
was so intrepid an explorer of timbre and technique,
the substitution of modern for ancient instruments
introduces an essential misconception which, in these
times of increasing numbers of virtuosos on authentic
instruments, it is unnecessaryto perpetuate.
Against this background it must, however, be
pointed out that even with the best intentions and
access to all the scholarly tools that have become avail-
able since 1947, the modern editor still faces some
genuine difficulties in making precise designations for
the instruments Vivaldi names. Three factors con-
tribute to this problem. The first and most funda-
mental is that Vivaldi's working years, 1700-40, corre-
sponded to a period of immense vitality and change in
instrument manufacture. Particularly among the
woodwinds there was constant revision; some of the
instruments available to Vivaldi in his last years (he
died in 1741) were quite different from those available
to him for his first works. Although stringed instru-
ments of high quality were readily available in
northern Italy, Vivaldi had to rely on Austrian and
German makers for the newer woodwinds. It is diffi-
cult to determine the date at which specific wind
instruments would first have become available to
Vivaldi, and the task of dating the Vivaldi manu-
scripts proceeds slowly anyway,3leaving the inquirer to
match variable with variable in a most uncertain way.
All of this is compounded further by the fact that with
regard to works of which variants exist, it is some-
times the variant prepared by German pupils or
copyists that is in circulation. The resources available
for performance in Saxony, from whence came several
of these pupils, were somewhat different from those in
Venice, particularly in making greater use of ripieno
brass and wind instruments.
Another problem is that Vivaldi's use of
terminology is not always certain. A new vocabulary
arose with the improvement of instruments, but it did
not emerge instantly or fully formed. Thus it is diffi-
cult to determine when a single word that at the time
had multiple meanings refers to an instrument and
when to a manner of playing, a special register, or
some other attribute of performance. A related issue is
that of differentiating notated pitch from sounding
pitch, an ever present capacity for the doubleentendre
that lurks in scores of the early 18th century.
Finally one must consider the possibility that given
his fascination with sonority, Vivaldi did not turn
exclusively to nascent instruments for unusual effects
but also explored the realm of obsolescent instru-
ments. There are several evidences of what might be
termed an early music revival in Venice in the late 17th
333
and early 18th centuries, and the Venetians tended to
persist in outmoded habits more consistently than
their contemporaries elsewhere. Cornetts, which
remained in use at St Mark'suntil nearly the end of the
17th century, are the only antique instruments of
Vivaldi's time that he can definitely be said to have
ignored. The possibility that he scored for viols, which
were in use at the Venetian conservatoire of the
Mendicanti in the 1670s, and shawms, which were in
use generally in Venice to the end of the 17th century,
is distant but not invisible. Theorbos, the popularity of
which declined markedly after 1700, were still used in
Vivaldi'slast concertos.
Unusual stringed instruments
The problems of identification for string instruments
are fortunately few. The viola d'amore, for which
Vivaldi wrote six solo concertos (RV 392-3974), was
rapidly rediscovered with the first publication of these
works, and although live performances are still rare,
the works have avoided the fate of being corrupted to
suit a substitute instrument. St Mark'sBasilicaengaged
someone to play the viola d'amore in 1689,5and one
A South-German orAustrian
violad'amore,1719 (London,
Victoria&dAlbertMuseumno.
722-1878). Theviolad'amore
survivesin bothviol and violin
shapes-this instrument once
belongedto PrincebishopFranz
Antonof Salzburg
334
was introduced at the conservatoire of the PietA,
Vivaldi's principal place of employ, in 1708. Vivaldi
used the instrument to good effect injuditha (RV 644,
1716) and in his setting of Psalm 126, 'Nisi, nisi
Dominus' (RV 608). Heller's watermark study reveals
that two of the solo concertos, RV 392 and 397, are
preserved on paper manufactured only from 1725 to
1730. The concerto for viola d'amore and lute, RV
540, was written in 1740. Vivaldi's tuning for the
instrumentwas d-a-d'-f'-a'-d". *
Vivaldi's violeall'inglesecould have been viols but are
marginally more likely to have been an exotic species
of viola d'amore, the so-called English violet. Leopold
Mozart, in his Treatiseon the FundamentalPrinciplesof
ViolinPlaying (1756), described the English violet as
having seven ordinary gut and fourteen sympathetic
wire strings. The additional sympathetic strings, he
said, made it louder than the parent instrument. Its
tuning is uncertain, but it is generally believed that the
sympathetic strings were tuned in choirs that corre-
sponded in pitch to the main strings. The earliest
surviving specimen may be an instrument built in
Munich in 1724 by Paul Alletsee, now in the
Boomkamp Collection in Holland.
Vivaldi's scoring for the viola all'ingleseis in some
ways quite different from his scoring for viola
d'amore. InJudithaand elsewhere the viola d'amore is
employed as a solo instrument. In contrast, the viola
all'ingleseis rarely employed singly. An ensemble of five
appear in Juditha, a group of three in the Funeral
Concerto RV 579, and two in the concerto RV 555. Only
in the score of the opera L'Incoronazione di Dario(17 17)
is one used singly. The musical style associated with the
instrument is somewhat variable but in certain cases,
especially that presented byJuditha, it is entirely con-
sistent with the Italian notion of English viol scoring.
Comparable scoring may be seen in the two sonatas
for four viols in Giovanni Legrenzi'sop. 10 (1673).6
There can be little doubt that Vivaldi's violoncello
all'inglese,featured with violin in the concerto RV 546,
must be of the same family as the violaall'inglese.There
is even a documentary reference to this species in
Coronelli, the renowned Venetian geographer and
man of letters. He wrote of a young lady at the Pietai
named Prudenza who 'with the same naturalness
[francheza]sings, plays the violin, and the violoncello
inglese'.'Vincenzo Coronelli'sstatement establishesthat
we are dealing with an instrument as distinct from a
style of playing. The violaall'inglesein Dario,I. xv, could
appropriatelybe called a violoncello because of its low
* [Note: c' = middle C1
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Theopeningof theConcerto de Viole all'InglesefromVivaldi'sJuditha, Turin,BibliotecaNazionaleMS Foa28n. 65 276v, 277

pitch; the part could be played on a bass viol. This is a
virtuoso part, with six-note chords and a cadenza at
the end of the aria. While virtuosity on the gamba was
valued at this time, it is difficult to conclude that
Vivaldi can have intended anything other than a
baryton (the bass member of the English violet family)
here. By inference, then, the entire class of viole
all'inglesewould have been English violets. This con-
clusion leaves the modern performer out on a limb,
for not only is the English violet (apart from the
baryton member) extinct but the nearest substitute, the
viola d'amore, is availableonly in its treble size.
Comparably problematical are the two violini in
trombamarina mentioned on the cover only of the
manuscript score of the Concerto in C major RV 558,
written in 1740. The score itself indiscriminatelygives
trombefor these parts. As in countless other cases, only
ten staves have been used to show fifteen parts; it is
difficult to account for all the instruments once
additions and subtractionsbegin to occur.
It is possible to regard the cover designation as
being in error, although it is a very curious expression
that would have required conscious thought to invent.
Although trumpets, as given in the modern edition,
are workable (except for the double stops found later),
here it seems more likely from a linguistic point of
view that Vivaldi really wished to call attention to a
special manner of playing the violin. The 1740
concertos, presented to the Saxon Prince Friedrich
Christian on the occasion of his visit to Venice, gave
Vivaldi the last opportunity he was to have to display
his ingenuity at orchestration. Given all we know of
Vivaldi's own skill as a violinist and the possibility that
he would have been involved in the performance of
these works, a solution recently proposed to me by
Sibyl Marcuse seems quite probable. This is that

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RV558 showingtherequirementfor
Coverpageof theConcerto 'Due Violiniin
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RV558
335
Vivaldiintendedthesepartsto be playedwitha lightly worksnot knownin variantsscoreddifferently.Nos. 1,
touched string, producing harmonics or so-called 2 ('LaNotte'),3 ('I1Gardellino'),and 6 of op. 10 are
flageolettones.The practiceof touchingthe stringbut all knownin chamberconcertoarrangements(RV98,
not actuallystoppingit was of courseassociatedwith 104,90 and 101).Op. 10, no. 4 is for transverseflute,
the single-stringtrombamarina.The earliest known whilethe versionfor transverse flutepublishedas no. 5
practical use of harmonics byJean de Mondonville in (RV 434) must havebeen written laterthana recorder
his sonatasLesSonsharrnoniques, op. 4 (1735)is entirely version,RV 442, on account of the factthatthesecond
compatible with thisview. movement of the published work has been transposed
Unusualbut not perplexingis Vivaldi'scall for a from F minor to G minor, while the firstmovement
psalteryin Giustino,II. xiv, RV 717 (Rome,1724).The remains in F major. The only solo concerto for
requiredcompass b to c"'.Three-tonechordsthat recordernot knownto havea variantis RV441. The
is
appearin thispartprobablywereto be arpeggiated. concertoRV533 is for twotransverse flutes.
Among the concerticalling multiplesoloistsRV
for
Unusualwoodwinddesignations 104 and 570 (both variantsof op. 10, nos. 2 and 1)
Two generalpoints about the repertorythat involves seem to requirecross flute, as would the B0 Sinfonia
wind instrumentsshould be made. First,some of the RV 162. In the companyof oboes and bassoon,flute
ripieno wind and brass parts in Vivaldi'sconcertos may seem an appropriatechoice to the modern
appearonly in the Dresdenmanuscripts,not in the concerto-goer,but 20th-centuryconcepts of timbre
more numerousTurin sources. These works could familieshave a short lineage.The recorderseems to
originally have been written with a purely string have been Vivaldi'schoice in at least seven of the
orchestrain mind, for as a performerVivaldi'sexperi- chamberconcerti(whichare scoredfor violin, 'flute',
ence was with strings and except for bassoon, the and bassoon,sometimeswithaddedoboe): RV87, 92,
stapletwelve-pieceorchestraat the Pietaseemsto have 94, 95, 101, 103, and 105.Two recordersare among
been a stringone. It should also be recognizedthat the solo instrumentsusedwithdoubleorchestrain the
manyworksthat featuresolo wind and brassinstru- concerto RV 577, and four are requiredin another
mentsstillrelyon violinsforvirtuosity. double-orchestra concerto,RV585.
Second,the matterof distinguishingbetweenflute Even in his use of the recorder,Vivaldiwas not
and recorderwas largelyignoreduntilrecently.'Flute' quick to explore its possibilities.His earliestuse of it
is given indiscriminatelyin most modern editions, seemsto haveoccurredduringhis three-yearresidence
while it appears that up to 1725 or thereabout in Mantua(c1718-21),althoughrecorderswereusedin
wasa recorder.Butmakingchoicesfor Venetian chamber music before this. Benedetto
Vivaldi's.flauto
individualworksis difficult,both becausemanyworks Marcello'ssonatas for the instrument,op. 2, had
remainundatedand becausemany works originally appearedin 1712. Vivaldiemployedtenor recorders
writtenfor recorderwererevisedby Vivaldihimselfto (flautigrossi)in his operasTitoManlio(RV738)of 1719
accommodate cross flute. In several cases both and Laveritdin cimento (RV739),producedin Venicein
versions,scoredfor 'flute',are in circulation.Happily, 1720.
Ryom'scatalogueis quite specificin designatingsolo Although the one-keyed cross flute has been
partscarefully. proposed as one meaningof Vivaldi'sterm
.flautino,8
Among the 'flute'sonatas,RV 48-51 are for trans- Lasocki's closely argued case for the use of the
verseinstruments,whileRV52 is a recorderwork.The sopraninorecorderin the concertosRV 443 and 444
six 'flute'concertipublishedas op. 10 (c1728)were suits these workswell.9The writtencompassin both
broughttogetherfor the convenienceof the publisher worksis c'-f"'. Moreperplexingis the flautinopart in
Le Cenefrom miscellaneousearlierworks.In fact,of the concertoRV 445, in whichthe lowestwrittennote
fifteenVivaldiconcertosreckonedby Ryomto be for is e. No instrumentthat meritsa diminutiveending
cross flute (RV 426-40), there are only six complete could accommodate such a part, suggesting the pos-

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earlyormid-18thcentury.Theveneeris of tortoise-shell
withgoldpique'andmother-of-pearl
inlay.Thisinstrument
wasonceownedby
Rossini(London,Victoria&rAlbertMuseumno. 1124-1869)

336
sibility that the part was simply notated at a :on-
venient pitch and played higher.
Argumentsagainstthe flageoletas an appropriate
choice for flautino focus on customary usage of the
term flautino. There is no specific documentary
evidence for the use of the flageolet in Venice, even
among Vivaldi's well-known treasure trove of rare
instruments. However, an anonymous aria found in
the same manuscriptwith Juditha(Turin National
Library,Fod 28, ff. 104-6) contains parts for two.flasolet
requiring a compass of g'-f"'.'0 Several chromatic
notes (c#, ft, bio)are used. If Vivaldi or his contem-
poraries knew the flageolet as a.flasolet,it is certain he
could have designated it appropriately in instru-
mental pieces.
Vivaldi's clarenrepresents the difficult problem of
determining whether he was referring to an instru-
ment or a register. If the context were known to be the
trumpet, then clarencould be taken as an indication of
the upper register. But Vivaldi's context in the two C
major concertos RV 559 and 560 is string orchestra
with two oboes, and some species of early clarinet
seems the most likely choice. Scoring for the clarenis
stepwise melodically and graceful rhythmically,
suggesting a reed rather than a brass instrument.
In the concertos RV 559 and 560 the written
compass of the two clarini,which absent themselves in
excursions outside the principal key, is c'-c"'.A unison
part for two in Juditha is confined to notes of
.clarini
the major scale between b' flat and b" flat. The
presence of a cue for 'clarinetti' in the basso continuo
of the 'San Lorenzo' concerto, RV 556, which happens
to call for two clarini(compassg-c"'),could be the later
addition of a performer (although the work is an auto-
graph). The slow movement can be regarded as little
more than a sketch, if one takes seriously its copious
list of intended instruments:a clarinosolo,arpeggios on
the lute, a cello, a pizzicato violin, and 'tutti li bassi'
are called for, but the only written obbligato parts are
for violin and cello. The large number of chromatic
notes and the downward extension of the compass to
e flat were, according to present information, un-
obtainable on any instrument of the clarinet family
available to Vivaldi.
Coupled with the problem of the claren is the
problem of the salm3or salmod,because at face value
one would take it, too, to represent an early species of
clarinet, but Vivaldi did not use the terms clarenand
salmodinterchangeably. The salmodwas undoubtedly
known in various sizes, for its registervaries from work
to work. The folk chalumeau,which was used to a
CONCERTI .
Suonati: dallo liglie de4 Pio Ospitale dellaPiet'i
"avar,ti
R EALE
-SUAAALTEZZA
F DERICQ .CHRISTIANO -
d Pooi
L.IS ElrlSafson'a.
diP'D.An to
: oV•n
Maetira de Coarti -o.i•Jr- sr~ett;o .
dddI'OJtitale
. ,e' CI'(J?•
hl d, /
fill"/ '//If •f "•/4, o
r7
Title-pageof the last collectionof his concertos
assembledduring Vivaldi's
lifetime(SichsischeLandesbibliothek,Dresden)
limited extent by a number of 18th-century com-
posers, had a compass of an eleventh, which is too
restrictive for some of Vivaldi's scoring. Surviving
specimens of descant clarinets made by J. C. Denner
(d 1707) givef as a lowest note and can ascend to c"'.
This kind of instrument could accommodate the
compass d'-c'" found in the single salmoeparts of the
'Funeral Concerto', RV 579 (possibly written in c 1719)
and d'-g" in the concerto RV 555. The more limited
compass b' flat-b"flat found in the salmodobbligato of
Judithareminds us that B flat was more easily obtained
than B natural on the early two-keyed clarinet." A
distinctly lower compass, G-e', in the paired salmod
parts in the concerto RV 558 (1740) could have been
intended to exhibit the then new bass member of the
clarinet family."
Etymology also does not exclude the simple shawm
as a possible equivalent for the bass salmodrequired in
juditha and RV 579. As late as 1724 St Mark's Basilica
added a bombard player to its orchestra,13so that
instrumentshould have been known to Vivaldi.
Vivaldi's sparing use of brass instruments causes
very little perplexity apart from his call for paired
trombonida cacciain Orlando.finto pazzo(RV 727; 1714)
and in the concerto RV 574 (1725-30). These must
have been lower pitched relatives of the 18th-century
trombada caccia,which was pitched in F. B natural and
B flat are used more freely than in horn literature of
the time, but among modern equivalents there seems
to be little alternativeto the horn.
The judicious reader will by now have realized that
very few of the problems discussed have been resolved.
It is hoped that their airing will encourage performers
with the appropriate resources to explore the alter-
native possibilities to which most of these questions
337
can be reduced and to report on the results of their
efforts. Used in that way, the tricentenaryprovides an
opportunity which was not available to recent genera-
tions of Vivaldi enthusiasts and which, if it succeeds in
bringing new sonorities to a repertory generally
thought to be well known, will have been used in a
most worthwhile way.
I The volume was published in Paris in c 1737 by Mme Boivin for
'Musette, Viele, Flite, Hautbois, [ou] Violon', but its authenticity
has been questioned by Peter Ryom, Verzeichnis der WerkeAntonio
Vivaldis,KleineAusgabe(Leipzig, 1974), pp. 151 and 213, on the
ground that many of the movements seem to be reworkings of
concerto movements by Vivaldi, Alberti and Meck.
2 Milan, 1947-71. Substantial though it is, the edition is not
complete, partly because it contains no vocal works and partly
because around 50 new instrumentalpieces were discovered after the
edition was commissioned. These later instrumental pieces are
itemized in the Appendix to Antonio Fanna, Catalogonumerico-
tematicodelleoperestrumentali
di AntonioVivaldi(Milan, 1968), which is
the official guide to the Ricordi edition; Ryom, 'A propos de
l'inventaire des oeuvres d'Antonio Vivaldi: Etude critique des
catalogues et de nouvelles decouvertes (48 manuscrits inconnus)',
Vivaldiana,I (1969); Ryom, Verzeichnis,pp. 209-12; and Michael
Talbot, 'Some Overlooked MSS in Manchester', MusicalTimes,CXV
(1974).
Instrumentalpieces not represented in the Ricordi edition include
a Sinfonia in G (RV 147), ed. Talbot (Copenhagen, 1972), and the
twelve Manchester sonatas by Vivaldi (RV 754-760 et al.) ed. Talbot
(Madison, Wisconsin, 1977).
3 The principal sources on the dates of Vivaldi's works are Karl
Heller, Die deutsche Oberlieferungder InstrumentalwerkeVivaldis
(Leipzig, 1971), and Ryom, Les Manuscritsde Vivaldi(Copenhagen,
1977).
4 RV Ryom Verzeichnis. For a discussion of the other systems for
identifying Vivaldi's works see E. Selfridge-Field, Venetian
Instrumental Musicfrom Gabrielito Vivaldi(Oxford, 1975), pp. 223-5.
Ryom's catalogue gives concordances with the Pincherle, Rinaldi
and Fanna systems and with the Ricordi edition. These concord-
ances have also been published separatelyby Ryom, AntonioVivaldi:
Table de concordancesdes oeuvres (RV) (Copenhagen, 1973).
Concordances for the works cited here are given at the conclusion of
the footnotes.
5 Selfridge-Field, op cit, p. 304.
6 Modern edition by RaffaeleCumar (Milan, 1965).
7 Guidade'forestieriperle cittddi Venezia(Venice, 1706),p. 21.
8 Dale Higbee, 'Michel Corrette on the Piccolo and Speculations
Regarding Vivaldi's "Flautino" ', GalpinSocietyJournal, XVII (1964).
9 David Lasocki, 'Vivaldi and the Recorder', TheAmericanRecorder,
IX (1968), p. 104.
10 I am grateful to Dr Michael Talbot for calling my attention to this
work.
" The early history of the clarinet is well treated in F. Geoffrey
Rendall, TheClarinet,3rd edn. rev. by Philip Bate (London, 1971),
pp. 64-77.
12 J. H. Van der Meer, 'The Chalmueau Problem', GalpinSociety
Journal, XV (1962), 91, chooses to consider this a tenor chalumeau
part written an octave lower than sounded, but he presents little
rationale for his argument.
The suggestion, loc cit, that cues reading 'Grande Bassone solo' in
the continuo of RV 576 refer to a bass chalumeau is difficult to
support. These cues occur whenever thefagottoexercises its concertino
function (for example, to accompany the horn duo in Bars 13-15
and the oboe solo in Bars 21-4) and no other accompaniment is
shown. As such its primary purpose seems to have been to keep the
keyboard player informed of changes in continuo responsibility.
'Grande' might suggest the contrabassoon as opposed to the simple
bassoon while 'Bassone' strictlymeant any large bass instrument.
13 Selfridge-Field,p. 307.

Concordances for works mentioned in the article

Ryom(RV) Pincherle Fanna Ryom(RV) Pincherle Fanna Ryom(RV) Pincherle Fanna
48 - XV:3 395a - II:3 444 78 VI:5
49 Son. 7/9 XV:5 396 233 II:1 445 83 VI:9
50 - XV:6* 397 37 11:6 533 76 VI:2
51 - - 426 - VI:17* 540 266 XII:38
52 Son. 7/10 XV:4 427 203 VI:3 546 238 IV:6
87 81 XII:30 428 155 VI:14 555 87 XII:23
90 155 XII:9 429 205 VI:10 556 84 XII:14
92 198 XII:7 430 - - 558 16 XII:37
94 207 XII:25 431 139 - 559 74 XII:2
95 204 XII:29 432 142 - 560 73 XII:1
98 - - 433 261 VI:12 566 297 XII:31
101 - XII:13 434 262 - 570 - XII:28
103 402 XII:4 435 104 VI:15 574 319 XII:18
104 - XII:5 436 140 VI:8 576 359 XII:33
105 403 XII:20 437 105 VI:16 577 383 XII:3
147 Sinf. 6 - 438 118, 141 VI:6 579 385 XII:12
162 Sinf. 11 XII:44 439 342 VI:13 585 226 XII:48
392 166 11:5 440 80 VI:7
393 289 11:4 441 440 VI:11
394 288 11:2 - VI:1 * Work is
442 represented in the Fanna
395 287 - 443 79 VI:4 catalogue but not in the Ricordi edition.