Well, in the Barenreiter edition of the Chedeville 6 Sonatas attributed to Vivaldi from Il Pastor Fido, in the last movement of the Sonata No.6 in G minor, the first 8 bars crops up at least 4 times in the movement, in the 4th bar, the first time reads a D and an E flat, but in the other cases it's a C and an E flat, and a C does feel more natural, do you think it would be worth making the D a C?

Also, in the International edition of the Vivaldi Piccolo Concerto in C RV443, bar 41 (3rd movement) in the piccolo part on the 3rd beat reads a high D# trill with the E, but in the piano part it reads a B trill with a C, again, the 2nd option sounds better.

What do YOU think?

Have you looked at the score as well, and does this say the same thing as the recorder part? I have many times got music that had two differnet notes in the two different parts. I generally go with the score, myself, IF the harmony fits in. I had a piece that in the recorder part had a B#, and then I looked at the piano score and noticed that there was aB natrual in the accompiament...then i looked at the recorder part on the score and there was a B natrual...it sounds much better with a B natrual!!!!!!!!!

Um, the Vivaldi concerto actually is different from score to part, sounds so wrong on a D#/E trill (not to mention a bit harder to play!) but the Il Pastor Fido is the same in the score, but feels so much more comfortable being identical to the other phrases

Hiya its interesting that you mention its a Barenreiter edition of the piece that you have notation problems with as I've just been doing a performance investigation on the mozart clarinet concerto and found that my B&H edition of the concerto was completely different to the Barenreiter edition of the concerto, and that the Barenreiter had several instances of completely differently notated bars. I suggest you have a look at another edition of your piece to find an version that you feel sounds right for you.

I don't have these pieces, but another way would be to listen to any recordings you could get your hands on, and try to pick out what's been done there. I've had to do that when deciding on odd rhythms. It's also worth checking the date of your edition - mistakes happen at any time but some really weird editing decisions were made on baroque music in the early 20th century, so I tend to trust my instincts more and go against the text if the edition is from, say 1935 than I would if it is from 1986.