as Gli Accademici di Milano under Piero Santi. For example, the Bassoon Concerto in B major, "La Notte" RV 501, became CE 12, F. VIII,1 Despite the awkwardness of having to overlay Fanna numbers onto the Complete Edition number for meaningful grouping of Vivaldi's oeuvre, these numbers displaced the older Pincherle numbers as the (re-)discovery of more manuscripts had rendered older catalogs obsolete. This cataloging work was led by the Istituto Italiano Antonio Vivaldi, where Gian Francesco Malipiero was both the director and the editor of the published scores (Edizioni G. Ricordi). His work built on that of Antonio Fanna, a Venetian businessman and the Institute's founder, and thus formed a bridge to the scholarly catalog dominant today. Compositions by Vivaldi are identified today by RV number, the number assigned by Danish musicologist Peter Ryom in works published mostly in the 1970s, such as the "Ryom-Verzeichnis" or "Répertoire des oeuvres d'Antonio Vivaldi". Like the Complete Edition before it, the RV does not typically assign its single, consecutive numbers to "adjacent" works that occupy one of the composer's single opus numbers. Its goal as a modern catalog is to index the manuscripts and sources that establish the existence and nature of all known works. Style and influence Vivaldi's music was innovative. He brightened the formal and rhythmic structure of the concerto, in which he looked for harmonic contrasts and innovative melodies and themes. The German scholar Walter Kolneder has discerned the influence of Legrenzi's style in Vivaldi's early liturgical work Laetatus sum (RV Anh 31), written in 1691 at the age of thirteen. Johann Sebastian Bach was deeply influenced by Vivaldi's concertos and arias (recalled in his St John Passion, St Matthew Passion, and cantatas). Bach transcribed six of Vivaldi's concerti for solo keyboard, three for organ, and one for four harpsichords, strings, and basso continuo (BWV 1065) based upon the concerto for four violins, two violas, cello, and basso continuo (RV 580). Legacy In the early 20th century, Fritz Kreisler's Concerto in C, in the Style of Vivaldi (which he passed off as an original Vivaldi work) helped revive Vivaldi's reputation. Kreisler's concerto in C spurred the French scholar Marc Pincherle to begin an academic study of Vivaldi's oeuvre. Many Vivaldi manuscripts were rediscovered, which were acquired by the Turin National University Library as a result of the generous sponsorship of Turinese businessmen Roberto Foa and Filippo Giordano, in memory