The Short

manuscript sources). Cartier, in L'Art du violon, considered ⍭ it to mean a trill with a turn, whereas trwas a simple trill
without turn; 943 and Philip Corri saw the line through the middle as a sign that the ornament should be a ‘close turn’
(i.e. with an accidental before the first or third notes). 944 Also with respect to accidentals in turns, Reichardt rather
confusingly suggested Ex. 13.88(a) as a notation for Ex. 13.88(b) and Ex. 13.88(c) for Ex. 13.88(d). Idiosyncratic
notation of this sort may lie behind the ambiguity of the accidentals in some Beethoven turns, for example in the
Chorfantasie op. 80, where a turn sign in bar 33 with a sharp followed by a natural sign above it almost certainly indicates
a turn with a sharpened under-note; 945 or in the ‘Kreutzer’ Sonata, where the turn added to the violin's G♯ in the
Stichvorlage at bar 95 of the first movement (it is missing in the autograph) has a pair of sharp signs beneath it (evidently
signifying an F?, notwithstanding the opinion of the new Beethoven Gesamtausgabe, where it is given as F♯), while at the
equivalent place in the recapitulation the sign after the violin's C♯ is written with a sharp above it, signifying a B♯.
Ex. 13.88. Reichardt, Ueber die Pflichten, 57
APPOGGIATURAS AND GRACE-NOTES 513
Mendelssohn's notation in a number of early works provides some interesting comparisons between trill signs and
turns. In the Scherzo of the Octet for Strings op. 20 he first wrote the ornament at bar 95, as in Ex. 13.89(a), but
subsequently changed it to Ex. 13.89(b). (In all subsequent occurrences of the figure Mendelssohn wrote out the turn
after the trill.) In his own piano duet arrangement of the Octet this bar occurs as in Ex. 13.89(c), and the notes marked
tr in this passage in the autograph are all written out as similar four-note turns. Where the string version has Ex.
13.89(d), the piano duet has an inverted turn, or three-note trill, beginning on the main note. Where he used a similar
notation to the latter in the almost contemporaneous opera Die Hochzeit des Camacho, however, he gave it as a short trill
from above or a turn in his vocal score arrangement (Ex. 13.90.) At bar 202 of the Finale of his op. 6 Piano Sonata he
wrote a trill in the autograph (Ex. 13.91(a),) but at this point in the first edition, and elsewhere where a similar figure
occurs in the autograph, it is written as four semiquavers (Ex. 13.91(b).)
Apart from the evidence of inconsistent notation, such examples lend support to the idea that those composers
regarded these kinds of accenting ornaments as coinciding with the beat rather than preceding it, and that they
943
p. 4 .
944
Corri, L'anima di musica, 16.
945
Ed. Clive Brown (Wiesbaden, Breitkopf & HÄrtel, 1993), 4 and 64–5.