The Short

610 PARALIPOMENA
Ex. 16.22. Clementi, Introduction, 9
As with all such ornaments in this period, there is no reason to think that composers troubled to mark every place
where they might have expected, or been happy to have heard arpeggiation, or that they specified every aspect of its
performance. In fact, there is powerful evidence to suggest that in piano playing during the early part of the nineteenth
century the arpeggiation of chords where they accompanied a melody, especially in slow movements, was almost
ubiquitous.
Arpeggiation was recommended as an ad libitum expressive device by, among others, Philip Corri. Giving Ex. 16.23(a)
he commented:
Observe that in the above Example, the longer notes only, are to be played appogiando; those that are equal are to
be struck together, tho’ not staccato; and the end of the tie must have the cadence or fall, that is; to be touched
lightly.
But if on the contrary, all the chords are played appogiando, without distinction, the Time and Metre would be so
confused and disguised that no air or melody could be discoverable, and therefore, it should be remember'd that
where notes or chords are of equal length, in succession, they should all be played together. *
To prove what I have just asserted play the foregoing Example with all the notes appogiando and without
emphasis—Judge then which is the most pleasing style; the 1st atNo 1—monotonous without expression, the 2nd
at No 2 with proper expression—or the 3rd as just directed, with an excess of expression.
The latter style is two [sic] often adopted by those who affect to play with Taste and who from ignorance of its
effects, distort and disfigure the melody so hideously that no one can make it out; I therefore recommend the
appogiando to be used cautiously and sparingly.
There are occasions where the appogiando may be used, altho’ it be not for emphasis, for instance;—in a slow
strain, the long chords are to be sustained, tho’ there are many of the same quality, yet their harmony is better heard,
and produces more effect by being touch'd appogiando, (As the Minims in the following Ex:) but then observe that
the Crotchets that follow, being shorter, ought to be played together as a relief to the other style.—Example [Ex.
16.23(b)].
Further Examples, shewing that the appogiando should be used on the long chords; and also on shorter ones,
where brilliancy is required to be given, touching them as nearly as possible together.—[Ex. 16.23(c)]
When the words ‘con Espressione, con Anima, or Dolce etc.’ are mark'd at a passage, it signifies that the
appogiando must be particularly and often used, and made as long as possible.
* [Corri's footnote] There is an exception which I shall next explain
Corri followed this with further examples from Cramer, Clementi, and Dussek, and then warned of some
circumstances in which arpeggiation should generally be avoided, for instance, a succession of octaves, which ‘must
never be