The Short

APPOGGIATURAS AND GRACE-NOTES 471
Ex. 13.19. (a) Woldemar, Méthode de violon par L Mozart, 30; (b) L. Mozart, Versuch, IX, §3
however be worth less, but never more’. 867 He included two examples from the original edition, but realized them
differently from Mozart (Ex. 13.19.)
It seems likely, in fact, that appoggiaturas were very often executed shorter than is suggested by many ornament tables
and theoretical guidelines, though without being performed as short as grace-notes. A passage from an opera buffa by
Gassmann, L'opera seria , in which a Kapellmeister instructs the orchestra how to play his music, is instructive: the
orchestra parts have Ex. 13.20(a),) and the singer's demonstration is notated as in Ex. 13.20(b).) Much later, in music
by Beethoven's Viennese rival Anton Eberl, there is similar evidence of a shorter realization than might be expected in
the different notation employed for a unison passage between violin and piano in the Rondo of his Violin Sonata op.
49 (Ex. 13.21,) though this may perhaps be taken as notation for a grace-note rather than an appoggiatura. In contrast,
an appoggiatura in the violin part of the Rondo of his Violin Sonata op. 50 is given a longer realization in the piano
part than its apparent value, but a shorter one than might be expected from the ‘two-thirds of a dotted note’ rule (Ex.
13.22.)
Ex. 13.20. Gassmann, L'opera seria, Act II, Scene vi, MS score in österreichische Nationalbibliothek, Vienna, ms. no.
177775; pub. in fac. in the series Italian Opera 1640–1770 (New York and London, Garland 1982)
867 Méthode de violon par L. Mozart, 30.