The Short

472 APPOGGIATURAS, TRILLS, TURNS
Ex. 13.21. Eberl, Violin Sonata op. 49/iii
Ex. 13.22. Eberl, Violin Sonata op. 50/iii
When a singer or solo instrument and an accompaniment part were in unison, it was not uncommon for composers to
include small-note appoggiaturas in the solo part and to write the ornament in full-size notes in the accompaniment, as
in the examples from Eberl and the passages from Schubert's Fierrabras cited above. Such instances provide useful
indications of the duration envisaged for the appoggiatura. But this cannot be relied on in all cases, especially with
semiquaver small notes, where, as in the example from Eberl's Sonata op. 49, the choice between a grace-note and a
literal semiquaver is often unclear.
While unison passages shed light on the length of appoggiaturas, they do not necessarily prove that a performance in
which the soloist delivers the appoggiatura in complete synchronization with the orchestra was what the composer
wanted or what accomplished singers of the day would actually have given. Corri's Select Collection, which, as far as the
notation of the period allowed, purports to give the ornaments precisely as they might have been rendered, provides
examples of the sort of thing that could have occurred (Ex. 13.23.) Corri's collection also includes interesting examples
of less predictable realizations of appoggiaturas in some instances, which indicate that the use of a single small note
might well have been understood to allow a variety of more elaborate types of performance (see Ex. 12.7, bb. 33, 47,
etc.). 868 The pervasiveness of this
Ex. 13.23. D. Corri, A Select Collection, i. 6
868 See also Ex.c 13.72 for examples of the appoggiatura combined with an extempore turn.