The Short

480 APPOGGIATURAS, TRILLS, TURNS
Ex. 13.31. Beethoven, Sonata op. 2/3, ed. S. Lebert and I. von Faisst
Ex. 13.32. Schubert, Moment musical in A flat op. 94/2, ed. H. Riemann
instances, however, there always remained the possibility of disagreement. Dannreuther, for instance, considered that
the short appoggiatura in bar 3 of Schubert's A flat Moment musical op. 94, which Riemann would have executed on the
beat, ‘is meant for a Nachschlag’ 887 and illustrated it as in Ex. 13.33.
Ex. 13.33. Schubert, Moment musical in A flat op. 94/2, in Dannreuther, Musical Ornamentation, ii. 131
Some nineteenth-century musicians, however, especially those under French influence, were much more inclined to
regard grace-notes as quite definitely preceding the beat. Fétis and Moscheles, in their treatise on piano playing, were
specific about a change in practice during the nineteenth century: ‘Acciaccaturas, slides and groups of two or three
notes are placed immediately before the principal note. In the old school it was understood that they should share in
the time of the principal note, but they are now to be played quickly and lightly before the time of the large note’; 888
their examples are shown in Ex. 13.34. The contemporary Belgian violinist Charles de Bériot specified that small notes
should precede the beat when they occurred ‘at the beginning of a piece or a phrase’ (Ex. 13.35,) which ‘only serve as a
preparation, to give more
887 Musical Ornamentation, ii. 131.
888 Complete System, 6.