I just want to be sure I'm playing them properly. So, for example, in measure 2, you have an e-flat (sixteenth-note) preceeding a trill on the same e-flat. Is that first e-flat actually played as a sixteenth note, or is it rolled into the trill? Would it be played e-flat, f, e-flat, f, e-flat, d, e-flat, g, all rolled up in a trill?
Thanks! Until the Romantic period was in full swing, trills were always begun on the implied note above the written one. Since Beethoven pretty much ushered in the Romantic period, you generally play the first two-thirds of his sonatas in the classical ornamentation manner, and the last third in romantic style. Mozart was born and died before Beethoven, quite solidly in the classical period, so you generally assume that the trills always start on the upper note. In this case, however, Mozart has included that E flat, possibly to indicate the trill as begining on the lower note. You could read it that way, or play the note straight then start trilling on F. If this were from just a little later time period, the E Flat might be written as an appogiatura (probably spelled that wrong) if it were supposed to be included in the trill. There are two ways that you can play it safe here;
First, try starting the trill slower, so that the first F is about as long as the sixteenth note that came before it, then gradually get quicker. This is sort of risky in classical music though, unless you can get the rate of acceleration exactly right. There's a fine line between sounding like a harpsichordist from vienna and a jazz improviser.
Second (I'd recomend this way), just play all the notes as sixteenth-note values. The tempo marking is Allegro, so it should be fast enough not to sound... slow... and the pickups to the resolution note are sixteenths as well. This should give you a nice, measured, classical sound. |
