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mazzrick · 07-25-2007, 10:12 AM

Ed, sorry for cutting, but I'm not giving an opinion, just making some points.

Argument for from above:

It is important to study the treatises of J. J. Quantz, C. P. E. Bach, and Leopold Mozart from 1752, 1753, and 1756, respectively for this argument. But briefly, here the instructions of Leopold Mozart, in his Violinschule of 1756, "A Treatise on the Fundamental Principles of Violin Playing", Oxford, 1948: "The beginning and the end of a trill may be made in various ways. It can begin at once with the upper note downwards. But it can also be prepared by a descending appoggiatura which is suspended rather longer, or by an ascending appoggiatura...." He suggests that the lower-note start is good at cadences. A little later, he says "All short trills are played with a quick appoggiatura [from above] and a turn."

Argument for from the main note:

The main theme and historically important motive was the trumpet's newfound ability to place a scale and thus the opening three notes of the exposition, in bar 37, half note Eb... F... G... (concert pitch). The first trill that happens comes on the response motive to that in bar 43, Bb... Ab (trill)... G. So trilling from the Ab emphasizes the thematic 1.2.3... 3.2.1. Also, later with the most highly thematic trilled section in bar 60, the Bb... C (trill)... D... Eb (trill)... F obviously outline a 1..2..3..4..5.. motive and trilling from the main note demonstrates that. So motivically you should start on the main note. However, note that in the cadential trill at the end of the exposition in bar 82, in order to close the exposition (that opened with 1..2..3..) with 3...2...1... in the dominant key (Bb) you would need to start the trill on the upper appogiatura of D to stay consistent. From a modulatory standpoint, doing the trill in this fashion outlines the classical compositional form that this piece shows so well.

My personal opinion is who cares as long as you have a reason and it sounds like you have a reason but those are my evidence of passing music history and music theory.

Matt

07-25-2007, 10:12 AM	#2 (permalink)
mazzrick Pianissimo User Join Date: Sep 2005 Location: Berlin, Germany Posts: 121	Re: J. Haydn Trumpet Concerto Thrills Ed, sorry for cutting, but I'm not giving an opinion, just making some points. Argument for from above: It is important to study the treatises of J. J. Quantz, C. P. E. Bach, and Leopold Mozart from 1752, 1753, and 1756, respectively for this argument. But briefly, here the instructions of Leopold Mozart, in his Violinschule of 1756, "A Treatise on the Fundamental Principles of Violin Playing", Oxford, 1948: "The beginning and the end of a trill may be made in various ways. It can begin at once with the upper note downwards. But it can also be prepared by a descending appoggiatura which is suspended rather longer, or by an ascending appoggiatura...." He suggests that the lower-note start is good at cadences. A little later, he says "All short trills are played with a quick appoggiatura [from above] and a turn." Argument for from the main note: The main theme and historically important motive was the trumpet's newfound ability to place a scale and thus the opening three notes of the exposition, in bar 37, half note Eb... F... G... (concert pitch). The first trill that happens comes on the response motive to that in bar 43, Bb... Ab (trill)... G. So trilling from the Ab emphasizes the thematic 1.2.3... 3.2.1. Also, later with the most highly thematic trilled section in bar 60, the Bb... C (trill)... D... Eb (trill)... F obviously outline a 1..2..3..4..5.. motive and trilling from the main note demonstrates that. So motivically you should start on the main note. However, note that in the cadential trill at the end of the exposition in bar 82, in order to close the exposition (that opened with 1..2..3..) with 3...2...1... in the dominant key (Bb) you would need to start the trill on the upper appogiatura of D to stay consistent. From a modulatory standpoint, doing the trill in this fashion outlines the classical compositional form that this piece shows so well. My personal opinion is who cares as long as you have a reason and it sounds like you have a reason but those are my evidence of passing music history and music theory. Matt