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#1972853 - 10/13/12 05:23 PM Trills in Mozart's 12 Variations K265
Works1 Online   content
Full Member

Registered: 12/12/04
Posts: 477
Loc: New York
I'm currently working on Mozart's 12 Variations K265 and am having some trouble with the trills in Variation No. 2.

Can someone please let me know how the trill in measure 17 of the 2nd Variation is played.

Much appreciated.



Edited by Works1 (10/14/12 07:07 AM)

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#1972929 - 10/13/12 09:02 PM Re: Trills in Mozart's 12 Variations K265 [Re: Works1]
RollingTenths Offline
Junior Member

Registered: 10/13/12
Posts: 19
Loc: Minnesota
I do it like this.


It is just my interpretation. I have a "Kalmus Classic Edition" of the piece, which only has the "tr" notation in measure 17.


Edited by RollingTenths (10/13/12 09:05 PM)
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#1973025 - 10/14/12 05:14 AM Re: Trills in Mozart's 12 Variations K265 [Re: RollingTenths]
Works1 Online   content
Full Member

Registered: 12/12/04
Posts: 477
Loc: New York
Thanks RollingTenths.

Last night I remembered a post a few days ago about a program to slow down audio (called transcriber) and I tried it on Clara Haskill's recording and it worked like a charm. Measure 17 is played as you indicated.

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#1973224 - 10/14/12 04:42 PM Re: Trills in Mozart's 12 Variations K265 [Re: Works1]
pianoloverus Online   content
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Registered: 05/29/01
Posts: 19941
Loc: New York City
Interesting, because I recently read a short book ornamentation that says(with a few rare exceptions) trills in Classical period music begin on the upper(auxilliary)note. This is the opposite of what's indicated in the post two before mine.

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#1973231 - 10/14/12 04:57 PM Re: Trills in Mozart's 12 Variations K265 [Re: Works1]
ChopinAddict Offline
6000 Post Club Member

Registered: 08/29/09
Posts: 6220
Loc: Land of the never-ending music
I remember reading a note about this variation in the book I have... In "Interpreting Mozart" by Badura-Skoda Variation No.2 is mentioned in the chapter on ornaments:
"At the beginning of Var.II in the variations on 'Ah, vous dirai-je, maman', K.265, he also wrote a tr sign instead of a turn symbol".
(I am not sure why "at the beginning"... Measure No.17 is not really at the beginning, but it is the only measure with a tr marking in that variation, maybe he meant K.265 rather than Var.II...)
So basically he meant a turn.
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#1973275 - 10/14/12 06:49 PM Re: Trills in Mozart's 12 Variations K265 [Re: pianoloverus]
Works1 Online   content
Full Member

Registered: 12/12/04
Posts: 477
Loc: New York
Originally Posted By: pianoloverus
Interesting, because I recently read a short book ornamentation that says(with a few rare exceptions) trills in Classical period music begin on the upper(auxilliary)note. This is the opposite of what's indicated in the post two before mine.


It appears that in at least variation 2, standard convention for trills is not followed as there are "tr" markings where the trill starts on the auxilliary note and others that start on the root.


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#1973276 - 10/14/12 06:51 PM Re: Trills in Mozart's 12 Variations K265 [Re: ChopinAddict]
Works1 Online   content
Full Member

Registered: 12/12/04
Posts: 477
Loc: New York
Originally Posted By: ChopinAddict
I remember reading a note about this variation in the book I have... In "Interpreting Mozart" by Badura-Skoda Variation No.2 is mentioned in the chapter on ornaments:
"At the beginning of Var.II in the variations on 'Ah, vous dirai-je, maman', K.265, he also wrote a tr sign instead of a turn symbol".
(I am not sure why "at the beginning"... Measure No.17 is not really at the beginning, but it is the only measure with a tr marking in that variation, maybe he meant K.265 rather than Var.II...)
So basically he meant a turn.


Thanks ChopinAddict. There are modified "turns" played in the opening theme when only a "tr" is indicated so perhaps he was referring to this section. As far as I can tell from reviewing the music and listening to many recordings, there are no other turns in this piece.

Great piece of music and more difficult to play than what meets the eye. But then again so is most of Mozart I think.

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