JAVS Fall 2003

Example 5: Zeiter Viola Concerto, Trill examples

The lengthy "d" could again employ the ribattuta to add to "the sustaining of a very long note" (Mozart 210). In order to make this most effective, it would be appropriate to suggest that one add an ascending tirata to the high "b flat" and then a descending tirata to the "f sharp." (See example 13.) It is important to note that the above ideas are only suggestions and that different interpretations will ultimately lead to different ornamentation. The suggested ornaments were common in the eighteenth century and were understood and expected by the composer. Obviously, enhance ments may also be achieved with expressive dynamics, vibrato, and the like. Above all else, remember Mozart's statement that "All these decorations are used, however, only when playing a solo, and then very sparingly, at the right time, and only for variety in often-repeated and similar passages" (214). This movement is also suitable to briefly address the commonly questioned use of vibrato in the eighteenth century. Mozart pre sented his view that vibrato should be limited to passionate phrases and accentuating certain tones, whereas another eminent violinist, Francesco Geminiani, suggested it be used as often as possible (Duffin 4). This difference of opinion refutes the common stereotype that all eighteenth cen tury performers limited their vibra to, implying that the eighteenth century vibrato practices are simi lar to common practices today: Vibrato is an enhancement to the

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Example 6: Zeiter Viola Concerto, exposition trills

Example 7: Zeiter Viola Concerto, mvt. I, cadenza

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melody demands significant attention when considering improvisatory ornamentation. (See example 12.)

This type of ornamentation is obviously most suitable on a longer note (Mozart 210). The return of the opening

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