I have gone into detail on these two trills because they represent these pesky little details without which a really first-class Mozart, in my opinion, cannot be played. It's the old story of letting the ear and the imagination control the musical coordination. This barrier can be overcome if you will try to think less and listen more. When you are finally able to work up to the traditional tempo (about d=128 to 132), keeping always the same values, accents, or stresses, and inflections, then record it at several tempi (from d=30 to 132) and see if you detect a point at which you hear tension occur. Make sure the first 1/16 note in each case (after the triplet) is not late. If it is too difficult to make the main note of the trills (C# and G#) long enough as a triplet, then try: The idea is to practice not only the same sound and inflection (nuance) but to remember the same muscular sequence, so that you don't become more rigid or tense and experience a kind of muscular panic at the very fast tempo. (Adding to the difficulty of the G# trill is the fact that it comes after considerable sustained playing whereas the first one, C#, comes when you are fresher, except of course on the repeat of the first section.) Remember to use the same fingering in the slow tempo, as you must when you reach d=132. Notice that I have added an accent and a tenuto to the first note of the triplet figure: only this note should be stressed in this case-it is the main note in spite of its incredibly short duration, when we gradually move the metronome from d=30 to d=126 or 132. I would advise practicing these passages as though they were exactly the same inflections that you would use in a Mozart Adagio-that is, with a musical sound yet with only the above notes, no more.
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