Appoggiatura / Acciaccatura - Beethoven

[clementi11]

Hi There,

I have a manuscript of Beethoven's Sonata No. 7 in D Maj (Op 10 No 3) edited by Stewart Gordon and  I am confused by the editor's notes...

In the Largo e Mesto (which, for anyone else with this version) is on page 24) he discusses in footnotes, what he calls the "appoggiatura" first shown in bar 9.

And yet the actual ornament shown is, to my mind, an acciaccatura and NOT an appoggiatura!  

I've always understood that appogi's are written WITHOUT the oblique and acciacca's WITH, although I'm very aware that there is sometimes discussion as to which the original composer actually intended as there have been centuries of debate about how best to write them.  However, Gordon is particularly good (normally) at stating why he's chosen the ornamentation that he uses and then gives other sources which agree with him (sources which are usually fairly standard and acceptable to me at any rate!) but, on this point, he simply refers to it as an appoggi without comment and yet, there it is, no oblique, looking for all the world like an acciacca...

I play a lot of Bach and I know that he quite often uses an oblique where it's quite clear he DOES mean an appoggi, but this is the first time I've seen this type of confusion with Beethoven.  I'm not overly familiar with playing Beethoven must admit so wondered what others thought and how they might play it (it doesn't overly matter really, I shall just decide which works best and, as it DOES seem to kind of need to be accented, then I probably WILL play it as an appoggi but I'm curious more than anything...)

I've attached a photo of the section and the appoggi/acciacca is noted as (c) on the score (bar 9).

Most likely, I'm just having a very dim day here!!


Thanks!  :-)

[j_menz]

I play it as if it were a demisemiquaver.