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Cadenza

From Wikipedia, the free encyclopedia
Improvised solo between musical sections
For other uses, seeCadenza (disambiguation).
Cadenza indication from Beethoven'sPiano Concerto No. 3:fermata over rest indicates beginning, fermata over thetrill indicates close.[1]

Inmusic, acadenza, (from Italian:cadenza[kaˈdɛntsa], meaningcadence; plural,cadenze[kaˈdɛntse]) is, generically, animprovised or written-outornamentalpassage played or sung by asoloist(s), usually in a "free"rhythmic style, and often allowingvirtuosic display. During this time theaccompaniment will rest, or sustain a note or chord. Thus an improvised cadenza is indicated in written notation by afermata in all parts. A cadenza will usually occur over either the final or penultimate note in a piece, the lead-in (German:Eingang),[2] or the final or penultimate note in an important subsection of a piece. A cadenza can also be found before a finalcoda orritornello.[3]

Origin

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Initially, cadenzas were more simple and structured - a performer would add smallembellishments such as trills to the end ofcadences. These small embellishments of the early cadenza did not affect meter. However, as the improvised embellishments continued, they became longer and more thought out. This made way for the 'composed' cadenza which ultimately progressed into the 'free'metered feel that is more commonly associated with cadenzas today. Performers are able to play without being tied to meter or a strict time, and accompanists inorchestra await their entrance.[4]

In concerti

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Cadenza indication from the first movement of Mozart'sPiano Concerto in B major, K. 595.[6] TheI6
4
VIprogression at the cadenza is typical of the Classical concerto.[3]

The termcadenza often refers to a portion of aconcerto in which theorchestra stops playing, leaving the soloist to play alone infree time (without a strict, regular pulse) and can be written or improvised, depending on what the composer specifies. Sometimes, a cadenza will include small parts for other instruments besides the soloist; an example is inSergei Rachmaninoff'sPiano Concerto No. 3, where a solo flute, clarinet and horn are used over rippling arpeggios in the piano. A cadenza normally occurs near the end of the first movement, though it can be at any point in aconcerto. An example isTchaikovsky'sFirst Piano Concerto, where in the first five minutes a cadenza is used. The cadenza is usually the most elaborate and virtuosic part that the solo instrument plays during the whole piece. At the end of the cadenza, the orchestra re-enters, and generally finishes off the movement on their own, or, less often, with the solo instrument.

Cadential trill

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Typically during the classical period, a solo cadenza in a concerto would end with atrill, usually on thesupertonic, preceding the re-entry of the orchestra for the movement'scoda. Extended cadential trills were frequent inMozart'spiano concerti; they may also be found inviolin concerti and concerti for stringed instruments of the period up to the early 19th century (see illustration at head of this article).

As a vocal flourish

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The cadenza was originally, and remains, a vocal flourish improvised by a performer to elaborate a cadence in anaria. It was later used in instrumental music, and soon became a standard part of the concerto. Cadenzas for voice and wind instruments were to be performed in one breath, and they should not use distantkeys.[7] Originally, it was improvised in this context as well, but during the 19th century,composers began to write cadenzas out in full.[8] Third parties also wrote cadenzas for works in which it was intended by the composer to be improvised, so the soloist could have a well formed solo that they could practice in advance. Some of these have become so widely played and sung that they are effectively part of the standard repertoire, as is the case withJoseph Joachim's cadenza forJohannes Brahms'Violin Concerto,Beethoven's set of cadenzas forMozart'sPiano Concerto no. 20, andEstelle Liebling's edition of cadenzas for operas such asDonizetti'sLa fille du régiment andLucia di Lammermoor.

In jazz

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Perhaps the most notable deviations from this tendency towards written (or absent) cadenzas are to be found injazz, most often at the end of aballad, though cadenzas in this genre are usually brief. SaxophonistJohn Coltrane, however, usually improvised an extended cadenza when performing "I Want To Talk About You", in which he showcased his predilections for scalar improvisation andmultiphonics. The recorded examples of "I Want To Talk About You" (Live at Birdland andAfro Blue Impressions) are approximately 8 minutes in length, with Coltrane's unaccompanied cadenza taking up approximately 3 minutes. More sardonically, jazz criticMartin Williams once described Coltrane's improvisations on "Africa/Brass" as "essentially extended cadenzas to pieces that never get played."[9] Equally noteworthy is saxophonistSonny Rollins' shorter improvised cadenza at the close of "Three Little Words" (Sonny Rollins on Impulse!).[citation needed]

Cadenzas are also found in instrumental solos with piano or other accompaniment, where they are placed near the beginning or near the end or sometimes in both places (e.g. the cornet solo "The Maid of the Mist" byHerbert L. Clarke, or the end of "Think of Me" inAndrew Lloyd Webber'sThe Phantom of the Opera, where Christine Daaé sings a short but involved cadenza).

Notable examples

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Cadenzaad libitum in Franz Liszt'sHungarian Rhapsody No. 2

Composed cadenzas

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Composers who have written cadenzas for other performers in works not their own include:

References

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  1. ^abcdeSirGeorge Grove (1904).Grove's Dictionary of Music and Musicians, Vol. 1, p. 442.John Alexander Fuller-Maitland, ed. Macmillan Company.
  2. ^Keefe, Simon P. (2003).The Cambridge Companion to Mozart. Cambridge University Press. p. 265.ISBN 9781139826648.
  3. ^abRandel 2003.
  4. ^Swain, Joseph P. (1988-01-01)."Form and Function of the Classical Cadenza".Journal of Musicology.6 (1):27–59.doi:10.2307/763668.ISSN 0277-9269.JSTOR 763668.
  5. ^Kinderman, William (2006).Mozart's Piano Music, Ex. 4.2. Oxford University Press.ISBN 9780199880164.
  6. ^Randel, Don Michael (2003).Harvard Dictionary of Music. Harvard University Press. p. 132.ISBN 978-0-674-01163-2.
  7. ^Agricola, Johann Friedrich (1995).Introduction to the Art of Singing. Translated byJulianne C. Baird. Cambridge University Press. p. 211.ISBN 9780521454285.
  8. ^Latham, Alison (2002).The Oxford Companion to Music. New York: Oxford University Press. pp. 194.ISBN 9780198662129.
  9. ^Reitzes, David (1998)."A Love Supreme: God Breathes Through John Coltrane". Retrieved1 May 2010.
  10. ^Jacob, Heinrich Eduard (1940).Johann Strauss – A Century of Light Music. Hutchinson. p. 294.
  11. ^Jerome Kohl,Karlheinz Stockhausen: Zeitmaße, Landmarks in Music Since 1950, edited by Wyndham Thomas (Abingdon, Oxon; London; New York: Routledge, 2017): 89–121.ISBN 978-0-7546-5334-9.
  12. ^"Manual of Cadenzas & Cadences",Creighton's Collection.
  13. ^Puritz, Gerd."Schumann and Strauss".Elisabeth Schumann, A Biography. Grant & Cutler Ltd, London. Retrieved5 September 2012.
  14. ^"Scores of Friedrich WuhrerArchived 2009-01-15 at theWayback Machine",Di-Arezzo.co.uk.
  15. ^Rachmaninoff plays Liszt Hungarian Rhapsody No. 2. YouTube. 2007-07-27.Archived from the original on 2021-12-11. Retrieved2014-02-28.
  16. ^Rapaport, Aaron (2012)."An American Encounter with Polystylism: Schnittke's Cadenzas to Beethoven (Master's thesis)". University of North Carolina at Chapel Hill. Retrieved19 July 2012.
  17. ^"http://classicalsheetmusicgratis.org/wp-content/uploads/KREISLER-Cadenzas-to-Beethoven-duplex-fold-out.pdfArchived 2016-08-21 at theWayback Machine.
  18. ^"Itzhak Perlman Fiddler on the Roof John Williams Los Angeles Philharmonic, Gustavo Dudamel, 30 09 14 (video)". YouTube. 23 January 2017.Archived from the original on 2021-12-11. Retrieved29 November 2017.
  19. ^"https://www.youtube.com/watch?v=bxUI4DeoWGg"

Further reading

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External links

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