Editing Cadenza

{{Short description|Improvised solo between musical sections}}
{{Other uses}}
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|image1 = Beethoven - Concerto in C minor, cadenza.png
|image2 = Beethoven - Concerto in C minor, cadenza.mid
|footer = Cadenza indication from Beethoven's [[Piano Concerto No. 3 (Beethoven)|Piano Concerto No. 3]]: [[fermata]] over rest indicates beginning, fermata over the [[trill (music)|trill]] indicates close.<ref name="Grove">Sir [[George Grove]] (1904). ''[[Grove's Dictionary of Music and Musicians]]'', Vol. 1, p. 442. [[John Alexander Fuller-Maitland]], ed. Macmillan Company.</ref>
}}

In [[music]], a '''cadenza''', (from {{langx|it|cadenza|link=no}} {{IPA|it|kaˈdɛntsa|}}, meaning [[cadence]]; plural, ''cadenze'' {{IPA|it|kaˈdɛntse|}}) is, generically, an [[Improvisation|improvised]] or written-out [[Ornament (music)|ornamental]] [[Passage (music)|passage]] played or sung by a [[Solo (music)|soloist]](s), usually in a "free" [[Rhythm|rhythmic]] style, and often allowing [[Virtuoso|virtuosic]] display. During this time the [[accompaniment]] will rest, or sustain a note or chord. Thus an improvised cadenza is indicated in written notation by a [[fermata]] in all parts. A cadenza will usually occur over either the final or penultimate note in a piece, the lead-in ({{langx|de|Eingang|link=no}}),<ref>{{cite book |last=Keefe |first=Simon P. |author-link=Simon P. Keefe |title=The Cambridge Companion to Mozart |publisher=Cambridge University Press |year=2003 |isbn=9781139826648 |page=265}}</ref> or the final or penultimate note in an important subsection of a piece. A cadenza can also be found before a final [[Coda (music)|coda]] or [[ritornello]].{{sfn|Randel|2003}}

== Origin ==
Initially, cadenzas were more simple and structured - a performer would add small [[Ornament (music)|embellishments]] such as trills to the end of [[Cadence|cadences]]. 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' [[Metre (music)|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 in [[orchestra]] await their entrance.<ref>{{Cite journal |last=Swain |first=Joseph P. |date=1988-01-01 |title=Form and Function of the Classical Cadenza |url=https://online.ucpress.edu/jm/article/6/1/27/63513/Form-and-Function-of-the-Classical-Cadenza |journal=Journal of Musicology |language=en |volume=6 |issue=1 |pages=27–59 |doi=10.2307/763668 |issn=0277-9269}}</ref>

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|image1 = Mozart - 6 Variations on an aria from I Filosofi Immaginarii K. 398 (416e), first movement, cadenza written out.png
|image2 = Mozart - 6 Variations on an aria from I Filosofi Immaginarii K. 398 (416e), first movement, cadenza written out.mid
|footer = Written-out cadenza from Mozart's K. 398 (end of variation 6) demonstrates the often unmetered quality of cadenzas.<ref>Kinderman, William (2006). ''Mozart's Piano Music'', Ex. 4.2. Oxford University Press. {{ISBN|9780199880164}}.</ref>
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==In concerti==
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|image1 = Mozart - Piano Concert in Bb major K. 595, first movement, cadenza.png
|image2 = Mozart - Piano Concert in Bb major K. 595, first movement, cadenza.mid
|footer = Cadenza indication from the first movement of Mozart's [[Piano Concerto No. 27 (Mozart)|Piano Concerto in B{{music|b}} major]], K. 595.<ref name="Randel">{{cite book|last=Randel|first=Don Michael|author-link=Don Michael Randel|year=2003|title=Harvard Dictionary of Music|isbn=978-0-674-01163-2|page=[https://archive.org/details/harvarddictionar0004unse/page/132 132]|title-link=Harvard Dictionary of Music|publisher=Harvard University Press }}</ref> The [[Cadential six-four|I{{su|p=6|b=4}}]]–[[dominant (music)|V]]–[[tonic (music)|I]] [[chord progression|progression]] at the cadenza is typical of the Classical concerto.{{sfn|Randel|2003}}
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The term ''cadenza'' often refers to a portion of a [[concerto]] in which the [[orchestra]] stops playing, leaving the soloist to play alone in [[free time (music)|free 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 in [[Sergei Rachmaninoff]]'s [[Piano Concerto No. 3 (Rachmaninoff)|Piano 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 a [[concerto]]. An example is [[Pyotr Ilyich Tchaikovsky|Tchaikovsky]]'s [[Piano Concerto No. 1 (Tchaikovsky)|First 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===
Typically during the classical period, a solo cadenza in a concerto would end with a [[Trill (music)|trill]], usually on the [[supertonic]], preceding the re-entry of the orchestra for the movement's [[Coda (music)|coda]].  Extended cadential trills were frequent in [[Mozart]]'s [[Piano concertos by Wolfgang Amadeus Mozart|piano concerti]]; they may also be found in [[violin concerto|violin 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==
The cadenza was originally, and remains, a vocal flourish improvised by a performer to elaborate a cadence in an [[aria]]. 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 distant [[key (music)|keys]].<ref>{{cite book|last=Agricola|first=Johann Friedrich|author-link=Johann Friedrich Agricola|title=Introduction to the Art of Singing|translator=[[Julianne Baird|Julianne C. Baird]]|publisher=Cambridge University Press|year=1995|page=211|isbn=9780521454285}}</ref> Originally, it was improvised in this context as well, but during the 19th century, [[composer]]s began to write cadenzas out in full.<ref>{{Cite book|title=The Oxford Companion to Music|last=Latham|first=Alison|publisher=Oxford University Press|year=2002|isbn=9780198662129|location=New York|pages=[https://archive.org/details/isbn_9780198662129/page/194 194]|url-access=registration|url=https://archive.org/details/isbn_9780198662129/page/194}}</ref> 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 with [[Joseph Joachim]]'s cadenza for [[Johannes Brahms]]' [[Violin Concerto (Brahms)|Violin Concerto]], [[Ludwig van Beethoven|Beethoven]]'s set of cadenzas for [[Wolfgang Amadeus Mozart|Mozart]]'s [[Piano Concerto No. 20 (Mozart)|Piano Concerto no. 20]], and [[Estelle Liebling]]'s edition of cadenzas for operas such as [[Gaetano Donizetti|Donizetti]]'s ''[[La fille du régiment]]'' and ''[[Lucia di Lammermoor]]''.

==In jazz==
Perhaps the most notable deviations from this tendency towards written (or absent) cadenzas are to be found in [[jazz]], most often at the end of a [[ballad (music)|ballad]], though cadenzas in this genre are usually brief. Saxophonist [[John Coltrane]], however, usually improvised an extended cadenza when performing "I Want To Talk About You", in which he showcased his predilections for scalar improvisation and [[multiphonic]]s. The recorded examples of "I Want To Talk About You" (''[[Live at Birdland (John Coltrane album)|Live at Birdland]]'' and ''[[Afro Blue Impressions]]'') are approximately 8 minutes in length, with Coltrane's unaccompanied cadenza taking up approximately 3 minutes. More sardonically, jazz critic [[Martin Williams (writer)|Martin Williams]] once described Coltrane's improvisations on "Africa/Brass" as "essentially extended cadenzas to pieces that never get played."<ref>{{cite web |url=http://www.reitzes.com/coltrane1.html |title=A Love Supreme: God Breathes Through John Coltrane |author=Reitzes, David |year=1998 |access-date=1 May 2010}}</ref> Equally noteworthy is saxophonist [[Sonny Rollins]]' shorter improvised cadenza at the close of "Three Little Words" (''[[Sonny Rollins on Impulse!]]'').{{Citation needed|date=May 2024}}

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" by [[Herbert L. Clarke]], or the end of "Think of Me" in [[Andrew Lloyd Webber]]'s ''[[The Phantom of the Opera (1986 musical)|The Phantom of the Opera]]'', where Christine Daaé sings a short but involved cadenza).

==Notable examples==
{{More citations needed section|date = October 2012}}
[[File:Cadenza ad libitum - Hungarian Rhapsody No. 2 (Franz Liszt).gif|thumb|upright=1.5|''Cadenza [[ad libitum]]'' in Franz Liszt's [[Hungarian Rhapsody No. 2]]]]
*Concertos are not the only pieces that feature cadenzas; ''Scena di Canta Gitano'', the fourth movement of [[Nikolai Rimsky-Korsakov]]'s ''[[Capriccio Espagnol]]'', contains cadenzas for [[French horn|horns]] and [[trumpet]]s, [[violin]], [[Western concert flute|flute]], [[clarinet]], and [[harp]] in its beginning section.
*[[Johann Strauss II]] unusually wrote a cadenza-like solo for cello and flute for the final section of his ''[[Kaiser-Walzer|Emperor Waltz]]'', before the piece is brought to an end by a round of trumpets and then the whole orchestra.<ref>{{cite book|last=Jacob|first=Heinrich Eduard|author-link=Heinrich Eduard Jacob|title=Johann Strauss – A Century of Light Music|publisher=Hutchinson|page=294|date=1940}}</ref>
*The second movement of [[Johann Sebastian Bach|Bach]]'s [[Brandenburg Concertos#Concerto No. 3 in G major, BWV 1048|third Brandenburg Concerto]] consists of just two chords; it is generally taken to indicate a cadenza to be improvised around that [[cadence (music)|cadence]].
*The first movement of Bach's [[Brandenburg Concerto No. 5|fifth Brandenburg Concerto]] features an extensive written cadenza for harpsichord.
*The coloratura arias of [[bel canto]] composers [[Gaetano Donizetti]], [[Vincenzo Bellini]], and [[Gioachino Rossini]].
*Mozart wrote the cadenzas for violin and viola duet in the first and second movements of the [[Sinfonia Concertante for Violin, Viola and Orchestra (Mozart)|''Sinfonia Concertante for Violin, Viola, and Orchestra'', K. 364]].{{citation needed|date=March 2021}}
*Mozart wrote a cadenza into the third and final movement of [[Piano Sonata No. 13 (Mozart)|Piano Sonata in B-flat major, K. 333]], which was an unusual (but not unique) choice at that time because the movement is otherwise in [[Sonata rondo form|sonata-rondo form]].{{citation needed|date=March 2021}}
*[[Ludwig van Beethoven|Beethoven]]'s [[Piano Concerto No. 5 (Beethoven)|"Emperor" Concerto]] contains a notated cadenza.<ref name="Grove"/> It begins with a cadenza that is partly accompanied by the orchestra. Later in the first movement, the composer specifies that the soloist should play the music that is written out in the score, and not add a cadenza on one's own.
* Beethoven famously included a cadenza-like solo for [[oboe]] in the [[recapitulation (music)|recapitulation]] section of the first movement of his [[Symphony No. 5 (Beethoven)|Symphony No. 5]].
*[[Tchaikovsky]]'s [[Piano Concerto No. 1 (Tchaikovsky)|first piano concerto]] is notable not only for having a cadenza within the first few minutes of the first movement, but also for having a ''second'' – substantially longer – cadenza in a more conventional place, near the end of the movement.
*[[Sergei Rachmaninoff|Rachmaninoff]]'s [[Piano Concerto No. 3 (Rachmaninoff)|Piano Concerto No. 3]], in which the first movement features a long and incredibly difficult [[toccata]]-like cadenza with an even longer alternative or [[ossia]] cadenza written in a heavier chordal style. Both cadenzas lead to an identical section with arpeggios in the piano and a solo flute accompanying, before the cadenza ends quietly.
*[[Fritz Kreisler]]'s cadenzas for the first and third movements of [[Beethoven]]'s [[Violin Concerto (Beethoven)|Violin Concerto]].
* [[Aaron Copland]] uses a cadenza in his [[Clarinet Concerto (Copland)|Clarinet Concerto]] to connect the two movements.
*[[Karlheinz Stockhausen]] composed five ensemble cadenzas in his wind quintet ''[[Zeitmaße]]'' (1955–1956),<ref>[[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}}.</ref> cadenzas for piccolo trumpet and piccolo in ''[[Samstag aus Licht#Scene 3: Luzifers Tanz|Luzifers Tanz]]'' (1983), and a cadenza for cor anglais in his trio ''[[Klang (Stockhausen)#Seventh Hour: Balance|Balance]]'' (2007)
* [[Karol Szymanowski]]'s two violin concertos both feature cadenzas written by the violinist who was intended to play them, [[Paweł Kochański]].
* In the third movement of [[Edward Elgar|Elgar]]'s [[Violin Concerto (Elgar)|Violin Concerto]], there is an unexpected cadenza in which the orchestra supports the solo with a pizzicato tremolando effect ("cadenza accompagnato").
* [[Franz Liszt]]'s [[Hungarian Rhapsody No. 2]] for piano contains the instruction ''cadenza [[ad libitum]]'' before the final coda, meaning it is at the pianist's discretion that such a cadenza is added.<ref name="Grove"/> Whilst most performers prefer to decline the invitation, some pianists such as [[Alfred Cortot]], [[Sergei Rachmaninoff]] and [[Marc-André Hamelin]] have produced notable cadenzas for the work.
* Pianists [[Chick Corea]] and [[Makoto Ozone]] incorporated jazz cadenzas into an otherwise traditional performance in Japan of the [[Piano Concerto No. 10 (Mozart)|Mozart Double Piano Concerto]].
* [[Rimsky-Korsakov]]'s [[Scheherazade (Rimsky-Korsakov)|Scheherazade]] features numerous cadenzas for violin.
* Mozart wrote a cadenza in his own [[Horn Concerto No. 3 (Mozart)|Horn Concerto No. 3]], towards the end of the first of three movements.{{citation needed|date=March 2021}}
* [[Sergei Prokofiev]]'s [[Piano Concerto No. 2 (Prokofiev)|second piano concerto]] contains a taxing five-minute cadenza that closes out the [[Piano Concerto No. 2 (Prokofiev)#Andantino-Allegretto|first movement]].
* In [[Dmitri Shostakovich]]'s [[Cello Concerto No. 1 (Shostakovich)|first cello concerto]] the third movement on its own is a cadenza connecting the second and fourth movements.
* [[Carlos Chávez]]'s [[Violin Concerto (Chávez)|Violin Concerto]] has a seven-minute unaccompanied cadenza as the third of its five main sections, despite the fact that the soloist plays almost without a break throughout the rest of the 35-minute-long composition

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

*[[Carl Baermann]]'s cadenza for the second movement of [[Mozart]]'s [[Clarinet Concerto (Mozart)|Clarinet Concerto]].
* [[Ludwig van Beethoven]] wrote cadenzas for Mozart's [[Piano Concerto No. 20 (Mozart)|Piano Concerto No. 20 in D minor]]<ref name="Grove"/> first and third movements.
*[[Joseph Joachim]] wrote a cadenza for [[Johannes Brahms|Brahms]]'s [[Violin Concerto (Brahms)|Violin Concerto]].<ref name="Grove"/>
* [[Benjamin Britten]] wrote a cadenza for [[Haydn]]'s [[Cello Concerto No. 1 (Haydn)|Cello Concerto No. 1 in C]] for [[Mstislav Rostropovich]].
* David Johnstone wrote ''A Manual of Cadenzas and Cadences for Cello'', pub. Creighton's Collection (2007).<ref>"[http://www.creightonscollection.co.uk/index.html?Pages/scores/DJ/JM30BK.htm~mainFrame Manual of Cadenzas & Cadences]", ''Creighton's Collection''.</ref>
* [[Wilhelm Kempff]] wrote cadenzas for Beethoven's first four piano concertos.
* [[Clara Schumann]] wrote a cadenza for Beethoven's [[Piano Concerto No. 3 (Beethoven)|Piano Concerto No. 3]].
* [[Karlheinz Stockhausen]] composed cadenzas for two Mozart concerti for wind instruments (flute and clarinet), for [[Kathinka Pasveer]] and [[Suzanne Stephens]], respectively, and one cadenza each for the trumpet concertos by [[Trumpet Concerto (Leopold Mozart)|Leopold Mozart]] and [[Trumpet Concerto (Haydn)|Joseph Haydn]], for his son [[Markus Stockhausen|Markus]].{{citation needed|date=March 2021}}
* [[Richard Strauss]] wrote a vocal cadenza in 1919 for soprano [[Elisabeth Schumann]] to sing in Mozart's solo motet [[Exsultate, jubilate]]. This cadenza was sung by [[Kathleen Battle]] in her recording.<ref>{{cite web|last=Puritz|first=Gerd|title=Schumann and Strauss|url=http://www.elisabethschumann.org/biography/esandrichardstrauss.htm|work=Elisabeth Schumann, A Biography|publisher=Grant & Cutler Ltd, London|access-date=5 September 2012}}</ref>
* [[Friedrich Wührer]] composed and published cadenzas for Mozart's piano concerti in [[Piano Concerto No. 21 (Mozart)|C major]], K. 467; [[Piano Concerto No. 24 (Mozart)|C minor]], K. 491; and [[Piano Concerto No. 26 (Mozart)|D major]], K. 537.<ref>"[http://www.di-arezzo.co.uk/scores-of-Friedrich+Wuhrer.html Scores of Friedrich Wuhrer] {{Webarchive|url=https://web.archive.org/web/20090115151655/http://www.di-arezzo.co.uk/scores-of-Friedrich+Wuhrer.html# |date=2009-01-15 }}", ''Di-Arezzo.co.uk''.</ref>
* [[Sergei Rachmaninoff]] wrote a cadenza for Liszt's Hungarian Rhapsody No. 2 and was recorded playing the piece with this cadenza in 1919.<ref>{{Cite AV media|url=https://www.youtube.com/watch?v=srWOlCnY0K0 |archive-url=https://ghostarchive.org/varchive/youtube/20211211/srWOlCnY0K0| archive-date=2021-12-11 |url-status=live|title=Rachmaninoff plays Liszt Hungarian Rhapsody No. 2 |publisher=YouTube |date=2007-07-27 |access-date=2014-02-28}}{{cbignore}}</ref>
* [[Alfred Schnittke]] wrote two cadenzas for Beethoven's [[Violin Concerto (Beethoven)|Violin Concerto]], of which the first includes musical quotations from violin concertos of [[Violin Concerto (Berg)|Berg]], [[Violin Concerto (Brahms)|Brahms]], Bartók (Concertos [[Violin Concerto No. 1 (Bartók)|No. 1]] and [[Violin Concerto No. 2 (Bartók)|No. 2]]), Shostakovich ([[Violin Concerto No. 1 (Shostakovich)|Concerto No. 1]]), as well as from Beethoven's [[Symphony No. 7 (Beethoven)|7th Symphony]].<ref>{{cite web |url=http://media.proquest.com/media/pq/classic/doc/2844418011/fmt/ai/rep/NPDF?_s=MJ5ktUo1o1yo3Q7siUj1hLDQV%2FM%3D |title=An American Encounter with Polystylism: Schnittke's Cadenzas to Beethoven (Master's thesis)|author=Rapaport, Aaron |year=2012 |publisher=University of North Carolina at Chapel Hill |access-date=19 July 2012}}</ref> Schnittke also wrote a cadenza for the first movement of Mozart's [[Piano Concerto No. 24 (Mozart)|Piano Concerto No. 24]] in 1975.
* [[Fritz Kreisler]] composed a half polyphonic cadenza for [[Violin Concerto (Beethoven)|Beethoven's Violin Concerto]].<ref>"http://classicalsheetmusicgratis.org/wp-content/uploads/KREISLER-Cadenzas-to-Beethoven-duplex-fold-out.pdf {{Webarchive|url=https://web.archive.org/web/20160821203959/http://classicalsheetmusicgratis.org/wp-content/uploads/KREISLER-Cadenzas-to-Beethoven-duplex-fold-out.pdf |date=2016-08-21 }}.</ref>
* [[John Williams]] composed a 6-minute segment consisting of a cadenza, a series of variations, and a few more elaborations to go over the opening credits of the 1971 film ''[[Fiddler on the Roof (film)|Fiddler on the Roof]]'', performed by violinist [[Isaac Stern]].<ref>{{cite web |url=https://www.youtube.com/watch?v=h745la-Lo1I |archive-url=https://ghostarchive.org/varchive/youtube/20211211/h745la-Lo1I| archive-date=2021-12-11 |url-status=live|title=Itzhak Perlman Fiddler on the Roof John Williams Los Angeles Philharmonic, Gustavo Dudamel, 30 09 14 (video)|date=23 January 2017|access-date=29 November 2017|publisher=YouTube}}{{cbignore}}</ref>
* [[Alma Deutscher]] composed a cadenza for Mozart's [[Piano Concerto No. 8 (Mozart)|8th Piano Concerto]] when she was ten.<ref>"https://www.youtube.com/watch?v=bxUI4DeoWGg"</ref>
*[[David Popper]] composed a set of cadenzas for 5 different concertos ([[Joseph Haydn|Haydn's]] [[Cello Concerto No. 2 (Haydn)|Concerto No. 2 in D major, Op. 101]]; [[Camille Saint-Saëns|Saint Saëns']] [[Cello Concerto No. 1 (Saint-Saëns)|Cello Concerto No. 1 in A minor, Op. 33]]; [[Cello Concerto (Schumann)|Schumann's Cello Concerto in A minor, Op. 129]]; [[Robert Volkmann|Volkmann's]] Cello Concerto in A minor, Op. 33; and [[Bernhard Molique|Molique's]] Cello Concerto in D major, Op. 45).
*[[Émile Sauret]] wrote a cadenza for Paganini's [[Violin Concerto No. 1 (Paganini)|Violin Concerto No. 1]], Op. 6.

==References==
{{Reflist}}

==Further reading==
* [[Eva Badura-Skoda|Badura-Skoda, Eva]], et al. "Cadenza". ''[[Grove Music Online]]'' ed. L. Macy (subscription required). Accessed 2007-04-06.
* [[Colin Lawson|Lawson, Colin]] (1999). ''The Historical Performance of Music: An Introduction'', p.&nbsp;75–76. {{ISBN|9780521627382}}.

==External links==
{{Commons category}}
*{{cite web|url=https://www.theatlantic.com/entertainment/archive/2010/02/classical-cadenzas/35353/|title=Classical Cadenzas|last=Tarloff|first=Eric|date=February 9, 2010|work=[[The Atlantic]]|ref=none}}
*{{IMSLP|work=Category:Cadenzas|cname=Cadenzas}}

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