Cadenzas – What do you do?

[trumpetmike]

Whilst writing another post I started thinking about cadenzas and what they should consist of, so I thought I would open up a new thread in the literature section (well, we only find cadenzas in our literature) to see what various opinions are on this subject.

To start this off I thought I would give the Grove definition of a cadenza;

A virtuoso passage inserted near the end of a concerto movement or aria, usually indicated by the appearance of a fermata over an inconclusive chord such as the tonic 6-4. Cadenzas may either be improvised by a performer or written out by the composer; in the latter case the cadenza is often an important structural part of the movement. In a broad sense the term ‘cadenza’ can refer to simple ornaments on the penultimate note of a cadence, or to any accumulation of elaborate embellishments inserted near the end of a section or at fermata points.

The most comprehensive theory of the cadenza in the 18th century is found in D.G. Türk’s Clavierschule (1789). Türk also lamented the practice of making inordinately lengthy cadences that often had little to do with the piece they were meant to embellish, with the result that the piece became ‘cadenza-ed away’ (wegkadenziert). To remedy this he drew up a list of ten rules governing cadenzas, which may be summarized as follows:
1. The cadenza should reinforce the impression made by the composition by providing a brief summary of it; this may be achieved by weaving some of the important ideas from the piece into the cadenza.
2. The cadenza should not be difficult for its own sake, but rather contain thoughts that are suited to the main character of the composition.
3. The cadenza should not be too long, especially in sad compositions.
4. Modulations should be avoided or used only in passing, and should never stray beyond the main keys established in the piece.
5. The cadenza, in addition to expressing a unified sentiment, must have some musical variety to maintain the listener’s interest.
6. Ideas should not be repeated, either in the same key or in different keys.
7. Dissonances, even in single-voiced cadenzas, must be properly resolved.
8. A cadenza need not be learnt, but should show ‘novelty, wit and an abundance of ideas’.
9. In a cadenza the performer should not stay in one tempo or metre too long, but should give the impression of ‘ordered disorder’. A cadenza may be usefully compared to a dream, in which events that have been compressed into the space of a few minutes make an impression, yet lack coherence and clear consciousness.
10. A cadenza should be performed as though it had just occurred to the performer. Nevertheless, it is risky to improvise a cadenza on the spot, and much safer to write it down or at least sketch it in advance.

[end of Grove quote - you can tell - the language becomes me user-friendly after this ]



I have heard a great many lengthy cadenzas that ramble on for minutes, adding nothing to a piece, except the chance for the soloist to demonstrate that they really can play scales faster than anybody else on the platform that day!
What is the point of that?
Is it musical to stand up and demostrate technical skills?
I lost count of the number of times I have heard the Haydn many years ago (and I’m not that old – not even 30 yet), yet have only heard a few cadenzas which I regard as being both musical and within the context of the piece. Unfortunately none of them have been mine!
I haven’t played this piece in public for some years and when I last did I had an incredibly flashy cadenza (which worked, by the way), which did all the things I am now finding myself disliking.

So, what does anyone else think – are cadenzas a short expression of ideas, a chance to demonstrate technical prowess, a moment for the soloist to get one up on the orchestra?
Let’s hear your views. folks.

[_PhilPicc]

Right or wrong they are for the soloist to show off. Otherwise they would be part of the literature.
_________________
Philip Satterthwaite

We cannot expect you to be with us all the time, but perhaps you could be good enough to keep in touch now and again."
- Sir Thomas Beecham to a musician during a rehearsal

[Meldog]

I have always been told and in my opinion agreed with that it is a chance for the soloist to show off. Show off in respect to the piece though, always has to be relevant to the music you are playing.
Adam Metzler

[_PhilPicc]

Meldog,

I totaly agree that it should be relevant to the piece being played even if it is the intro to that piece. A cadenza can also be a nice melodic passage to enhance a connective passage to the next movement. However it's main purpose is what the soloist wants to do to show case his/her talents.
_________________
Philip Satterthwaite

We cannot expect you to be with us all the time, but perhaps you could be good enough to keep in touch now and again."
- Sir Thomas Beecham to a musician during a rehearsal