Cadenzas

Arrangeur: Cho-Liang Lin. Over the wonderfully enjoyably years of conducting, there have been so many fine encounters with the Mozart Violin Concertos - mostly with very gifted players like Menuhin, Oistrakh, Stern and, more recently, Cho-Liang (Jimmy) Lin. There have, however, been instances (only a few, I'm pleased to say) when I've come, in the performances, to dread the onslaught of those cadenzas, which sound like a send up of Paganini, or belong to the wrong century with a plethora of double-stopping lasting too long, venturing into tonalities Mozart would not have recognized. After several performances with Jimmy came a request from him for suitable cadenzas that showed off the solo violin while commenting on Mozart's music he had just played. They worked, and Sony asked us to record them all and, with the welcome inclusion of Jaime Laredo, all the rest of Mozart's violin and orchestra repertoire. This led to in an invitation from Schott to have the cadenzas published, and this is the result. / Classique / Recueil / Violon

to the concerto for piano and orchestra in G Major Hob. XVIII:4. Par HAYDN FRANZ JOSEF. Improvised and also composed solo cadenzas, normally occuring towards the end of a bravura aria or an instrumental concerto movement, have existed since the late 16th century. They provide the performer with an opportunity for self-presentation in the form of a free style of playing or singing, based on themes and motifs from previous sections of the movement. Solo cadenzas are for the most part introduced by a six-four chord held by the orchestra; the soloist begins a protracting interpolation in free stlye, subsequently culminating on the dominant chord, usually with a trill. Whereas originally composers left solo cadenzas to be freely improvised, from the middle of the 19th century onwards they were frequently specifically written out. The increasing abuse of cadenzas as a mere display of free virtuosity, ignoring the style and impetus of the composition, played a substantial factor in this development. Thus Beethoven gives the soloist no opportunity whatsoever for free improvisation in his 5th piano concerto in which the cadenza becomes an integral, obligatory component of the complete work. In this unique series Schott Music presents cadenzas created for well-known instrumental concertos from the Classical and Romantic periods by major composers and soloists of our time. Nino Rota dedicated the 'Kadenzen zum Klavierkonzert Nr. 4 in G-Dur (Cadenzas of the Concerto No. 4 for Piano and Orchestra in G major) Hob. XVIII:4' by Joseph Haydn to Arturo Benedetti Michelangeli (1920-1995), who recorded them for the label EMI./ Répertoire / Piano

In a concerto cadenza the soloist has the chance to apply free individual expression to the preceding musical themes. As a result, there are as many cadenzas for Mozart's flute concertos as there are flute players. Emmanuel Pahud developed the cadenzas in this volume of The Flute Collection over his career. They are an invaluable gain for every flautist, especially as Mozart did not compose any cadenzas for these works.

to the Concerto for Trumpet and Orchestra Eb major by Joseph Haydn. Par PENDERECKI KRZYSZTOF. In the late classical period composers began to want to determine every note in the cadenzas of solo concertos, rather than leaving this as a matter for the soloist’s virtuoso inspiration. Penderecki’s cadenzas for Haydn’s celebrated trumpet concerto are written in this tradition, but the creative will of the modern composer makes them far wider in scope. Penderecki’s stylistic methods leave the soloist every opportunity to display their virtuoso skills. The original notes of Haydn’s concerto movements remain present as an underlying framework. Having the horn parts worked into the cadenzas produces a highly structured form that shows the trumpet concerto of the Classical period reflected in the light of modern composition techniques./ Répertoire / Trompette

by Estelle Liebling. Par . A fantastic compendium of Traditional and New Cadenzas, cuts, technical exercises, and suggested Concert programmes. This book has been expertly compiled, arranged and edited by internationally renowned coloratura soprano, teacherand author Estelle Liebling. This is a practical guide, designed to be used as a teaching and training manual for younger coloratura sopranos, however it is advised never to attempt those cadenzas which are beyond theirtechnical capabilities or beyond their range. This book also explores some of the mental as well as the physical challenges and problems, and gives appropriate solutions. This book provides extensive repertoire and exercisestohone your technique. / Date parution : 2023-01-03/ Etude / Chant

Wolfgang Amadeus Mozart's Flute Concerto No. 2 In D With Cadenzas K.314. Piano score and part(s) - Flute Orchestra.