University of IowaIowa Research Online

Theses and Dissertations

2012

Historical performance practice in cadenzas forMozart's concerto for bassoon, K. 191 (186e)Sarah Anne WildeyUniversity of Iowa

Copyright 2012 Sarah Anne Wildey

This dissertation is available at Iowa Research Online: http://ir.uiowa.edu/etd/3404

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Part of the Music Commons

Recommended CitationWildey, Sarah Anne. "Historical performance practice in cadenzas for Mozart's concerto for bassoon, K. 191 (186e)." DMA (Doctor ofMusical Arts) thesis, University of Iowa, 2012.http://ir.uiowa.edu/etd/3404.

HISTORICALPERFORMANCEPRACTICEINCADENZASFORMOZARTSCONCERTOFORBASSOON,K.191(186e)bySarahAnneWildeyAnessaysubmittedinpartialfulfillmentoftherequirementsfortheDoctorofMusicalArtsdegreeintheGraduateCollegeofTheUniversityofIowaJuly2012EssaySupervisor:ProfessorBenjaminCoelho

CopyrightbySARAHANNEWILDEY2012AllRightsReserved

GraduateCollegeTheUniversityofIowaIowaCity,IowaCERTIFICATEOFAPPROVAL__________________________________D.M.A.ESSAY_______________ThisistocertifythattheD.M.A.essayofSarahAnneWildeyhasbeenapprovedbytheExaminingCommitteefortheessayrequirementfortheDoctorofMusicalArtsdegreeattheJuly2012graduation.EssayCommittee: ____________________________________________ BenjaminCoelho,EssaySupervisor ____________________________________________ NicoleEsposito ____________________________________________ ChristineGetz ____________________________________________ WilliamLaRueJones ____________________________________________ AndrewParker

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Toallthebassoonistsinmylife.

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Mygreatgrandfatherusedtosaytohiswife,mygreatgrandmother,whointurntoldherdaughter,mygrandmother,whorepeatedittoherdaughter,mymother,whousedtoremindherdaughter,myownsister,thattotalkwellandeloquentlywasaverygreatart,butthatanequallygreatonewastoknowtherightmomenttostop. WolfgangAmadeusMozart,TheLettersofMozartandHisFamily

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ACKNOWLEDGMENTS Therearesomanypeopletothankfortheirparticipationinthecreationandcompletionofthisessaythatitishardtoknowwheretobegin.Firstandforemost,Iwould liketothankall thebassoonistswhosogenerouslydonatedtheircadenzas,withoutwhichthisessaywouldnotbepossible. ThankyoutoSteveBraunsteinofthe San Francisco SymphonyOrchestra, Daryl Durran of the Penn State School ofMusic,CharlesKosteroftheUniversityofCalifornia,RiversideDepartmentofMusic,Kim Krutz of theWashburn University Department of Music, Erik Ludwig of thePhoenix Symphony, Miles Maner of the Kansas City Symphony Orchestra, CarolMcNabb of the University of Texas at Brownsville Department of Music, LaurieHatcherMerzoftheSt.CloudStateUniversityDepartmentofMusic,FrankMorelliofthe Juilliard School, Yale School of Music, Manhattan School of Music, and SUNYStony Brook, Rebecca Noreen of the Hartford Symphony Orchestra, EasternConnecticutSymphony,RhodeIslandPhilharmonic,andConnecticutCollege,HarttSchool CommunityDivision, Scott Oakes of theWichita StateUniversity School ofMusic,WillPeeblesoftheWesternCarolinaUniversitySchoolofMusic,JanetE.Polkof the University of New Hampshire Department of Music and the DartmouthCollege Department of Music, Scott Pool of the University of Texas, ArlingtonDepartmentofMusic,PeterSimpsonoftheUniversityofKentuckySchoolofMusic,David Sogg of the Pittsburgh Symphony Orchestra and William Winstead of theCincinnati CollegeConservatory ofMusic and theCincinnati SymphonyOrchestra.Yourcontributionstothefinalpieceofmydoctoraldegreearegreatlyappreciated,andforthatIameternallythankful.

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Throughoutmyeducationalcareer, Ihavehadtheprivilegeandpleasureofso many teachers who have supported and nurtured me into the musician andscholar I am today. I cannot express enough gratitude for the time and effortsinvested by Kimberly Buchar Kelley, William Ludwig, and Benjamin Coelho.Withoutthem,thisessaywouldnotexisttoday. Iwouldalso liketoacknowledgeandgreatly thankmyDefenseCommittee,Dr.WilliamLaRueJones,Dr.ChristineGetz,Dr.AndrewParker,ProfessorBenjaminCoelho,andProfessorNicoleEsposito. Theamountoftimeandeffortyouputintomydefenseandyourcritiques,suggestions,andeditorialcommentshavemadethisessay better than I thought possible. I am appreciative beyondwords for all youhavedonetomakemyworkstandout,andtomakemeabetterscholar. My parents, William and Tina Wildey, I cannot thank enough. Fromencouragingme tostartmusicback in fourthgrade, to theircontinuedsupportasmystudiesandperformanceopportunitiestookmetomoreandmoreplaces,theywerealwaysthereforme.Thankyou. Andtomybetterhalf,JohnWilliamRichmond.Itseemsanythingispossiblewithyoursupportandlove,andyouhavealwaysbeentherethroughthelaughter,tears, and occasional bassoonrelated drama. I am so lucky to have someone asstrongasyouwithwhomtosharemylifeandlove. Lastly,butjustasimportant,toyouthereader.ThankyoufortakingtimetolookatmyfinaleffortasastudentatTheUniversityofIowa.Ihopeyouenjoythelaborofmythreeyears,andyouenjoyitasmuchasIenjoyedwritingit.

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TABLEOFCONTENTSLISTOFTABLES.....ixLISTOFEXAMPLES.......xCHAPTER 1.INTRODUCTION1 1.1.ResearchSourcesandMethodology.3 1.2.Limitations5 2.HISTORICALBACKGROUND..6 2.1.HistoricalTreatises.....62.1.1.JohannJoachimQuantz..7 2.1.2.DanielGottlobTrk...10 2.1.3.CarlPhilippEmanuel.Bach.....12 2.1.4.LeopoldMozart....13 2.1.5.GiambattistaMancini15 2.1.6.JohannAdamHiller...17 2.1.7.JohannFriedrichAgricola..19 2.2.ModernTreatises....21 2.2.1.LeonardG.Ratner......21 2.2.2.DavidLasocki&BettyBangMather22 2.3.Conclusion...26 2.4.TheEingang...27 2.5.CapabilitiesoftheClassicalBassoon......29 2.6.AnalysisofPianoCadenzas17721781..............................34 2.6.1.ConcertoinF,K.24235 2.6.2.ConcertoinBflat,K.238...38 2.6.3.ConcertoinC,K.246.41 2.6.4.ConcertoinEflat,K.271.45 2.6.5.ConcertoinEflat,K.36548 2.6.6.Conclusion...51 3.EXAMINATIONANDANALYSISOFCADENZAS...54 3.1.StevenBraunstein....55 3.1.1.Biography...55 3.1.2.Analysis.......563.2CharlesKoster..62 3.2.1.Biography.62 3.2.2.Analysis...63

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3.3.KimKrutz.663.3.1.Biography...66 3.3.2.Analysis...67 3.4.ErikLudwig69 3.4.1.Biography...69 3.4.2.Analysis...69 3.5.MilesManer72 3.5.1.Biography...72 3.5.2.Analysis...72 3.6.CarolMcNabb74 3.6.1.Biography...74 3.6.2.Analysis...75 3.7.LaurieHatcherMerz.76 3.7.1.Biography...76 3.7.2.Analysis...77 3.8.FrankMorelli.78 3.8.1.Biography...78 3.8.2.Analysis...79 3.9.RebeccaNoreen...833.9.1.Biography..83 3.9.2.Analysis.........84 3.10.ScottOakes..86 3.10.1.Biography86 3.10.2.Analysis....87 3.11.WillPeebles.89 3.11.1.Biography..89 3.11.2.Analysis..90 3.12.JanetPolk..91 3.12.1.Biography91 3.12.2.Analysis....92 3.13.ScottPool..94 3.13.1.Biography94 3.13.2.Analysis.95 3.14.PeterSimpson98 3.14.1.Biography98 3.14.2.Analysis.993.15.WilliamWinstead103 3.15.1.Biography103 3.15.2.Analysis104 3.16.Conclusion...109 4.OTHERCONTRIBUTIONS111 4.1.DarylDurran...111 4.1.1.Biography.111 4.1.2.Analysis.112

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4.2.DavidSogg112 4.2.1.Biography.....112 4.2.2.Analysis..113 4.3.DanielMatsukawa...115 4.3.1.Biography.115 4.3.2.Discussion.115 4.4.ContributionsoftheAuthor..116 5.NEEDFORFURTHERSTUDYANDCONCLUSION..120APPENDIX A.CADENZASANDEINGNGE...123 A.1.StevenBraunstein..123 A.2.CharlesKoster...125 A.3.KimKrutz.127 A.4.ErikLudwig.128 A.5.MilesManer.129 A.6.CarolMcNabb.130 A.7.LaurieHatcherMerz..131 A.8.RebeccaNoreen132 A.9.ScottOakes......133 A.10.WillPeebles..134 A.11.JanetPolk.135 A.12.ScottPool...136 A.13.PeterSimpson.138 B.OTHERCONTRIBUTIONS...........139 B.1.DarylDurran..139B.2.DavidSogg...140B.3.SarahWildey..141C.CONTACTINFORMATIONFORBASSOONISTS.....142 D.PERMISSIONFORMLETTERSSENTTOBASSOONISTS.144BIBLIOGRAPHY..147

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LISTOFTABLESTABLE:2.1.Elementsofcadenzasforpianoconcertosstudied53

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LISTOFEXAMPLESEXAMPLE:2.1.Firstpianosoloinmm.5556ofK.242,secondmovement362.2.Mm.56ofcadenzaforK.242,secondmovement...362.3.EingangforK.242,m.59......372.4.Mm.5660ofK.238,secondmovement.Pervasiveuseoftripletfigure.392.5.Mm.12ofK.238,secondmovementcadenza.Returnoftripletfigure.392.6.Motivicmaterialfromm.50ofsecondmovementandm.6ofcadenza..402.7.Melodyofcadenza,m.1,andmelodyfromm.57432.8.K.271movement1cadenza,m.4462.9.Orchestralreductionofm.14ofintroductionlaterplayedinlefthandof cadenza(Example2.6.8).462.10.Pianosoloatm.75,laterlooselyimitatedandembellishedintheright handofthecadenza(Example2.6.8)............................................................................462.11.M.13ofcadenzaofsecondmovementofK.271..472.12.Mm.4041ofsolopiano.Elementsoftherighthandinm.40appearin therighthandofthecadenza,elementsofthelefthandofm.41appearin thelefthandofthecadenzaaswell..472.13.Mm.35ofcadenza,takinganideafrompreviouspassagesinthework492.14.Mm.5556.Passageusedforimitationinthecadenza..492.15.Mm.18ofthecadenzaforthelastmovementofK.365......502.16.Pianoreductionoforchestralintroduction,showingthesamemelody usedinthecadenza.503.1Mm.67ofthecadenza....563.2.Mm.5052ofbassoonsolo,usedasbasisforcadenzainmm.912.......57

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3.3.M.13ofbassoonsoloandm.7,bothutilizedinthecadenzathrough transposition..593.4.Mainmelodicmaterialinm.7ofbassoonconcertothatCadenza3isbasedon..........613.5.Openingofthecadenza,inspiredbymm.3536ofthebassoonsolo.633.6.Thematicmaterialfrommm.4546thatismodifiedforuseinthecadenza.643.7.Mm.5152ofsolobassoon,usedasmaterialforcadenza643.8.UseofthelowDflat2trillinm.28ofMr.Kostersfirstmovementcadenza.653.9.M.7ofthebassoonsolo,themainbuildingblockforthesecond movementcadenza.663.10.Bassoonsoloinmm.138139thatisrhythmicallyaugmentedincadenzam.5...673.11.Thisrhythmandfigurationinmm.1112ofthecadenzaisarhythmic augmentationofmm.4546ofthebassoonsolo.683.12.TheopeningofMr.Ludwigsfirstmovementcadenza,basedontheopeningmelodyofthebassoonsolo...703.13.M.50ofthebassoonsolo(right)andm.4ofthecadenza(left).Rhythms usedtohomogenizetheuseoffamiliarmotiveswithnewmaterialinthe cadenza..703.14.Mm.6163ofthebassoonsolo.Theinterplayofhighandlowvoicesis emulatedinmm.1215ofMr.Ludwigscadenza.713.15.Mm.138142ofbassoonsolo,directlyquotedintheopeningmeasuresof Mr.Manerscadenza..733.16.Mm.811ofthecadenza,usingmotivespulledfrommm.8081ofthe BassoonConcerto....763.17.Mm.910ofthecadenza,utilizingmaterialinmm.3233ofthe solo...773.18.Mm.Mm.4546andmm.112113ofthebassoonsolo.Thearpeggio motiveistakenandusedintheEinganginm.97...79

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3.19.Mm.152153,pianoreductionoftheorchestralscore.Thesixteenth notearpeggiosareusedformotiviccontentinthecadenza...803.20.M.143ofthebassoonsolo,rightbeforethecadenza.Thissixteenth notepassageisthebasisforrehearsalEofthecadenza.....813.21.Mm.2122ofthethirdmovementbassoonsolo.Motiveforthe beginningofthethirdmovementEingangistakenfromthismelody....823.22.M.141ofbassoonsolo,usedformaterialpresentinmm.912of cadenza...........................843.23.ReworkedendingofMs.Noreensfirstmovementcadenzatoshow propernotationthatwouldcorrectlyreintroducetheorchestra..853.24.Pianoreductionofmm.34oforchestralintroductiontosecond movement.Thisisusedintheopeningofthecadenzawithslight modification873.25.Motivefromm.13ofconcerto,usedforthematicmaterialin cadenza..883.26.MaterialfromthecadenzathatMr.Oakespullsfromthethirtysecond notethemeinm.9ofthebassoonsolo..883.27.Mm.1517occurinmodifiedformwithintheclosingmeasuresof thecadenza..893.28.Thesixteenthnotesinm.3132ofthebassoonsoloareusedasbasis form.68ofthecadenza.913.29.Theturn,acrucialelementinthebodyoftheworkhereatm.10, isutilizedattheendofthecadenza.923.30.Theorchestraltuttileadintothebassooncadenzaprovidesthe openingmaterialinMs.Polkscadenzaforthesecondmovement..933.31.Mm.910ofthecadenza,basedonmm.8081ofthebassoonsolo....953.32.Sixteenthnotepassageinm.82ofsolo,usedformotiveinmm.1314 ofcadenza.953.33.Mm.2022ofthecadenza,avariantofmm.5152ofthebassoon solo...96

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3.34.OpeningmeasuresofMr.Poolssecondmovementcadenza.Thetwo quarternoteswiththegracenoteembellishmentarearhythmic augmentationoftheopeningbassoonsolomelodyforthesecond movement....973.35.M.10ofthebassoonsolo.Thedottedeighthandsixteenth ornamentedbythirtysecondnotegracenotesareusedas amajormotiveinthecadenza.973.36.ThebeginningofMr.Simpsonscadenzaforthefirstmovementistaken fromthemotiveinthebassoonsoloinmm.5154and120122,omitting thetrilledquarternotes..993.37.Mm.8081and8585ofthebassoonsolo.Mr.Simpsontransforms thismotivetocreateareminiscentmelodyinmm.59ofhisfirst movementcadenza.....993.38.Mm.912ofthecadenza.Thisisaplayonthebassoonsolopassage inmm.63631003.39.Mm.130140ofthebassoonsolo.Thestaccatoeighthnotes followedbyaquarternotepassagesaretakenandutilizedinmm.14 15ofthecadenza..1003.40TheopeningofMr.Simpsonssecondmovementcadenzastartswithan exactquotefromtheopeningbassoonsoloinmm.78,leavingout afewnotes,thenmovesontocompletelyoriginalmaterial...1013.41.Mm.910ofthebassoonsolo.Mr.Simpsonutilizesboththethirty secondnotesandtheornamentalthirtysecondnotes,addingsome originallymaterial,tocreatetheendingofhissecondmovement cadenza1023.42.Mm.112113ofthebassoonsolo.Thearpeggiatedsixteenthnotesare usedasthebasisfortheopeningofMr.Winsteadsfirstmovement cadenza1043.43.Mm.120122ofthebassoonsolo,usedasmaterialforalmosta thirdofthefirstmovementcadenza.1053.44.Mm.4849,6263,and8182.Thesethreeseparatemotivesare combinedintoonetocreateanewmelodicideainthesecondhalfof thecadenza...1063.45.Thissixteenthnotepassageinm.86isutilizedinthethirdsystemof thesecondpageofMr.Winsteadsfirstmovementcadenza.106

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3.46.Mm.3132arecombinedwithm.24tobuildanewthematicarea ofthesecondmovementcadenza....1073.47.Thesamerhythmicmotiveasm.38ofthesecondmovementis combinedwithanexactquoteofmm.6263ofthefirstmovement..1084.1.ThelastbeatofMr.SoggsEingang,quotingthepassagefrommm.50 52ofthebassoonsolo,butleavingoutthetrilledquarternotes...1144.2.Theopeningofthefirstmovementcadenza,whichpullsthematic materialfrommm.4550andmm.112118ofthebassoonsolo.1164.3.Thispassageofthebassoonsoloatm.13istransposedandused atthebeginningofMs.Wildeyssecondmovementcadenza1184.4.Mm.3133ofthebassoonsolo.Thispassage,omittingthethirty secondnotes,isthethematicmaterialusedtoendthesecond movementcadenza..118

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CHAPTER1:INTRODUCTION WolfgangAmadeusMozartsConcertoforBassoon,K.191has longbeenanimportant part of the Classical era bassoon repertory.1 Few composers of theClassical periodwrote for the bassoon as a solo instrument, and even fewer stillpaireditwithanorchestralbacking. K.191notonlyisuniquewithinthebassoonrepertory,butalsostandsoutinthecompositionalcareerofMozartasbeinghisfirstcompletedwindconcerto,composedattheageofeighteen. TherehasbeenmuchspeculationasforwhomtheConcertowascomposed;there has been no definitive proof of this, but what we do know is that theautographscorewaslost,andthereisanextantsetofpartsfromaround1790.Thisprint,publishedbyJohannAndrfromthecityofOffenbachwaspartofacollectionbelonging to Thaddus Freiherr von Drnitz, an amateur bassoonist who ownedseventyfourworksbyMozart. The Concerto for Bassoon, K. 191 is the only surviving solo bassoonworkwrittenbyMozart. Therehasbeenspeculationthata totalof fourbassoonworkswere written, with a considerable amount of speculation given to theinstrumentation of cello or bassoon for the Sonata in Bflat, K. 292, but this hasneverbeenproven.Allotherbassoonworks,iftheydidexist,arenowlosttous. AswasthecustomintheBaroqueandClassicalperiod,composersoftendidnot write out cadenzas, allowing the performer to add their own improvisation.Likewise,Mozart did notwrite cadenzas for K. 191, therefore a large part of the1WhiletheKchelnumberforthisconcertihasbeenchangedto186e,itismorecommonlyrecognizedandstillreferredtoasK.191.Forthisreason,K.191willbethestandardizedreferenceforthebassoonconcerti.

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performance itself is untouched by Mozarts hand. Depending on personal (orteacher) preference, the performer may write an original cadenza for theperformance or use an existing cadenza written by a wellknown bassoonist orcomposer.Ineithercase,thecadenzamayberemovedstylisticallyfromMozartandalmostalwaysremovedfromtheClassicalperiod. WhiletherearemanyguidesonhowtowriteacadenzaintheClassicalstyle,therearenonespecifictothebassoonanditscapabilities,strengths,orweaknessesduringthisperiod.AlsolackingisaninformationalresourcethatcritiquescadenzasonhowtheyadheretoorstrayfromClassicalperformancepracticeintermsofkeyareas commonly used or where motivic material was pulled from, and morespecifically to the idiomatic characteristics of thebassoon.An essay that analyzesthe abilities of theClassical era bassoonwouldbe a useful guide in an erawhereaccurate performance practice is increasingly sought after, even expected, in liveperformance. Present research entails translations or explanations of treatises onperformancepractice,orinformationonhowtocomposeaworkoracadenzainastyle that adheres to Classical practice. There are no known resources that caterperformancepracticeoftheClassicaleraspecificallytothebassoon.ThisessaywilltakeexistingcadenzasfortheMozartbassoonconcerto,andexplainindetailwherethecadenzafollowsperformancepractice. Whenitdoesnot,a logicalexplanationorreasonforwhyitdoesnot,suchasmakingconcessions forthe increasedrangeandflexibilityofthemodernbassoon,fortheoreticalpurposessuchastomodulatetoanewkey,etc.,willbegiven.

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It is thegoalof thisessay toaidyoungerbassoonists,eitheradvancedhighschoolorbeginningcollegestudents,witharesourcetocritiquecadenzasusedfortheMozartBassoonConcerto.Sincemanystudentsatthislevelarenotwellversedin historical performance practice, nor what makes a more or less Classicallyauthentic cadenza, this resource can be a helpful guide. While this essay cannotcovereveryextantcadenzaforK.191,itcanserveasaresourcetofurtherevaluateachosencadenzaandallowthestudenttoevaluatehistoricalperformanceaccuracy. This essay is not encouraging students to use only the most historicallyaccuratecadenzaspossible,butrathertobeawareofthecontentandcompositionalstyleofthecadenzatoaidinitsevaluation.Someperformancesituationsmightcallforamorehistoricallyaccuratecadenza,whileothersmayalloworevendesireonein a more modern style. As with most stylistic performance nuances left to theperformer,orinthiscasethestudent,itisimportanttojustifyandbeabletoexplainwhy a decision was made to perform a cadenza in a particular manner. If thestudenthaschosentofollowperformancepracticeortousethemodernabilitiesofthebassoontodictatetheirchoiceofcadenza,thisessaycanhelpastudentjustifytheirdecisions.1.1.ResearchSourcesandMethodology Thisessaywillbedividedintoseveralsections,twoofthelargestcontaininggeneralized information on the performance practice of cadenzas in the Classicalperiod, and another containing select cadenzas fromwellknown bassoonists andevaluatingtheiradherencetostylisticpracticewithinthecapabilitiesoftheClassicalerabassoon.

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In thechaptercontaininggeneralized information,specificsoncompositionandexecutionwillbedrawnfromseveral importantresources,themostcrucialofwhich are historical treatises written during the Classical era. Documents on theClassical era written within the last century that detail information on cadenzacompositionwill alsobe consulted. Thepurposeof the general sectionwill be toexplain common ornamentation within Classical cadenzas, derivation of motivicmaterial,andapproximatelength. AnotherelementscrutinizedinthissectionwillbepianocadenzaswrittenbyMozarthimself,mostlythosefrom17721781toavoidattributingtraitsofhisdevelopedcompositionalstyletohisearlyworks.ThestudyofMozartsearlycadenzawillbeacrucialaidindeterminingstylisticfeaturesofhiscadenzawritingandseeinghowitmightapplytocadenzaswrittenforK.191. The chapter examining bassoon cadenzaswill be organized in alphabeticalorderbythecomposerofeachcadenza.Eachcadenzawillbeexaminedonitsownmerit and an assessmentwill bemade of how it adheres to or strays away fromClassicalperiodpractice,howitrelatestotheabilitiesoftheClassicalerabassoon,and how it might potentially fit into Mozarts compositional style. Cadenzascollectedforresearchpurposesweredoneinasystematicfashiontoavoidanybiasin the collection process. This process involved emailing all bassoonistswho arecurrentlyorinICSOM(InternationalConferenceofSymphonyandOperaMusicians)or ROPA (Regional Orchestra Players Association) orchestras, as well as bassooninstructorsatNASM(NationalAssociationofSchoolsofMusic)accreditedcollegesoruniversitiestorequesttheirparticipationintheessaybysharingtheircadenzas.ThegenericformlettersentcanbeseeninAppendixD.

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Lastly, it is also a goal to obtain information on known commercialrecordingsforasmanycadenzasaspossiblethatareutilizedinthisessay.Itisnotthe aim of this research to critique the individual performances of the givencadenzas,butrathertofindavailablerecordingsthatwillaidindeliveringastylisticinterpretationofK.191byaprofessionalinthebassoonfield.1.2.Limitations It is obviously beyond the scope of this essay to provide analysis of everyknown cadenza written for K.191. The focus will primarily be upon Americanbassoonists,bothperformersandinstructors.Thescopeoftheessaywaslimitedtopersonswithin theUnitedStatesas therewouldbeno languagebarrier to inhibitresponse, and email addresses to contact bassoonists is readily available throughtheInternet.Also,itisimpossibletoknowexactlywhatMozartwouldhavepenned,so it is important to note that while this essay is based on as many historicalresources as possible, it is still speculative in nature in terms of identifying thecharacteristicsofatrulyauthenticcadenza. Alsobeyondthescopeofthisresearchwillbetheexaminationofnationalorregionalstyleandhowitappliestocadenzas.WhiletheremightbedistincttrendsamongtheFrench,German,andAmericanschoolsofplaying(especiallyinregardstothebassoon),thistopicalonecouldbethesourceofanotherdocumentduetoitsbreadth.

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CHAPTER2:HISTORICALBACKGROUND2.1.HistoricalTreatises

Performancepracticeisanissueinanyworkbeingperformedinthepresentday. Phrasing and articulations were quite different from that of the previousBaroqueperiod,andthatofthefollowingRomanticperiod,andtheseareelementsthatgivestheClassicaleraitsuniquesoundandplacewithinmusichistory.Thesenuances of performancepractice are just as crucial in the cadenzas of concerti astheyarewithinthebodyofthework. For the Classical era, many aspects of historical performance practice areindirect and speculative. While we do have period instruments, we do not haverecordingsfromtheperiodavailabletousofhowinstrumentssounded,norhowthemusic was phrased and styled. However, we do have available many extantdocuments that refer to or explain how the music was to be performed andexecuted.Itiswiththesedocumentsthatwecandoourbesttoreconstructwhatwehopeisthemosthistoricallyaccurateperformancepossible. ManyhistoricaltreatiseswerewrittenduringorabouttheClassicalerathatdescribedhowmusicwas tobeexecuted,and thissectionwillexamine those thatare referred to the most in modern research. Each treatise will be examinedindividually to find what the specific author found important to Classicalperformance,andaconclusionattheendofthischapterwillsimplifythethoughtsof severalauthors into themost commonlyagreeduponelementsofperformancepracticethatshouldbeconsideredinplaying,compositing,orcritiquingacadenza.

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2.1.1.JohannJoachimQuantz Johann Joachim Quantz (16971773) began his musical training with hisuncle, JustusQuantz, in1708. He laterbecameacelebrated flutist,composer,andteacherwhowrotemanydocumentsonperformancepracticeduring theClassicalera.On Playing the Flute is a valuable treatise as itwaswritten late in the life ofQuantzandwasadocumentthatdescribedmusicastheBaroqueerawaschangingto theClassicalera. Hiswritingswerean influential sourceonC.P.E.Bach,DanielGottlobTrk,andmanyothercomposersfirmlyentrenchedintheClassicalera. Intheopeningofhistreatise,Quantzwrote,SinceIamendeavoringtotrainaskilledandintelligentmusician,andnotjustamechanicalfluteplayer,Imusttrynotonlytoeducatehislips,tongue,andfingers,butmustalsotrytoformhistaste,andsharpenhisdiscernment.2Quantzwasveryconcernedwithdevelopedahighlyproficientandmusicalmusician,notjustwiththespecificsofplayingthefluteinhistreatise. Theamountofinformationcontainedaboutperformancepracticeisvast,thereby making it an invaluable resource for any musician interested inperformancepractice. Inthebeginningofhissectiononthecadenza,Quantzspecificallystatesthatacadenzaissuitablyplacedonthepenultimatenoteofthebass,orthefifthofthekeyareaofthepiece,andthatitisappropriatefordark,slowmovements,orquickseriousones,not just forhappy, lightmovementsofawork.3 Themaingoal is to2JoachimJohannQuantz,OnPlayingtheFlute,2nded,ed.EdwardR.Reilly[Boston:NortheasternUniversityPress,2001],7.3Ibid,179180.

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surprisethelistenerbyhavingonemoreunexpectedturnofmelodyandeventsattheendofthepiece;however,hewarnsthatiftherearetoomanycadenzasplacedwithinawork(i.e.aftereverysectionofadacapoaria),thelistenerbecomesboredandisnolongersurprisedtohearone,butratherexpectsit.4 Whencomposingacadenza,knowledgeofsomecompositional technique isideal,butthemostimportantelementstounderstandandemulatearetheprincipalsentimentofthetheme,andrepetitionorimitationofwhatQuantzcalls,themostpleasingphraseswithinthework.5Thereismuchwrittenabouttheaffectofmusic,andthisiswhatQuantzmeantwhenhereferredtotheprincipalsentiment.Asad,dark cadenza would be very misplaced within a happy, allegro movement. Themostpleasingphrasesreferstousingmainmelodicideas,oftenfromtheopeningstatementorfromaprimemotiveofalatersectionthatcaneasilyberecalledbythelistener. According toQuantz, the cadenzacontains twoprincipalparts. The first isrepetitionofmaterialfromthebodyofthework,whichshouldbeshortandfresh,giving it an improvised and spontaneous feel.6 The second rule he states is thatcadenzasshouldbeshort,meaning thatnot toomany ideasshouldbe introduced;onlyoneortwoideasdrawnfromtheworkshouldbeutilizedatatime.74Ibid,180181.5Ibid,181182.6Ibid,182.7Ibid,182.

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Quantz had several rules he determined to be important for a tastefulperformance, many of which concerned rhythm and meter. Primarily, theperformershouldnotrepeat thesamerhythmic figure, including transpositionsoffigures toomany times in a row, but rather break them up with other rhythmicfigures to avoidmonotony.8 Similar to this, there should not be a clear sense ofmeteroraregulardivisionofnotes,butratheracontinualsenseofvariationtokeepthemusicfromsoundingcomposed,causingamoreimprovisatorysound.9 In terms of key center and modulations, Quantz emphasized that notesbeginningphrasesshouldnotbeheardtoooftenastheyleaveastrongimpressionontheearofthelistenerandmightdominatetherestofthecadenza.10Eventhoughcadenzas are improvisatory, they must follow rules of good composition andintervals and dissonant leaps leading to amodulationmust be resolved properly.Theyshouldnotwanderintoakeythatistooremotefromtheoriginaltonalcenter,andmusthavearelationshipwiththeprincipalkeyofthepiece.11Alongercadenzawill usually modulate to the subdominant, while the longest ones can go to thesubdominant and the dominant. Minor key modulations should go to the8Ibid,182183.9Ibid,182.10Ibid,183.11Ibid,184.

10

subdominant through the major third, then to the dominant and return to theprincipalkeyarea.Shortcadenzasshouldnotmodulateatall.12 Intermsofaffectandstyle,Quantzdescribesafewwaysinwhichtheaffectcanbereasonablyobserved.Inhappycadenzas,theuseofextendedleapsandbriskphrasesaremixedwith triplesand trills. Sadormelancholy compositions shouldmostlyusesmaller intervals interspersedwithdissonances, takingcarenottomixthesetraitswiththoseofthehappierstylecadenza.13Lastly,Quantzdescribesthatagoodcadenzaisnotcreatedmerelyfromplayingfastorfloridpassages,butratherhowwellittoyswithexpectationandpassions.14 Concerninglength,Quantzwasveryspecificwithexpectationsthatgovernedthecomposition,andthiswashighlydependentuponwhichinstrumentwasplayingthe cadenza. String instruments could make cadenzas as long as they desired,howeverheemphasizedbrevityoverlength.Vocalistsandwindplayersshouldonlyperformonethatcouldbeaccuratelyandbeautifullyexecutedinonebreath.152.1.2.DanielGottlobTrk Daniel Gottlob Trk (17501813) received his firstmusic lessons from hisfather,an instrumentalist in theserviceofCountSchnburg,andafterhismusicalstudies at the Dresden Kreuzschule and the University of Leipzig, became a12Ibid.13Ibid.14Ibid,186.15Ibid,185.

11

renowned theorist and composer. His treatise, School of Clavier Playing, dealsprimarilywith his experience and knowledge of the Classical literature, primarilykeyboard, anddrewmany rules and standardpractices fromcompositionsof thistime.Around1799hebeganworkingonhislasttheoreticalwork,Violinschule,butitwasnevercompletedbeforehisdeath. WhileTrksSchoolofClavierPlaying,liketheQuantz,dealswithaparticularinstrument, ithasmuch informationabouthistoricperformancepractice. A lotoffocus isplaceduponwhatshouldorshouldnotappear inacadenza. Trkarguesthat themost commonproblemwith cadenzawriting is that itdoesnot resemblethepiece inwhich it isbeingperformed; there isnot enough relationwith takingmotives and themes from themain body of thework.16 Instead of being its ownseparateentity, thecadenzashouldreinforce the liveliestandmemorablepartsofthe solo it embellishes,without sounding toodifficult or contrived, clearly linkingbacktothemovementinwhichitisplaced.17Whileitisimportantthatthecadenzasoundslikeapartofthelargerwork,itisalsoequallyimportanttohavevarietytogive it unexpected turns.A cadenza is not an exact repetitionof previouslyheardmusic,butsomethingwitharelatedyetstillidentifiablydifferentsenseofflair. AsTrkeloquentlywrote,Acadenzadoesnothavetobeerudite,butnovelty,wit,an16DanielGottlobTrk,SchoolofClavierPlaying,ed.RaymondH.Haggh(Lincoln:UniversityofNebraskaPress,1982),298.17Ibid,298299.

12

abundance of ideas and the like are so much more its indispensablerequirements.18 Intermsoflengthandtonalcenters,Trkwrotethatthecadenzashouldnotbemadetoolong,especiallyiftheyareofamoresadnature;shortcadenzasshouldnevermodulate,andlongeronesmayonlymodulateonce.Alldissonancesmustbeproperly resolved, and motives should not be repeated in the same key toofrequently.19 Trk does not give specifications on length in terms of number ofbreaths that should be taken, but he does state that the same tempo and metershouldnotbemaintained throughout the cadenza tomake it seem improvisatory.Unlike Quantz, who did not promote prepared cadenzas, Trk did not shy awayfromthem,butsaiditwasimportanttofollowtherulesofmeterandtempotomakethecadenzasoundmorespontaneous.202.1.3.CarlPhilippEmanuelBach CarlPhilippEmanuelBach(17141788)wasoneofthemoreprolificchildrenofJohannSebastianBach.AlongwiththetreatisesbyQuantz,LeopoldMozart,andJ.F.Agricola,C.P.E.BachsEssayon theTrueArtofPlayingKeyboard Instruments isconsideredoneofthemostimportantwritingsontheClassicalera,especiallyashewassodeeplyrootedintheClassicalstyle. C.P.E. Bach does not go into great length about the cadenza, which hedescribes as the elaboration of the fermata in his treatise. He states they do not18Ibid,300.19Ibid.20Ibid,301.

13

warrantmuchdiscussion as they are justprolongedembellishments, andprior tohis mention of the fermata he spends a chapter discussing ornamentation andembellishments. Hisoneprimaryadvice is tostaytruethecomposersexpressiveaim,meaningtobeconsistentwithstyleandaffect.212.1.4.LeopoldMozart Leopold Mozart (17191787), father of Wolfgang Amadeus Mozart, was aprolificcomposerandplayeda largerole inW.A.Mozartsmusical training,whichultimatelyhadagreatinfluenceonhiscompositionalstyle.DuetothelargeimpactLeopoldMozartstutelagehadonhisson,histreatisecannotbeoverlooked. LeopoldMozartsTreatiseontheFundamentalPrinciplesofViolinPlayinghaslessinformationrelevanttotheperformancepracticeofcadenzasthantheprevioustreatises,but it still containsagreatdealof informationwhichcanhelp tobuildacadenzathatishistoricallyaccurate. A large part of constructing a cadenza deals with embellishing previouslyheard melodies. Leopold Mozart goes into great depth on a number of theseembellishments,andoneofthemisquiteimportantinthebodyofhissonsbassoonconcerto, theappoggiatura. It isstatedthattheappoggiatura iswithoutexceptionconnected to themainnote it isornamenting; instring instruments thiswouldbewithin one bow stroke, for wind instruments it would entail the use of a slur

21CarlPhilippEmanuelBach,EssayontheTrueArtofPlayingKeyboardInstruments,ed.WilliamJ.Mitchell[NewYork:W.W.Norton&Company,1949],144.

14

marking.22 There are also very specific ways of playing appoggiaturas, eitherequallyorunequallytothenoteitisornamenting,andthereareguidelinesfortheiruseaswell. If the appoggiatura is placed before a quarter, eighth, or sixteenth note, itshouldbegivenhalfthevalueofthenotetowhichitisattached,whileifitisplacedbeforeadottedrhythmorahalfnotebeginningabarof3/4,2/4,or4/4time,itisheldthelengthoftimeindicatedbythenotatedappoggiaturaitself.23Thelast,andperhapsmostconfusinguseoftheappoggiatura, iswhenit isheldlongerthanthenote itornaments. In6/4and6/8meters,when twonotesof the samepitcharetiedtogetherandareprecededbyanappoggiatura,thefirstnoteoftheslurredpairgives up its value entirely to the appoggiatura.24 There aremany other rules forappoggiaturas that Leopold Mozart outlines, but these do not apply to theappoggiaturasusedinW.A.MozartsBassoonConcerto. LeopoldMozartdevotesanentirechaptertothetrillinhistreatise.Hestatesthatismustonlyconsistofahalfsteporwholestep,nevermoreandisdescribedasalwaysstartingonthenoteabovetheindicatedtrillnote.25Themethodofstartingand ending the trill can be varied. It can be played straight with no additionalornamentation,oritmaystartwithanappoggiaturaorendwithanappoggiaturaas22LeopoldMozat,ATreatiseontheFundamentalPrinciplesofViolinPlaying,tr.EdithaKnocker[London:OxfordUniversityPress,1975],166.23Ibid,167168.24Ibid,168.25Ibid,186.

15

well.26Thisisleftuptotheperformertodoinawaythatistastefulwiththegeneralaffectwithinthemovementtheornamentationiscontained.WhiletrillsarenottobeperformedtooquicklyinordertoavoidwhatLeopoldMozartcallsunintelligibleand bleating, or a socalled Goats trill, they can vary in speed, usually startingslower and increasing in the oscillationbetweennotes as the trill nears its end.27Like the information on the appoggiatura, the section on the trill is quitecomprehensiveandagreatresourcefortrillsthatmightnotbecontainedwithintheconcertounderdiscussion. Tremolos,mordentsandothertypesofornamentationarealsogivenalaterchapterintheMozarttreatise. Of interest isasmallareawithinthediscussionofappoggiaturasthatdealswith theNachschlag (singular), orNachschlgen (plural), an important elementoftheW.A.Mozartbassoonconcerto.Itisdescribedasatypeofpassingappoggiatura,alwaysslurredandshortby itsnature, intendedtoornamentaprinciplenoteandheightenslowerpieces.282.1.5.GiambattistaMancini The idealgoalof instrumentalmusicof theClassicalperiodwastoemulatethe human voice in lyricism and beauty as much as possible, therefore vocaltreatisescannotbeoverlookedduetotheirinfluenceoninstrumentalperformance.One of the most important Classical vocal treatises was written by Giambattista26Ibid.27Ibid,189.28Ibid,185.

16

Mancini(17141800),awellknowncastratoandteacher.Hiswritingswereamorethorough and systematic discussion of those appearing in Opinioni de cantoriantichiemodernibyPierFrancescoTosi(16541732),anotherimportantcastratoandteacher. ThediscussionofcadenzaswithinMancinisPracticalReflectionsonFiguredSingingisquiteshort,encompassingonlyafewpagesofhistreatise,butitisfullofvaluableinformationthatwouldgreatlyaidbothsingersandwindplayers.Mancinidiscusses three concrete rules regarding the composition of cadenzas. Theseincludehowtomakethecadenzabefreeandsecureinmodulation,toknowhowtomeasure and use the breath while playing the cadenza, and how to make thecadenzasoundfreeandoriginal.29Theruleofmodulationsimplymeanstofeelfreeto roam to keys other, but to do so securely within the guidelines of goodcomposition and theory. The measurement and use of the breath is a veryimportant aspect of the cadenza for Mancini, and he gives it a fair amount ofdiscussion.Thisdoesnotmeanthatonlyonebreathcanbeused,butratherthatthebreathmustbetakeninawaythatdoesnotinterruptthemusicalideaortheflowofthecadenza. Manciniconsidersit importantthat ifthecadenzais lengthy,enoughairbetakeninadiscretewaythatthetrillleadingintothefinalnoteisstrongandisnotof,thestateofbeingunabletoperfectthecadenzawithatrill,butalsounabletomakethefinalnoteheard.3029GiambattistaMancini,PracticalReflectionsonFiguredSinging,tr.EdwardForeman[Champaign,Illinois:ProMusicaPress,1967],55.30Ibid.

17

Creativityisequallyimportant,andMancinistronglysupportseducatingthestudent on how tomake their own cadenzas, starting from short, simple ones tomore longandelaborateas theirmusicianshipgrows. Heproposes that amotivefromthemusicbetaken,andthenadaptedtothecadenzasneeds. Hewrites,Hewhoknowsenoughtotakeamotiveorapassagefromthebodyoftheritornelloofanaria,andblend it judiciouslywith therestofhis invention,will reapparticularapplause.312.1.6.JohannAdamHiller Johann Adam Hiller (17281904) was one of the most famous Germancomposersandwritersonmusic.Being so firmlyentrenched in theLeipzigmusicsceneforthemajorityofhislife,Hillercameintocontactwithmanystylesofmusicandwasveryvocalaboutwhatheheard.Hiswideexperiencewithmusicledhimtohis write his treatise, Vocal Performance and Ornamentation, generalizing histhoughtsontheClassicalstyle. Inthethirdsectionofhisdiscussionofcadenzasinhistreatise,HillerquotesTosionhowdestructiveapoorlyconceivedcadenzacanbe:Thecontemporarysingerisinclinedtomakefireworksofimprovisedpassages at the end of the first part [of a da capo aria] and theorchestrahas towait. At theendof thesecondpart,hedoubles theload inhis throatcausingtheorchestra tobecomebored. Whenthehalf finally comes at the third cadence, the whole mine of divisionsloadedwithsomucheffortisblownup,andtheorchestrafeelsreadytocurseoutofimpatience.3231Ibid.32JohannAdamHiller,TratiseonVocalPerformanceandOrnamentation,tr.SuzanneJ.Beicken[Cambridge:CambridgeUniversityPress,2001],122.

18

This said he goes on to outline four rules that should be followed. First,cadenzas should not be too frequent, they should not be too long, they shouldappearasonlythelengthofthebreath,andtheyshouldenterontheI64chordwhilethebassisonthefifthofthekey.33 Secondly,thecontentmustbebaseduponthepervadingcharacterandchiefaffectoftheariaatalltimesandshouldnotintroducematerialtooremoteorunrelatedtothebodyofthework.Thirdly,theplayershouldintroduceasmuchunexpectedmaterialaspossible,butitmustalsohavesomeclearconnectionandnotbeonawhim.34Lastly,identicalfiguresshouldnotberepeatedtoo often, but triads and scales are good building blocks in a cadenza if properlyinterspersedwithothermaterial.35 Hiller also gives a few suggestions onwhat to avoid. Cadenzas shouldnotalwaysbefastwithflourishesofnotes;sustainednotesaddbeautyandfastsectionsmightnotbeappropriategiventhestyleandaffectofthemovement.36 Strangeorremoteintervalscanaddanelementofsurprise,buttheyshouldmakesensewithinthe key center or modulation, as they will otherwise cause more havoc thangood.37 Lastly, large leaps (those encompassing an octave or more) can be33Ibid,123124.34Ibid,123.35Ibid,123124.36Ibid,124.37Ibid,127128.

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appropriate,dependingontheaffectofthemovement,butonlyifplacedwithinthemiddleofthecadenzawherethereistypicallythemostunrestandmodulation.382.1.7.JohannFriedrichAgricola J.F. Agricola (17201774) was a renowned musicographer, composer,organist, singingmaster, andconductor. Hewasa studentofQuantz, andalsoanacquaintanceofC.P.E.Bach.HiswritingsontheClassicalstyleareinvaluableashetakes theopinionsof his teacher and friend,Quantz, and combines themwithhisknowledgeofvocaltechniqueandstyle. Agricolastreatise,IntroductiontotheArtofSinging,isuniqueinthatittakesthealreadyestablishedworkofTosiandaddshisowncommentarytoexpanduponit.Inthetreatise,itisstatedthatcadenzasareonlyappropriateonthefinalcadenceofagivenmovement;theremightbemanycadencesorcauseforpauseinmusic,butthelastistheonlytobeembellished.39 Agricolaalsostatedthatthesingershouldnottakerefugeinyouroverlyextendeddivisions,orinotherwords,thecadenzashouldnotbetoolengthy.40 In terms of harmonic motion, the trill ending the cadenza should not beplacedfromaboveonthethirdnoteabovethefinal,sincethetrillsresolutionwillremainunresolvedduetothebassmotion.Rather,thetrillmustbepreparedfromthesixthabovethebasssothatthefifthtowhichitresolvestocanalreadybeheard38Ibid,128.39JohannFriedrichAgricola,IntroductiontotheArtofSinging,tr.JulianneC.Baird[GreatBritain:CambridgeUniversityPress,1995],205.40Ibid,206.

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in the bass and create a sense of finality.41 Agricola also argues that the trill isessential to end the cadenza. If it is left out, the listener is not prepared for theending, therefore resulting in an abrupt and somehow unsatisfying ending thatsoundsliketheclosetoanyothersectionofthepiece.42Thefinalityofthetrillmustalsonot be interruptedby apoorlyplaced appoggiatura. Rather, it needs to leadinto the final note, which also happens to be the note on which the bass enters,heavilyimplantingthefeeloffinality.43Ornamentationleadingtothefinalcadenceisappropriate, ifdone lightly, so itavoidswhatwascalled garglingorbecomingobnoxious to the listener whose expectations were thwarted with too heavy ashowofvirtuosity.44 Agricola,statingthatthelackofacadenzaisfarbetterthanapoorlyexecutedone,corroboratestheabovestatementsofTosiinregardstowhatconstitutesagoodor poor cadenza.45 Agricola then adds a few rules of his own to what Tosi hasestablished; these are: the cadenza should not be too great in length, itmust berelated to themainaffectof thepiece, that similar figures shouldnotbe repeatednortransposedtoooften,rhythmnotbetoostrict,andnottostraytoofarfromthehomekey.Hethengoesontopointoutthatlivelycadenzasshouldhavelargeleaps,41Ibid,207.42Ibid,208.43Ibid,209.44Ibid.45Ibid,210.

21

trills, and triplet runs, while sad compositions should bemore slow and slurred,mixingsomedissonantintervals.Alltypesshouldhavesomeunexpectedelementsto make them more beautiful, and all should only be done in one breath if notaccompaniedbyanothervoiceorinstrument.462.2.ModernTreatises While treatises written in the Classical era by prominent musicians andcomposersareinvaluabletoaresearchofthistype,thosewrittenafterthefacthavejustasmuchinformationtodivulge.MuchresearchhasbeendoneontheClassicalstyle through the examination of periodworks, some focusing specifically on onecomposer,whileothersgointogreatdepthabouttheClassicaleraasawhole. Forthis reason, treatises that generalize the compositional style of many Classicalcomposerswillbeexaminedtoseehowtheymightaidindiscoveringanauthenticstyleofcadenzacomposition.2.2.1.LeonardG.Ratner Leonard Ratner (19162012) is a wellknown American musicologist andcomposerwhofocusedonClassicalandRomanticmusicinhisstudies.Inhisbookon Classical music, Ratner quotes August Kollmann on many elements that havebeendeemedassynonymouswiththeClassicalcadenza. Hestatesthatthesetupandexecutionisverystandard. Themaincompositionalcomponentistheleadingchord on the fifth of the final bass note that is suspended by a fourth and sixthbefore the fifthand third,and thenapause introducedovera suspension, leadingintothebodyofthecadenza.Thesignaltoinstructtheorchestratoreenterandto46Ibid,211.

22

signify the end of the cadenza is a trill leading to the final chord, causing a greatsenseofsatisfactiontothelistener.47Healsostatesthatwhilecadenzasinallthreemovementsofaconcertomightbeappropriatetheybecomeboringandsometimesdisgusting if they are too similarwithin a singlework; themoreoften cadenzastheyareused,themoreoftenitisnecessarytocreatenewmaterial.48 Ratner goes on to describe a very consistent harmonic plan,whichMozartusedinhisextantcadenzas.Theyarefirmlyanchoredonthedominantchord,bothbegin and end the cadenza, thereby aiding in the clear sense of a start and finishpoint.Agreatdealofthecadentialmaterialthatisinsertedbetweenthesedominantchordsfeaturesstepwisebassmotion,thusallowingacleartonalpathtobeheardbythelistener.49 Thecadenzashouldonlybeusedondominantchordsinwhichtheharmonycanhelpsetupadramaticreturntothetonic.Theuseoffamiliarmaterialfromthebodyoftheworkandkeepingconsistentwiththestyleofmusicwillhelpleaduptothisdramaticreturn.502.2.2.DavidLasocki&BettyBangMather DavidLasockiwrotehisdoctoraldissertation in1978andwasaided inhisworkbyBettyBangMather, ProfessorEmerita of Flute at theUniversity of Iowa.47LeonardG.Ratner,ClassicMusic:Expression,Form,andStyle[NewYork:SchirmerBooks,1980],305.48Ibid.49Ibid,306.50Ibid,307.

23

Focusing onmany treatises of the Classical era, both authors put a great deal ofwork into discerning how to create a stylistically accurate cadenza forwoodwindconcerti. Their generalized information on this stylistic period is an invaluablesourceforcombiningseveralwellknowntreatisesintoonedocument. WhileTheClassicalWoodwindCadenza:AWorkbookwas intended tobeanaidinwritinganoriginalcadenza,itcontainsagreatdealofinformationthatcanbeused to critique available cadenzas for the Mozart Bassoon Concerto. The bookopenswithaquotefromQuantzontheexpectationsofagoodcadenza:The object of the cadenza is simply to surprise the listenerunexpectedlyoncemoreattheendofthepiece,andtoleavebehindaspecial impression inhisheart [Cadenzas] greatest beauty lies inthat,assomethingunexpected, theyshouldastonishthe listener inafreshandstrikingmannerand,atthesametime,impeltothehighestpitch the agitation of the passions [emotional tones] that is soughtafter.Youmustnotbelieve,however,thatitispossibletoaccomplishthissimplywithamultitudeofquickpassages. Thepassionscanbeexcitedmuchmore effectivelywith a few simple intervals, skillfullymingledwithdissonances,thanwithahostofmotleyfigures.51 Mostly, the cadenzawas intended to showoff a performers inventiveness,expressiveness, sense of style, and sometimes when it was appropriate (andconsidered far behind the other values listed previously), to show off range andabilitytoplaylargeintervals,aswellasfastpassagework. Ofthemostimportantaspects,fiveelementswereconsideredtobethemostcrucial,allofwhichconcernedthestartandtheendofthecadenza. Thefirstrule51DavidLasockiandBettyBangMather,TheClassicalWoodwindCadenza:AWorkbook[NewYork:McGinnis&Marx,1978],15.

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stated is it must start over the orchestras sixfour chord, and the soloist mustchooseanoteofthetonictriadtoplay.52Thefourotherrulesareinregardtotheprocess of ending a cadenza. The easiestway to end is by trilling on the secondscaledegreeofthekeyovertheimplieddominantseventh,andtrillingtothesecondscaledegreebywayofthethirdscaledegree.Thefinaltrillshouldendwithatwonote close into the first scale degree, those two notes being the note below theprincipalnoteof the trill (the first scaledegree)and theprincipalnoteof the trill(thesecondscaledegree)thisismorecommonlyreferredtoasaNachschlag.53 Lasocki and Mather give some specifics for the melodic figurations of thecadenzas aswell. Sections should imitate thebodyof thework, but these shouldhavesomevariationanddonothavetobecompleteideas;infact,mostcadenzasdonothavephrasesbutrathersectionsduetotheirincompletenature.54Therhythmicmaterialmaybemadeupinfiguresoftwotoeighteighthnotesinlengthandappearin either separate instances, repetition, or a sequenceofmelodicpatterns. Thesepatternscanoccuroverseveralbeats,andscalechordandsequentialpatternsoftenmove from one register to another.55 However, it is advised to not repeat anymaterialtoofrequently,evenintransposition,toavoidboringtheearofthelistener.52Ibid,16.53Ibid.54Ibid,23.55Ibid.

25

ThereshouldbenoclearmeterortempoascadenzasaremeanttobefancifulandarhythmicincontrasttotheprecisephrasingofClassicalmeterandstyle.Whilethe feel shouldnotbe structured, themost commonwayof structuring the chordprogressionswasfromtheI64totheV7totheIchord.Otherchordsthatcouldaddinterest include chords built on the seventh scale degree and substituted for thedominant, and subdominant, supertonic, and submediant. Occasionally used aresecondary dominants and secondary leading tones, while mediant and parallelmajor orminor tonic chords are infrequently used. Of themost commonly usedsubstitutechords,theraisedfourthscaledegreeandtheloweredseventhtoimplythesecondarydominantwerefoundthroughoutcadenzascomposedintheClassicalera.56 The character should intensify the passion of the piece, building upon theemotionthecomposerhassetupthroughoutthework.Quickmovementstypicallycontainedleaps,triplets,andtrillswhileslowmovementcadenzascontainedslowerharmonicmotion,moredissonances,andsmallerintervals.57Theselastruleswerenot intended to be followed exactly, but rather allowed for some exceptions.Cadenzas could exhibit tendencies of another type or mood of cadenza (fastmovementcadenzascouldhaveslow, lyricsections,andslowmovementcadenzascouldexhibitfastermotivesandrhythms),buttheseshouldonlybevisitedbriefly. Lastly, the length of a cadenza should only encompass a fewbreaths. Theterm breath should be considered a relative term here as some composers and56Ibid,28.57Ibid,39.

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musicians only considered a breath one that was easily seen or heard; a quickbreathworkedinseamlesslydidnotcountasatruebreathinthemusic.58Bassoon,oboe,andclarinetcadenzascanbe longerthanflutecadenzasduetotheabilityofthebreathcontrolontheinstrument.592.3.Conclusion The abovementioned treatises reveal a standard set of expectations forcadenzas of the Classical era. The first, andmost important, is that the cadenzashould be started on the dominant chord, and then proceed onward. Theappropriateaffectandstylerelatedtothebodyof theworkshouldbeadheredto,andwhile there should be somemotives and phrases from thework, unexpectedturnsaddaheightenedlevelofsophistication.Theseunexpectedturnsmust,atallcosts, be resolvedproperly, andmustnever lead too far from thehomekey area,especiallyifthecadenzaisshort. Cadenzasarenotpurelyaboutvirtuosicdisplay;they should not have excessive repetition of motives, rhythms, or themes, andshouldbemoreimprovisedinstyle,lackingaclearsenseofmeter.Manyagreethatfor wind concerti, the cadenza should be the length of one breath, but the termbreathisrelativelynebulousamongstthesourcesquoted;itcanliterallybeonlyonebreathof air leading to thenecessary final cadential trill, or it canmeanonlyonelargebreath,withothershort,unnoticedcatchbreathsleadingtothecadentialtrill.

58Ibid,40.59Forexamplesofcadenzasexhibitingthesetendencies,seetheBettyBangMatherandDavidLasockibook,FreeOrnamentationinWoodwindMusic17001755.

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Whiletherearemanyotheraspectsofthecadenzathathavebeendiscussed,theaforementionedare themostcommonlyagreeduponandwillbe thebasisofcritiqueinthelaterpartofthisessay.Regardlessofthenuancesofperformanceorinterpretationby the individualperformer, theprinciplespresentedherecanhelpnarrow down the parameters in finding historical accuracies or inaccuracies inmoderncomposedcadenzasforMozartsBassoonConcerto.2.4.TheEingang60 There aremany instances in a concerto inwhich the orchestra comes to ahalt over a fermata chord, allowing the soloist a small amount of freedom toimprovise a short melodic phrase, the Eingang. The Eingang should bedifferentiatedfromthecadenzaasitissetupindifferentwaysandaretobetreateddifferently. Quantzdescribes theEingang as thehalf cadenceand itusually appears atthemiddleor theendof typically slowerworks. Hedescribes these flourishesasbeingbuiltuponasuspensionof theseventhagainst thebass,and theyshouldbequitebriefandnotbeconfusedwithacadenza.61TheEingangmustonlyconsistofprincipal notes foundwithin the bass chord upon which it hovers, and it cannotmodulatetootherkeys.6260ThetermEinganghashadmanyothernamesthroughoutmusichistory,butasthisisthepreferredtermusedinBrenreiterUrtexteditions,thiswillbethedesignationforthisornamentationthroughoutthedocument.EingngeispluralwhileEingangissingular.61Quantz,193.62Ibid,194.

28

Hiller describes theEingang as a fermata over a caesura, and according tohim it can occur above harmonic and dissonant notes, and should be a small,improvisedornament,orattheveryleastasmalltrillwithoutaNachschlag.63TheEingangshouldnotbearbitraryornamentation,butitshouldalsotransitiontothenext,newsectionthatintroducesanewmelody.64Hillergoesontostatethattheyareveryoftenusedintransitionsinrondomovements.65 AccordingtoTosiandAgricola,fermataswereappropriateplacesforminorornamentationiftheyfollowedafewspecificguidelines.Thebassshouldbeonthefifthofthekeyarea inasixfourpositionandleadtoarootpositionchord.66 Theornamentshouldcoincidewith themainaffectof thework,but it isnotboundbystrictrhythmortempo.ThekeyareaoftheEingangmustbebasedontheharmonyofthechordoverwhichithoversandnotmovetootherkeyareas.67 Trk also had a few words to say on the Eingang, which he termed theembellished fermata. Hesaid itshouldbekept in thesamestyleandaffectas thepiece inwhichit isperformed,anditshouldbebasedontheprescribedharmony.The sixfour chordwith a fermata is the basis for ornamentation, andno intervalshouldbeincludedintheembellishmentthatdoesnotbelongtotheharmony,with63Hiller,129.64Ibid,130.65Ibid,131.66Agricola,212213.67Ibid,213.

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the exception of passing tones;moreover it must completely avoidmodulation.68Trk describes this type of ornaments as short, and its purpose is to be animprovisedtransitiontoanewsectionofmusicthatwouldsoundabruptorharshwithout a slightmusical interjection. Themainpurpose is tohelpbringback thehomekeyareaandprincipalsubject.69 AnareaTrkdescribedasoneofthemorepopulartoreceiveanEingangiswithinthebodyofarondomovement. Based on sources from historical treatises, we can make a few rules anddistinctions between the cadenza and the Eingang. The cadenza was typicallyplacedattheendofamovementwhereitincorporatedoldandnewmaterialinanimprovised style, and was free to modulate and explore new tonalities. TheEingang,ontheotherhand,wasashortimprovisatorystatementusedtolinkanewsectionofmusicbacktothehomekeyareaandmainidea,usuallybythemeansofimprovisedornamentationlimitedtothekeyareaofthesixfourchordoverwhichitwasplaced,andwastypicallyseenwithinrondomovements.ThiswillbeacriticaldistinctiontomakewhenlookingatthemovementsoftheMozartbassoonconcerto,especiallythefinalrondomovement.

2.5.CapabilitiesoftheClassicalBassoon WhenconsideringthehistoricalcapabilitiesoftheClassicalerabassoon,itisimportant to realize thatagreatdealofwhatwoulddeterminesoundqualityandpitch is purely speculative. Very few bassoons of the period survived intact, andwhile the bodymight remain in good condition, the bocal and reed are certainly68Trk,290291.69Ibid,294.

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lacking. Aswithmoderninstruments,thebocalandreedcanmakeagreatdealofdifference to theoverall soundproduction, quality, andpitch, so all statementsofauthentic soundandpitchmust be takenwith a grainof salt;without a completeworking system from the Classical era,we are left to our best conjectures. EvenwhenamorecompleteClassicalbassoonappearstobeintact(includingabocalandwhat appears to be a reed thatwould have functioned), bassoonswere often putthrough modifications during their lifetime to update them to new standards ofplaying. Eventoday it isnotrare tohaveextrakeysorrollersaddedtomakethebassooneasierforperformance. The reedof theClassical erawas scraped in adifferentmanner fromwhatbassoonistsnowplayon,anditwasalsosignificantlylarger,attimesmoreequalinsize to the modern day contrabassoon reed. As with any modern bassoon, theworkmanshipofthereedgreatlyaltershowthebassoonfacilitatesnotesandwhatleaps,intervals,orslursaremoreeasilyfacilitated.Withoutsuchanintegralpartoftheinstrument,itmustbenotedthatmanystatementsonfeasibilityofperformancearespeculative.However,withtheaidofotherhistoricalsources,wecandeterminethelikelihoodoffacilityforcertainpassagesofmusic. Inhisarticle,EarlyBassoonFingeringCharts,Paul J.Whitecompilesknownfingering charts for the bassoon up through the romantic era, as well as knowninformation on dulcian fingerings. While this does not allow us to completelyascertainwhatleaps,intervals,orslurswouldbeeasyorproblematic,itdoesgiveusanideaofwhattypeofrangewouldhavebeenpossible.Anotherimportantelementthat is distinguishable from extant fingering charts is the facility that might be

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expectedbetweencertainnotes. Onearlybassoons, itwasoftennecessary tousetheembouchuretobendthenotetothecorrectpitch,andsomefingeringswouldbesocomplexthatfacilitymightnotbeachievable. It istheseelementsofrangeandfacilitythatwillbeexaminedtoshowthecapabilityof theClassicalbassoonwhilecomparingittomoderncadenzas. AsWhitedescribes inhis article,we are lucky enough tonot just have thewrittendocumentationofbassoon fingeringcharts,butalsoanaccompaniment tothe fingeringcharts todescribehowtoreadthechart;somefingeringchartsevencontainedspecificnotesonhowtheembouchurecouldenhancetheaccuracyofthenote.70Whitegivesacollationofseveralfingeringchartstoshowthemostcommonnotes in the range of the bassoon, which extends from Bflat1 to D5 (and in oneinstance,afingeringchartthatgoesuptoF5,animpressivenotetomostbassoonistsontheirmoderninstrument!).71 Ofthemostcommonlyproblematicnotes,thelowBnatural1isperhapsthemostdifficult.Therewasnotoneholeorkeyforthispitch,andmostchartsrequireabassoonisttoplayasharpBflat1oraflatCnatural2;thereisnostandardfingeringforthisnoteasitwaslargelydependantuponthebassoonandthecapabilitiesofthebassoonist toeitherbringthepitchupordownthroughembouchure.72 However,70PaulJ.White,EarlyBassoonFingeringChart,TheGalpinSocietyJournal43[March1990]:69.71AlloctavedesignationsaregivenbytheAmericanScientificPitchNotation(SPN)system.Inthisdesignationsystem,middleC=C4.72White,77.

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duetothispitchbending,itisreasonabletoarguethatsuddenchangesbetweenaC2andBnatural1wouldbeverydifficulttofluentlyexecute,especiallyifslurred. Csharp/Dflat2isalsoquiteparticular.ThisrequiredeitherahalfholeoftheC2tonehole(somethingquitedifficultasitrequiredspecificplacementoverthelowD2 key as well as getting the exact right amount of the C tone hole covered), apinchedC2 using a great deal of embouchure, or a very slackedD2 to achieve therequiredpitch.73 LikeBnatural1,theCsharp/Dflat2wouldbedifficulttoperformquickly,especiallywhenslurred. DuringtheClassicalera,theEflat2keywasfairlystandard,buttheFsharp2keywasnot.ThemostcommonwayofplayingFsharp2wastoplayaG2butaddtheE2thumbhole.74Fsharp2wasweakandoftencouldnotbepushedtohighdynamicswithoutthepitchloosingstability. Bflat2posed its owndifficulties, as therewasno standardizedkey for thispitchatthispointintheClassicalera.Aforkedfingeringwasmostcommonlyused,requiringthepointerandringfingerofthelefthandtocovertoneholesandusinganyvarietyofthumbandpinkykeystohelpstabilizethepitch.75 Another problematic note that didnot have a standardized key, but ratherdifficultfingerings,wasCsharp3.Thisnotewasplayedwiththepointerandmiddlefingersofthelefthandcoveringthetoneholes,aswellasthepointerfingerofthe73Ibid,78.74Ibid.75Ibid,79.

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righthand.ThenanynumbersofkeysinacombinationoftheAflat2,F2,orE2keysortoneholeswerecovered. LikeBflat2,Eflat3wasanotethatrequiredaforkedfingering(asitstilldoestoday) and a combination of other fingers, utilizing any of the following: rightpointer finger, right ring finger, andoccasionally rightmiddle fingeror theAflat2key.76 While flick or vent keys77 were beginning to be introduced during theClassical era, theevolutionof thebassoonwasgradual andnot all bassoonswereequippedwiththese.Someoftheupperoctavesnotes(i.e.Bflat3andCsharp4)hadthesamedifficultyofforkedfingerings,butnowatightenedembouchuretoproducethe higher octavewas needed. On bassoonswithout flick keys, fast octave leapswouldhavebeenmoredifficultduetoembouchurechangestheleapsnecessitated.OctaveleapsbecameparticularlydifficultonE4,Eflat4,andF4. FromE4 throughthetopof therangeof theClassicalbassoon, therearenostandardized fingerings. Each chart in Whites article cites different fingerings,therefore notes above E4 will have to be examined on a casebycase situationduringthediscussionofeachcadenzatoseeifthefingeringswouldbepossible.76Ibid.77FlickorventkeysareaseriesofkeyscontrolledbythelefthandthumbthatfacilitatethenotesA4throughC5(sometimesD5).Thesekeyswereinitiallyusedtoexecutednotesintheupperregisterofthebassoon,butnowtheyareusedtohelptoavoidabreakinthesoundofthenote,orwhatiscommonlyreferredtoasacrack.

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2.6.AnalysisofPianoCadenzas17721781 Writtenin1774whenhewasjusteighteen,MozartsBassoonConcertofallswithinthetransitionalperiodofhisearlytomidlifeworksthatwereinfluencedbythe Italian style78. Keeping in mind Mozarts age when he wrote his bassoonconcerto,cadenzasfrompianoconcertiwrittenduring17721781willbeexamined.Mozarts compositional style changed as he aged, and by examining all cadenzasfromhis lifemanyattributesofhis latercompositionalyearsmaybemixedinandleadtoacloudedvisionofhisearlystyle. TheassertionthatMozartonlywrotecadenzasforhisstudentsincapableofimprovising their own is statement that cannot be verified. There is evidencesupportingthatMozartonlywrotethemforhimself;hekeptscorecopieswiththecadenzaswritten into them tohimself, and carried around cadenzas forhispianoworksseparatefromtherestofthemusic.79TheonlycadenzathatcanbeproventobewrittenforastudentisK.246,seta,inwhichthewrittenoutpartwasusedforteachingpurposesduringhistravelsof17771778;eventhecadenzashewroteforhissisterNannerlwerecadenzashewouldhaveusedhimselfinperformance.80Itissafe to speculate that Mozart wrote cadenzas in a style that did not take78OxfordMusicOnline,s.v.(JohannChrysostom)WolfgangAmadeusMozart,http://www.oxfordmusiconline.com.proxy.lib.uiowa.edu/subscriber/article/grove/music/40258pg3?q=Wolfgang+Amadeus+Mozart+&search=quick&pos=1&_start=1#S40258.3.8[accessedFebruary26,2012].79ChristophWolff,CadenzasandStylesofImprovisationinMozartsPianoConcertis,inPerspectivesonMozartPerformance,ed.R.LarryToddandPeterWilliams[Cambridge:CambridgeUniversityPress,1991],230.80Ibid,231.

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performance difficulties into account for a specific performer, butwere rather anexactvisionofhowhewantedhiscadenzastosoundandhowtheywouldrelatetothebodyoftheworktheyornamented.2.6.1.ConcertoinF,K.24281 Termed one of the Salzburg Concerti, K. 242 was written for CountessLodron,asisterofArchbishopColloredo,andhertwodaughters,LouiseandJosepha(bothofwhomwerepossiblepupilsofMozart)inFebruaryof1776forthemotheranddaughter trio toplay together.82 The simplicityof oneof theparts (thatwaslaterremovedbecauseitwasseenasnonessential)ledscholarstoassumethatoneof the pianists was not very advanced in their skill.83 Mozart himself laterrearranged thisconcerto to includeonly twopianopartsduringhisearlyyears inVienna,whereheplayed itwithhispupil JosephavonAuernhammer.84 Thepiecechangedvery littlewhen itwasmodified for the twopianoversion, showingonlyminorchangesintransitionalsections.85 The cadenzaof the secondmovement is short, and it leaves room for littlemodulation.Asstatedbytreatises,itisbegunonadominantchordinrootposition.81WolfgangAmadeusMozart,ConcertiinFmajorforthreeortwoPianosand

Orchestra,PianoreductionbyDouglasWoodfullHarris[Kassel:Brenreiter,1991].82C.M.Girdlestone,MozartsPianoConcertis[London:Cassell&CompanyLimited,1978],88.83ArthurHutchings,ACompaniontoMozartsPianoConcertis[Oxford:OxfordUniversityPress,1989],54.84MariusFlothuis,MozartsPianoConcertis[Amsterdam:Rodopi,1994];14.85Ibid.

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The cadenza appears to begin in Fmajor, thenmodulates to Bflatmajor. Usingunexpectedchromaticpassingtones(mm.45ofthecadenza),Mozartheightenstheintensityofthecadenza.Thisleadstoashortrecapitulationonbeatthreeofm.5ofthecadenza,whichrecallsapartialstatementofthemelodyintheorchestraatm.11,andthefirstpianoinm.55,

Example2.1.Firstpianosoloinmm.5556ofK.242,secondmovement.

Example2.2.Mm.56ofcadenzaforK.242,secondmovement.

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Aftertherecapitulationinm.5ofthecadenza,themusicleadstoatrillhighlightingthesecondscaledegree(theCnaturalintherighthandofbothsolopianists)withaNachschlagtothetonicchordinm.63. ThethirdmovementofK.242includestwoshortinstancesofEingnge.Thismovementismarkedasarondo,atypeofmovementintheClassicalerathatisoftenaugmentedusingEingang.ThefirstinstanceofEingngeoccursatm.59,andisonlyassigned to the firstpiano. TheEingang isbegunon the fifthof thechord, and isatypicalduetotheamountofaccidentalsusedinit.Whilethisisanaberrationfromthetonalschemeadvocatedbytheauthorsofthepreviouslydiscussedtreatises,theEingangdoes leadback to the tonicchordand to themelody that first introducedthemovementinm.1.

Example2.3.EingangforK.242,m.59. ThesecondpianoEinganginm.104isslightlylongerthantheprevious,butit still follows the rules of the period. Begun on a dominant chord, it has a high

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degree of chromatic passing tones, but leads solidly to the tonic chord and thereturnofthemelodyfromm.1ofthemovement. Although taking some liberties in K. 424,Mozart stayed fairly close to theprescribed usage of Eingnge and structure of cadenzas found in Classical eratreatises.HisEingngetendtohavemorenonchordnotesthanwhatthetreatisesrecommend,buttheyallenteronadominantchordandresolvetoatonicchordthatreintroduces amain theme ormelody that has ended a secondary theme section.The cadenza, while short, does bring back the home key of the piece aftermodulating to material previously seen in the movement, and a cadential trillornamentedbyafinalNachschlagtoheraldthereturnoftheorchestraandtheendofthemovement.2.6.2.ConcertoinBflat,K.23886 Written in January of 1776, K. 238 is another one of Mozarts SalzburgConcerti,andwasonethatheplayedhimselfinMunich,Augsburg,andMannheim.87ThisconcertostandsoutnotonlyforbeingtermedthemostdifficultofhisSalzburgConcerti,butalsobecauseasitwaswrittenforMozarthimself,notforabenefactor,student,orfriend.88Weareluckytostillhaveacopyofhiscadenzaforthisconcerto

86WolfgangAmadeusMozart,ConcertiinBflatmajor,PianoreductionbyDouglasWoodfullHarris[Kassel:Brenreiter,1991].87Girdlestone,88.88Hutchings,54.

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today that was preserved by his father, Leopold Mozart, but unfortunately noEingngeform.99and168inthethirdmovement.89 In the secondmovement,Andante un poco adagio, the use of the triplet ispervasive throughout the cadenza, as it is in the body of the movement. Thecadenzabeginsonthefifthofthehomekey(Bflat),andslowlytransitionsbacktothehomekeyofEflatthroughashortelevenmeasurecadenza.

Example 2.4. Mm. 5660 of K. 238, second movement. Pervasive use of tripletfigure.

Example2.5.Mm.12ofK.238,secondmovementcadenza.Returnoftripletfigure.89Flothuis,13.

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Thiscadenzauniquelystayssolidly inBflatthroughmostof its length,reallyonlyrecallingthehomekeyofEflatonthecadentialtrillontheFthatendsthecadenza.Themotivicmaterialinm.6ofthecadenzaistakenlooselyfromm.50ofthebodyof thework,whichuses thesamerhythmsandornamentations,onlychangingthepitchesofthelefthandtodifferentiateit.

Example2.6.Motivicmaterialfromm.50ofsecondmovementandm.6ofcadenza The final movement of the concerto, Rondeau, also contains a cadenzacomposedbyMozart. Like thesecondmovement, thecadenzamakesgreatuseofthepervasivetripletfigure,aswellasthelongtrillinmm.58ofthecadenzathatisseeninthebodyoftheworkinmm.4752,andmm.200204.However,itdoesnotdirectlyrecallanymotivesfromthework. The final movement cadenza stays in F major for a shorter time than thecadenzaofthesecondmovement,andbeginstomodulatebacktoBflatmajorinm.

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10.ThiscadenzaisatypicalinthatitdoesnotuseacadentialtrillonCtoreturnittoBflatmajorandthereentranceoftheorchestra,butratheraseriesoftrillednotes,beginning with C and moving upward to Enatural before using the traditionalNachschlagandreturningtothemainthemeofthemovement. Thecadenzaspresentedinthisparticularconcertovaryfromthediscussionof the information contained in the aforementioned treatises. The reliance onmotivic material from the body of the work is quite minimal. While the secondmovement cadenza resolves in the prescribed way, the third movement is anaberrationasithasaseriesoftrillsthatmovesawayfromtheexpectedCcadentialtrill, thento theNachschag. While theendingof thiscadenza isnotcompletely inaccordance with what is described in treatises, both cadenzas do enter on theproperdominantchordandmodulatebacktothehomekey.

2.6.3.ConcertoinC,K.24690 The final of the socalled SalzburgConcerti,K. 246,waswritten inApril of1776 for either the Countess Ltzow91 or for Therese Pierron who played theconcerto inMannheim. It has been said that the concertowaswritten in amoresimplistic style for someonewho did not have the inventivenessMozart requiredwithhisperformances.92ThisconcertostandsoutintheSalzburgperiodforhaving90WolfgangAmadeusMozart,ConcertiinCMajor,PianoreductionbyMichaelTpel[Kassel:Brenreiter,1991].91Girdlestone,91.92Flothuis,15.

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no fewer than three cadenzas, written by Mozart, for both the first and secondmovementthattheperformercanchoose. ThecadenzaAof the firstmovement isunique in that itdoesnotstray farawayfromtheCmajortonality.Thelefthandisnotutilizedwhatsoever,makingthestatementofanintentionallysimplisticcadenzawritingstylebelievable.Whilethestyleisimitativeofthebodyofthework,callinguponthedominantrhythmofthesixteenth note runs, it does not in fact quote any distinct motive but soundsreminiscent of the piece. The cadenza starts on a dominant chord and istraditionallyendedbythecadentialtrillontheDwithaNachschlag leadingtothetonickey. CadenzaB isquitesimilar toAas it isprimarilymadeupof sixteenthnoteruns,andwhilethelefthandisutilized,itplaysmostlysinglenotesorchords.LikecadenzaA, CadenzaB does not quote a specific area of the body of thework butsounds like an extension of it, and ends with a cadential trill ornamented by aNachschlagandreturningtothehomekey. CadenzaCisfardifferentfromtheprevioustwointermsofscope,utilizationof both hands, and content. At thirtytwomeasures in length, this cadenza is farlongerthantheprecedingones,aswellasmorecomplicated. Themainmelodyatm.1of the cadenza canbe seenas an elaboratedversionof themainmelody thepianointroducesinm.57.

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Example2.7.Melodyofcadenza,m.1,andmelodyfromm.57.Themelodyofthesecondsectionofthecadenza,markedAllegroatm.23,isrelatedtothethemeatm.81,buttransposed. While cadenza C begins and ends in a traditional manner, it is also quiteunique. Mozart wrote a very measured cadenza with bar lines to give morestructure than he did in cadenzas A and B. He even goes so far as to put in thetempoguidelinesofAdagioinm.21andAllegroinm.23.Thestructurednatureofthe cadenza gives more credibility to the claim that it was for a performer whoneededmoreinstructionorstruggledwithinventiveness. It isuniqueinitslengthasitisbyfarthelongestcadenzaoftheSalzburgConcerti. ThecadenzasforthesecondmovementofK.246,Andante,followsasimilarpattern to those for the first movement, containing three different cadenzas ofvaryingdifficultyandcontent.LikeCadenzaAinthefirstmovement,CadenzaAofthesecondmovementstaysmostlyinFmajor,thekeyareaofthemovement,withonlyafewchromaticpassingtones.Thelefthandisonlycalleduponminimallyinthis cadenza, linking it in style to its partner in the firstmovement. The cadenzapullslooselyfromthematicmateriallocatedwithinthebodyofthemovement;thethirtysecondnotesarereminiscentofthethirtysecondnotepassagesinmm.4950

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andagaininmm.120121inthebodyofthework.ItendstraditionallywithatrillonG,leadingtoanimpliedNachschlagandanFmajorchord. TheBCadenzaofthesecondmovementisunmeasuredandappearslikeanextensionofnewmaterialtothebodyoftheworkratherthanrepeatingideasandbuildingupon them. Theuseof the sixteenthand thirtysecondnotemotives callupon ideasalreadyrepresentedearlier in themovement,but itdoesnotquoteanearlierpassageintheconcerto. Bothhandsaremuchmoreequal intheiruse,buttherighthand isprimarily thevoice leadingmodulationsasalmostallaccidentalsarenotatedinthishand. CadenzaBendstraditionallywithatrillonG,animpliedNachschlag,andafirmreentryintoFmajor. The final cadenza of this movement, is similar to its partner in the firstmovementas it is themostactive,mostequalbetweenbothhands,andrelies themost heavily uponmaterials from the body of thework. The thirtysecond notepatterns that open the cadenza are elaborations of a similarmotive occurring inmm.116119. LikeCadenzaB, thismodulation is ledprimarilyby therighthand,which is also the most active, leading from C major back to F major through acadentialtrillwithaNachschlag,backtoarootpositionFmajorchord. The third and finalmovement,Rondeau, contains anEingang composedbyMozart. It starts on thedominant chord, entering into a series of sixteenthnotesthatarenotparticularlylinkedtothebodyoftheworkotherthaninstyle.Afteraseriesof trillsand turns,another trillonG leadsback into themainmotiveof themovement, acting in the traditional way of a catapult from the B section of amovementbackintotheAmovement.

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2.6.4.ConcertoinEflat,K.27193 K.271issaidtobetheconcertothatfreedMozartfromhismoretraditionalbonds that he felt when composing his earlier piano concerto for CountessLondron.94 In January of 1777, a talented French pianist, MademoiselleJeunehomme, passed through Salzburg and Mozart was requested to write aconcertoforher.Nowhavingavirtuosicpianisttowritefor,Mozarttookonanewstyletoshowoffthecomplexityandidiomaticpossibilitiesofthepiano;itwasbyfarthemost difficult piece of his career to this date and even surpassedmost of thedemandshiscontemporarieswroteforthepiano.95 In termsof scope,both themovementand its cadenzaaremuchgreater inlengththanthepreviouslydiscussedconcertiandtheircadenzas.ThebeginningofthecadenzastartsinBflatmajor,introducesanewideanotheardwithinthebodyofthework,thenmovestoasectioninm.4wherebothhandsarerecallingseparateideaspreviouslypresented.Therighthandrecallsandslightlyaltersthemelodyinmm. 7581 of the concerto while the left hand is repeating the orchestralintroductionthatspansfrommm.821.93WolfgangAmadeusMozart,ConcertoinEflatmajor,PianoreductionbyMARuthardt[NewYorkCity:InternationalMusicCompany,1943].94Girdlestone,94.95Flothius,17.

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Example2.8.K.271movement1cadenza,m.4.

Example2.9.Orchestralreductionofm.14ofintroductionlaterplayedinlefthandofthecadenza(Example2.6.8).

Example2.10.Pianosoloatm.75,laterlooselyimitatedandembellishedintherighthandofthecadenza(Example2.6.8).

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The tranquillo section, m. 17 of the cadenza, also recalls elements of themovement. The piano fills the role of both piano and orchestra with a slightlyaltered melody that had previously occurred at mm. 9699 before ending thecadenzawithacadentialtrillonanF,leadingtoarootpositionEflatmajorchord. Thecadenzaofthesecondmovementismuchmorefreethanthatofthefirst,andrelieslessheavilyuponmaterialsfrompreexistingmotivesandmaterials.Thebeginningisverychromatic, leadingtoasenseofunstabletonality. Yetthekeyisclearlyestablishedinm.13ofthecadenzawhenafamiliarthemeenters;therighthandplaysamelodyreminiscenttooneplayed inm.40,andthe lefthandplaysasimilarpatterntothebasslineinm.41.

Example2.11.M.13ofcadenzaofsecondmovementofK.271.

Example2.12.Mm.4041ofsolopiano.Elementsoftherighthandinm.40appearintherighthandofthecadenza,elementsofthelefthandofm.41appearinthelefthandofthecadenzaaswell.

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Themelodystartingonthelastbeatofm.14ofthecadenzaisanembellishedandslightlyalteredversionofmaterial fromm.49of thepianopart. It leads toaseriesof trills that concludeswitha cadential trillonD, followedbyaNachschlagintoaCminorrootchord. ThelastmovementofK.271willnotbediscussed,asitisfardifferentfromthat of the previous concerto, and is seemingly unrelated in style to the BassoonConcerto.Thismovementfeaturesseveraldisparatesections,theRondo,Menuetto,andPresto, and itsdiscussionwillnotaddany insight into the typeofEingang orcadenzastylethisdocumentisinvestigating.2.6.5.ConcertoinEflat,K.36596 K.365wascomposedeitherJanuary15thor16thof1779whenMozartwasatSalzburg,orNovember4thor5thof1780,whenheleftforMunich.Itisnotclearforwhom itwaswritten,butmanyscholars tend tobelieve itwas intended tobe forhimselfandhissisterNannerl.97 The cadenza for the first movement of K. 365 is unique from the otherspreviouslydiscussedas it encompassesagreatdealmoremodulation thanbefore(see chart at endof section). FromEflat, itmodulates to fivedifferentkeyareasbeforemakingitswaybacktoEflatmajoragaintoendthecadenza. The motivic material is derived directly from the body of the work. Theopening of the cadenza (mm. 23) which is utilized frequently throughout,, is96WolfgangAmadeusMozart,ConcertiinEflatMajor,PianoreductionbyMichaelTpel[Kassel:Brenreiter,1991].97Girdlestone,97.

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derivedfromareassuchasmm.5556andotherinstanceswherethetwopianosareplayingrunningsixteenthnotestogether.

Example 2.13. Mm. 35 of cadenza, taking an idea from previous passages in thework.

Example2.14.Mm.5556.Passageusedforimitationinthecadenza. Mm.1213of the cadenzaare transposedversionsofmaterial frommm.163164withanaddedelaborationthrownin(mm.1416ofthecadenza)precedingarepeatofmaterialinmm.1724whichmirrorsthatpreviouslyheardinmm.175182.

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ThecadenzasprovidedforthethirdmovementareuniqueforMozartashenormally did not include a cadenza within a Rondeau movement, but rather anEingang, occasionally more. In this case, the cadenza opens with the highlyrecognizablemain theme that the orchestra introduceswithin the first bar of themovement.

Example2.15.Mm.18ofthecadenzaforthelastmovementofK.365.

Example2.16.Pianoreductionoforchestralintroduction,showingthesamemelodyusedinthecadenza.

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This first theme,withsomealterationsofpitch, then transitions intom.14whereyetanothermelodyfromthemainbodyofthework,mm.207234isoverlaidontopof themaintheme. Themainthemecontinues, in fragmentedform,untilathemefromadifferentsectionisintroduced.Therighthandinthefirstpianopartandbothhandsof thesecondpianoinm.22 linktomm.285297of theconcerto.Thisthemeofswitchingbetweentwohandsorvoicescontinuesinthecadenza,withsome slight alterations, untilm. 39where both pianos are interplayingwith longsweptpassagesofnotes. This leads toanewsection (but slightly resembling thesixteenthnoteunisonsectioninthefirstmovement),followedbythecadentialtrillwithaNachschlagtoreturntothehomekeyofEflat.2.6.6.Conclusion IntheyearssurroundingthecompositionofMozartsbassoonconcerto,wecan see stylistic trends occurringwithin his piano concerti. These include sparseuse of modulations, with those used staying within a predictable, relatedframework. Earlier on in his Salzburg years, Mozarts cadenzas were relativelyshortandthengrewtobequitelengthy,themostnotablebeingK.365,whichhadacadenzaof46measuresinlength.Thecadenzasalmostalwaysendwithacadentialtrillontheseconddegreeof thescale,markedbyaNachschlag to lead intoarootposition chord in the home key. The cadenzas almost always derived motivicmaterial (in varying amounts) from the movement in which they wereencompassed, either as literal quotes or as paraphrases, augmentations, ordiminutions.

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As Mozarts style grew and developed, he tended to use fewer writtenEingngeinhismusic,butusuallytwocadenzas.K.246iscertainlyuniquewiththenumber of cadenzas, which were written for varying degrees of proficiency onpiano, and K. 242 only contains one composed by Mozart himself, but theseaberrationsaside,twocadenzasperconcertoseemstobehisstandardatthistime. Whilenotalways true inMozartspianoworksdiscussed, cadenzas in finalrondo movements of concerti during Mozarts life was not common, as stated inmanyhistorictreatises.WhilethemajorityofbassoonistsdonottraditionallyuseacadenzainthethirdmovementoftheBassoonConcerto,itisnotcompletelyoutsidethepracticegivenwhat is foundinMozartspianoconcertiduringthistime,but itshouldbenotedthattheirusewasnotcommonorexpected. For quick ease of reference, the following table contains themost basic ofcompositionalinformationcommontothefiveMozartpianoconcertidiscussed:

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Table2.1.Elementsofcadenzasforpianoconcertistudied.Concerto Movement KeyArea Length Motivic

DerivationCadentialTrillwithNachschlagK.242 II.Adagio FBflat 8measures Yes YesK.238 II.Andante BflatEflat 11measures Yes YesK.238 III.Rondeau FBflat 11measures No NoK.246 I.Allegro(a) C 4measures Yes YesK.246 I.Allegro(b) CGC Unmeasured Yes YesK.246 I.AllegroI GC 32measures Yes YesK.246 II.Andante(a) F 4measures Yes YesK.246 II.Andante(b) CBflatF Unmeasured Yes YesK.246 II.AndanteI CF 21measures Yes YesK.271 I.Allegro BflatBflatminorEflat 32 Yes YesK.271 II.Andantino CmajorCminor 26 Yes YesK.365 I.Allegro EflatCflatBflatDminorCminorEflat

26 Yes Yes

K.365 III.Rondeau EflatAflatEflat 46 Yes YesK.365 III.Rondeau* EflatAflatEflat 45 Yes Yes* This cadenza is from an earlier version and is included in the appendix of theUrtextedition.

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CHAPTER3:EXAMINATIONANDANALYSISOFCADENZAS Forthisstudy,fifteenbassoonistswhoareeithermembersofROPAorICSOMorchestras or professors of bassoon at NASM accredited schools submitted theiroriginalcadenzastobeexaminedforadherencetoClassicalstyle,feasibilityontheClassical era bassoon, and compositional traits of Mozarts style from his pianocadenzas in the years surrounding his Bassoon Concerto98. The cadenzaswill bestudied individually to more easily make reference to a particular bassoonistscomposition,andareasofadherenceordistancefromClassicalstylewillbenoted.Novaluejudgmentwillbemadeontheindividualcadenza,aspersonalpreferenceishighlyarbitraryandnoteasilyquantifiable. While this study is intended to show Classical practice in the cadenzasprovided,itisimportanttonotethatnotallthebassoonistsconscientiouslywroteina way to strictly adhere to performance practice, nor to the capabilities of theClassical era bassoon. Instead, they chose to write something that wouldstylisticallyfitintotheMozartBassoonConcerto,butmightnotfitintothecriteriaofClassicalperformancepractice.Thesebassoonistswantedtoputtheirownuniqueimprint onto a very standard piecewhile utilizing the capabilities of themodernbassoon,allthewhilestillrecallingelementsofthemovementinwhichthecadenzawas placed. It is important to know that because of this, the cadenzas will notperfectlyadheretoClassicalperformancepractice. Brief biographical information on each of the bassoonistswill be providedbefore the analysis of the cadenza, as well as known available recordings of the98Allbassoonistsweresentagenericemail,whichmaybeviewedinAppendixD.

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bassooniststudiedplayingtheMozartBassoonConcertowiththeirversionsofthecadenza.InformationonhowtocontactthebassoonistsindividuallyforpermissiontousecadenzasorforinformationonhowtoobtainrecordingswillbeincludedinAppendixC. When referring to the original manuscript, all references are to the solobassoon part, unless otherwise noted. To see the entire cadenza, please refer toAppendixA. 3.1.StevenBraunstein

3.1.1.Biography StevenBraunstein,anativeofNewYorkCity,beganplayingbassoon in theeighth grade and contrabassoon in his first year of college. His bassoon teachershave includedBillDouglas,ArthurWeisberg,EliasCarmen,andWilliamPolisi. Hehas studied contrabassoonwithBurtDial andPaulCamerata, and reedswithLouSkinner. He holds degrees from the California Institute of the Arts and the StateUniversity of New York at Stony Brook. His performing career includes playingcontrabassoon for the Toronto Symphony, theOrquestra Communitat Valenciano,andtheSanFranciscoSymphony,hiscurrentposition.Asasoloist,Mr.Braunsteinhas premiered Michael Tilson Thomas Urban Legend for contrabassoon andorchestra,apiececomposedforhim. Hisperformingcareeralsoincludesmultiplesummerfestivalengagements,coachingattheAppleHillCenterforChamberMusicandperformingatAspen,SunValleyMusicFestival,ColoradoMusicFestival,andfortensummersattheGrandTetonsMusicFestival.

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3.1.2.Analysis Mr.BraunsteinbeginshiscadenzaforthefirstmovementofK.191withthesamemelodicmaterialthebassoonintroducesinthefirsttwomeasuresofitssolo,mm.3536.99Fromthereheshiftstoaseriesofeighthnotes,leadingtoafermataonalowBflat1(mm.67).Hethenleadsintoarunningseriesofsixteenthnotesthatisbasedonorchestralopening,withsomeembellishments.,asseeninexample3.1 Example3.1.Mm.67ofthecadenza. Inthetreatisesdiscussed,repetitionmorethantwiceisconsideredinslightexcess,sotheseriesoffourslurredgroupingsofsixteenthnotesinmm.67ofthecadenzamaybeseenasbreakinghistoricalpratice.However,Mr.Braunsteinusesthisasaseemlesswayofmovinguptotheupperregisterofthebassooninawayutilizedinthesolo,ratherthanintroducingasudden,largeleapthatmightseemoutofcontext. Thelastbeatofm.9throughtheendof12ofthecadenzamaybeseenasarepetitionandalterationofmotivesused in twoareasof theconcerto,mm.5054andmm.119124.99WolfgangAmadeusMozart,ConcertoinBflatmajorforBassoonandOrchestra,PianoreductionbyMartinSchelhaas,CadenzasandEingngebyJaneGower[Kassel:Brenreiter,2003].

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Example3.2.Mm.5052ofbassoonsolo,usedasbasisforcadenzainmm.912. This, like the previously discussed section, can be seen as breaking fromperiod practice in the number of repetitions, but it does follow the precedent ofquoting important motivic material from the body of the work. Mr. BraunsteinagainusesthisrepetitionofmelodicmaterialtomovestepwiseupwardtotheG4inm. 13 of the cadenza, rather than introducing a leap that would sounduncharacteristicoftheconcerto. Thecadenzaendswithatrillonthesecondscaledegreeofthekey,leadingtoaNachschlag andendingonBflat3 to introduce the returnof theorchestra, all ofwhich is historically accurate and supported by the cadenzas of Mozarts pianoworks. Muchofthematerialuponwhichthecadenzaisbasedisfromthebodyofthe work, and Mozart added new material in his cadenzas, as seen in the pianoworks studied. This takes Mr. Braunsteins cadenza a bit further away from acomposition that could have been from Mozarts hand, but does adhere to whattreatisesadvocatebyusingmaterialfromthebodyofthework. One aspect that does not adhere to performance practice is the lack ofmodulationwithinthecadenza.Mosttreatisesadvocatemovingtodifferent,closely

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related tonalities, especially in longer cadenzas. This cadenza could be seen ashaving moderate length; therefore, the lack of modulation is not historicallyaccurate.Thataside,thecadenzaslackofmodulationisnotproblematic;stayinginBflatallowsthecadenzatosoundlikeanaturalpartofthemovement. Many treatises described woodwind cadenzas being one breath in length,and it has been shown how this is an ambiguous statement at best. Given theindividual performance capabilities of the bassoonist and how easily they canfacilitateunheardorunnoticedbreaths,thiscouldeasilybedoneinMr.Braunsteinscadenza,especiallywiththefermatainm.5lendingitselftoaverynaturalbreath. RegardingtheperformancepossibilitiesonthebassoonofMozartstime,Mr.Braunsteins cadenza falls within a very acceptable range that most, if not all,instrumentsoftheperiodcouldfacilitate.Thetrillsareanareaofuncertaintyastheinstrumentand the fingeringneeded to facilitate the transitionbetweennotesaresignificant factors. Depending on the instrument and maker trills could havevarying levelsofdifficulty,but thereareno fingeringcharts thatoffer insight intowhether or not certain trills had unique fingerings (much like on modern daybassoon) or whether they were easy or impossible. TheWhite article discussedpreviouslymakesitappearthetrillsarepossible,butindividualcomplicationscouldoccur. Mr. Braunstein has written three cadenzas for the secondmovement, andeach shall be discussed separately. The first of the second movement cadenzasutilizes twomain elements of the bassoon solo, themelody inm. 13 (used at the

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beginningofthecadenza)andthemelodyinm.7(usedafterthefirstfermata),bothintransposition.Example3.3.M.13ofbassoonsoloandm.7,bothutilized in thecadenzathroughtransposition. Thiscadenzabrieflyflirtswiththegminortonality,asevidencedbytheuseof Fsharp4 after the fermata on theBflat2, a commonmodulation to the relativeminor. Theuseof chromaticism isnot something thatwas seen inMozarts styleduring the time the Bassoon Concerto was written, and other than instances ofpassingtonesitisnotstylisticallyinlinewithClassicalpractice.Thepurposeofthischromaticismwas not to staywithin specific stylistic guidelines, but to provide ahalfstepmotionpassingtonesforasmoothtransitionbacktothemiddleregister,asoppo