Cadenza Vol. 3

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.
Instrumentation : piano