Part of a piece of music devoted to showing off the virtuosity of a solo instrument. Most often cadenzas occur at the end of a concerto movement and reflect the musical material that has come before. Cadenzas can be written out by the composer or improvised by the performer.
The passage of improvisatory display for the soloist, especially in a concerto. It typically interrupts the tonic cadence before the coda or final orchestral ritornello in a concerto movement. Cadenzas were at first improvised by the soloist, as was the case when Mozart played his own piano concertos. Beethoven, for example, wrote down cadenzas to some of his concertos, and these are always used (ex. Beethoven: Fourth Piano Concerto). Later composers--Schumann, in his Piano Concerto; Mendelssohn, in his Violin Concerto, etc.--incorporated the cadenzas into the fabric of the piece. A few modern virtuosi are good enough at improvisation to fashion cadenzas on the spot, but this is quite rare today: cadenzas are virtually always pre-rehearsed.
(cah-DEN-zah) A musical flourish often extemporized by the performer, which occurs when an aria or section of an aria seems to be coming to a close (coming to a cadence.) Also heard in solo instrumental works. Until the time of Verdi, cadenzas were almost always improvised by the performer and were seldom written out by the composer.
A virtuosic musical passage most commonly played or sung by a soloist at the end of a solo concerto movement or aria. Traditionally these were improvised by the performer as a means of displaying their talent and proficiency with their instrument or voice, whilst enhancing the musical depth of the piece.
literally, cadence; in common usage, however, the term means an improvised or written-out solo passage, usually highly ornamental. Almost always occurs during an interrupted cadence; that is, on the second or third chord prior to a cadence.
In a concerto, a brilliant, unaccompanied solo section, once improvised by the player, now more often already composed. It enlarges on the themes set forth in the work and exhibits the player's technique.
kah- dehn-zah] (Italian) "cadence." A virtuoso passage usually found near the end of a concerto movement or vocal aria . Cadenzas are often based on the themes of the piece in which they appear and are improvisatory in style. In the Classical and Romantic periods performers were expected to improvise or provide their own cadenzas, although Mozart began the practice of providing written cadenzas for some of his piano concertos.
(cah-DENT-sah) A musical flourish, frequently made up on the spot by the performer, which occurs when an aria or a section of an aria seems to be coming to its close (its cadence spot); until the time of Verdi, cadenzas were expected to be improvised by the performer and were seldom notated precisely by the composer. The long passage between soprano and flute in the mad scene of LUCIA DI LAMMERMOOR is an improvised double cadenza for those performers.
A cadenza is often now taken to mean a portion of a concerto in which the orchestra stops playing, leaving the soloist to play alone in free time (without a strict, regular pulse) and can be written or improvised, depending on what the composer specifies. This normally occurs near the end of the first movement, though it can be at any point in a concerto; an example is Tchaikovsky's First Piano Concerto, where in the first five minutes a cadenza is used. It usually is the most elaborate part that the solo instrument plays during the whole piece.