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Cadenzas
Product Details
Description
In a conversation with the violinist Peter Herresthal, we touched on the “invitation” in the score of Ligeti’s Violin concerto to provide a cadenza for the work. Peter suggested that I answer this invitation and I was happy to accept. I followed all the composer’s directions exactly: the cadenza may use material from all five movements, and should be of “hectic” character throughout. I also aimed to write a cadenza of which the closing orchestral coda would be an inevitable result. (Thomas Adès)
The cadenza can also be composed by the soloist and can last up to 1-2 minutes. It should be hectic throughout (continuation of the appassionata agitato molto), but can incorporate melodic material ad lib. from all five movements. Towards the end, the tempo should be prestissimo with alternating arco and left hand pizz. in mad virtuosity. The cadenza has no real end and is suddenly interrupted by the orchestra at R (as agreed between soloist and conductor). This interruption occurs suddenly "as if unprepared". The soloist should at this point be playing in high positions (on the top string) at maximum velocity. The solo violin abruptly falls silent on the entry of the high woodblock. György Ligeti
More Information
Peter Herresthal, violin · Conductor: Andrew Manze · NRK Kringkastingsorkestret (Norwegian Radio Orchestra)
Peter Herresthal, violin · Conductor: Andrew Manze · NRK Kringkastingsorkestret (Norwegian Radio Orchestra)
Peter Herresthal, violin · Conductor: Andrew Manze · NRK Kringkastingsorkestret (Norwegian Radio Orchestra)
Technical Details
More from this series
Improvised and also composed solo cadenzas, normally occurring 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 then begins a protracting interpolation in free style, 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.
