cadenza

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cadenza

a virtuoso solo passage occurring near the end of a piece of music, formerly improvised by the soloist but now usually specially composed
References in periodicals archive ?
After a short cadenza, a final batuque takes us to an exciting and satisfying ending.
Question: And you have written your own cadenza for it, even though Mendelssohn strove mightily to keep you from doing just that.
The C Major Concerto No 21 shows Mozart at his most ambitious and creative, but it is still essentially a classical-era composition, and Armstrong's cadenzas in the opening of the first and third movements upset the delicate structure - we were hearing variations on themes before the theme was really established.
There were some brilliant moments of orchestral control, such as an almost imperceptibly soft return at the conclusion of one of the concerto cadenzas.
The first big explosion in the opening Allegro requires on-target brass work and the Hamburg was more than up to the task, launching McDuffie into the killer cadenza.
According to the notes, Tan prepared his cadenzas `from Mozart's own cadential material'; in fact he plays Mozart's own cadenzas three out of four times.
Other perceptive points include the association of the harpsichord cadenza of the fifth concerto with the extraordinary violin cadenzas of Vivaldi's 'Grosso mogul' concerto RV 208 (which Bach himself arranged for organ), an observation that makes Bach's cadenza seem far less outrageous and overblown.
She brings an unforced natural spontaneity - especially in the cadenzas - to the ubiquitous The Lark Ascending (despite a clumsy edit ninety seconds from the start), and displays a tremendous tonal range in the Concerto for Violin and String Orchestra, from the spiky clod-hopping dance rhythms of the outer movements to the central Adagio's lyrical nostalgia.
The featured artists were William Purvis, Laurel Ohlson, and Genghis Barbie, with sessions on Wagner tuba (Laurel and John Gattis), natural horn (Elizabeth Martignetti), alphorn (Ann), improvising cadenzas (Leslie Hart), pedagogy (panel moderated by Andrew Copper), and horn choir (Danielle Kuhlmann).
Turk's rules for cadenzas are an excellent and very useful formulation.
A sequence of cadenzas - one of which was accompanied by timpani - enabled the soloist to display his tone and expressive power.
Perhaps the most striking novelty from Bartok Records is the set of cadenzas for Wolfgang Amadeus Mozart's Concerto for Two Pianos, K.