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Cadenza indication from Beethoven's Concerto in C minor: fermata over rest indicates beginning, fermata over shake indicates close.^[1]  Play (help·info)

Cadenza indication from the first movement of Mozart's Piano Concert in B♭ major, K. 595.^[2]  Play (help·info) The IFailed to parse (Missing texvc executable; please see math/README to configure.): {}^6_4 -V-I progression at the cadenza is typical of the Classical concerto.^[2]

In music, a cadenza (from Italian: cadenza, meaning cadence) is, generically, an improvised or written-out ornamental passage played or sung by a soloist or soloists, usually in a "free" rhythmic style, and often allowing for virtuosic display. Indicated by a fermata in all parts if improvised, a cadenza is usually over a final or next-to-last note in a piece or important cadence and the accompaniment rests or sustains a note or chord.^[2] Thus it is often before a final coda or ritornello.^[2]

In concerti[link]

The term cadenza often refers to 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. The cadenza is usually the most elaborate and virtuosic part that the solo instrument plays during the whole piece. At the end of the cadenza, the orchestra re-enters, and generally finishes off the movement on their own, or, less often, with the solo instrument.

As a vocal flourish[link]

The cadenza was originally, and remains, a vocal flourish improvised by a performer to elaborate a cadence in an aria. It was later used in instrumental music, and soon became a standard part of the concerto. Originally, it was improvised in this context as well, but during the 19th century, composers began to write cadenzas out in full. Third parties also wrote cadenzas for works in which it was intended by the composer to be improvised, so the soloist could have a well formed solo that they could practice in advance. Some of these have become so widely played and sung that they are effectively part of the standard repertoire, as is the case with Joseph Joachim's cadenza for Johannes Brahms' Violin Concerto, Beethoven's set of cadenzas for Mozart's Piano Concerto no. 20, and Estelle Liebling's edition of cadenzas for operas such as Donizetti's's La fille du Régiment and Lucia di Lammermoor.

Nowadays, very few performers improvise their cadenzas, and very few composers have written concertos or vocal pieces within the last hundred years that include the possibility of an improvised cadenza.^{[citation needed]}

In jazz[link]

Perhaps the most notable deviations from this tendency towards written (or absent) cadenzas are to be found in jazz, most often at the end of a ballad, though cadenzas in this genre are usually brief. Saxophonist John Coltrane, however, usually improvised an extended cadenza when performing "I Want To Talk About You", in which he showcased his predilections for scalar improvisation and multiphonics. The recorded examples of "I Want To Talk About You" (Live at Birdland and Afro-Blue Impressions) are approximately 8 minutes in length, with Coltrane's unaccompanied cadenza taking up approximately 3 minutes. More sardonically, Jazz critic Martin Williams once described Coltrane's improvisations on "Africa/Brass" as "essentially extended cadenzas to pieces that never get played."^[3] Equally noteworthy is saxophonist Sonny Rollins' shorter improvised cadenza at the close of "Three Little Words" (Sonny Rollins on Impulse!).

Cadenzas are also found in instrumental solos with piano or other accompaniment, where they are placed near the beginning or near the end or sometimes in both places (e.g. "The Maid of the Mist," cornet solo by Herbert L. Clarke, or a more modern example: the end of "Think of Me", where Christine Daaé sings a short but involved cadenza, in Andrew Lloyd Webber's The Phantom of the Opera).

Notable examples of cadenzas[link]

• Concertos are not the only pieces that feature cadenzas; Scena di Canta Gitano, the fourth movement of Nikolai Rimsky-Korsakov's Capriccio Espagnol, contains cadenzas for horns and trumpets, violin, flute, clarinet, and harp in its beginning section.^{[citation needed]}
• The end of the first movement of Bach's fifth Brandenburg Concerto features a harpsichord solo.^{[citation needed]}
• The coloratura arias of Bel Canto composers Gaetano Donizetti, Vincenzo Bellini, and Giacchino Rossini.^{[citation needed]}
• The first movement of Grieg's Piano Concerto in A minor has a long and impassioned cadenza which ends with the orchestra and piano playing together in a dramatic and rousing finale.^{[citation needed]}
• Mozart wrote a cadenza into the third and final movement of his Piano Sonata in B-flat major, K. 333, which was an unusual (but not unique) choice at that time because the movement is otherwise in Sonata-Rondo form.^{[citation needed]}
• Beethoven's "Emperor" Concerto contains a notated cadenza.^[1] It begins with a cadenza that is partly accompanied by the orchestra. Later in the first movement, the composer specifies that the soloist should play the music that is written out in the score, and not add a cadenza on one's own.
• Beethoven famously included a cadenza-like solo for oboe in the recapitulation section of the first movement of his Symphony No. 5.^{[citation needed]}
• Rachmaninoff's Piano Concerto No. 3, in which the first movement features a long and incredibly difficult toccata-like cadenza with an alternative or ossia cadenza written in a heavier chordal style.^{[citation needed]}
• Fritz Kreisler's cadenzas for the first and third movements of Beethoven's Violin Concerto.^{[citation needed]}
• Carl Baermann's cadenza for the second movement of Mozart's Clarinet Concerto.^{[citation needed]}
• Aaron Copland uses a cadenza in his Clarinet Concerto to connect the two movements.^{[citation needed]}
• Karol Szymanowski's two violin concertos both feature cadenzas written by the violinist who was intended to play them, Pawel Kochański.^{[citation needed]}
• In the third movement of Elgar's Violin Concerto, there is an unexpected cadenza in which the orchestra supports the solo with a pizzicato tremolando effect. ("cadenza accompagnato")^{[citation needed]}
• Tchaikovsky's Piano Concerto No. 1 features a short cadenza at the end of first movement.^{[citation needed]}
• Franz Liszt's Hungarian Rhapsody No. 2 for piano contain's a cadenza.^[1] This cadenza is completely improvised by the pianist and it is at the pianist's discretion that such a cadenza is added.^{[citation needed]}
• Pianists Chick Corea and Makoto Ozone incorporated jazz cadenzas into an otherwise traditional performance in Japan of the Mozart Double Concerto.^{[citation needed]}

Composed cadenzas[link]

Composers who have written cadenzas for other performers in works not their own include:

• Ludwig van Beethoven wrote cadenzas for Mozart's Piano Concerto No. 20 in D minor^[1] first and third movements
• Joseph Joachim wrote the cadenza for Brahms's Violin Concerto.^[1]
• Benjamin Britten wrote a cadenza for Haydn's Cello Concerto No. 1 in C for Mstislav Rostropovich.^{[citation needed]}
• David Johnston wrote A Manual of Cadenzas and Cadences for Cello, pub. Creighton's Collection (2007).^[4]
• Wilhelm Kempff wrote cadenzas for Beethoven's first four piano concertos.^{[citation needed]}
• Karlheinz Stockhausen composed cadenzas for various Mozart concerti for wind instruments, for his children.^{[citation needed]}
• Friedrich Wührer composed and published cadenzas for Mozart's piano concerti in C Major, K. 467; C Minor, K. 491; and D Major, K. 537.^{[5][Full citation needed]}

References[link]

Further reading[link]

• Badura-Skoda, Eva, et al. "Cadenza". Grove Music Online ed. L. Macy (subscription required). Accessed 2007-04-06.
• Randel, Don (1986). The New Harvard Dictionary of Music. Cambridge: Harvard University Press. ISBN 0-674-61525-5

Lawson Rollins (born c. 1970) is an American guitarist and composer from North Carolina^[1] noted for his lightning-fast speed solos, virtuoso fingerstyle technique, and melodic compositional skills featured in his recordings.^[2] His music spans a wide range of genres but is generally classed as Latin Jazz and World Music, with elements of Samba, Bossanova, Middle Eastern music, Classical guitar, Flamenco and Shred guitar added to the mix.

He is best known for his compositions The Fire Cadenza, Santa Ana Wind and Moonlight Samba and his albums Infinita and Espirito which were both critically acclaimed by the jazz community.^[3][4][5] He has reached a wide audience on both radio and the internet. Video performances of The Fire Cadenza and Santa Ana Wind have been viewed millions of times on Youtube.^[6] His songs Moonlight Samba, Infinita, and Havana Heat have proven popular on jazz radio stations and landed on the Billboard radio charts.^[7][8][9]

Influenced by Andres Segovia from his mid-teens, he developed an interest in Jazz, Flamenco, and improvisational Latin and Brazilian guitar styles in his early twenties.^[10][11] After graduating from Duke University he earned a graduate degree from the London School of Economics, then moved to Washington, D.C. in 1998 where he met guitarist Daniel Young (Dan Young) at a local flamenco shop and formed the Latin guitar fusion group Young & Rollins.^[11] They released several albums together, including Salsa Flamenca, which landed on the Billboard Chart in 2000, Sevilla (2001), Esperanza (2005) and Mosaic (2006) and played at many major venues such as the Kennedy Center and Sydney Opera House. Rollins was based in Washington until 2007 when he moved to San Francisco.^[11]

His three solo albums Infinita, Espirito, and Elevation, are characterized by an eclectic mix of Middle Eastern, Brazilian, and Arabic music fused with Spanish guitar and backed by an all-star cast of musicians from around the world including Brazilian singer Flora Purim, percussionist Airto Moreira, Cuban drummer Horacio Hernandez, Shahin Shahida of Shahin and Sepehr, Iranian kamancheh player Kayhan Kalhor, Grammy-winning violinist Charlie Bisharat, and electric guitarist Buckethead, among others.^[1][12][11]

Discography[link]

Albums[link]

As solo artist:

• Elevation
• Espirito Review at AMG
• Infinita Review at AMG

As part of Young & Rollins

• Salsa Flamenca
• Sevilla
• Esperanza
• Mosaic

References[link]

External links[link]

• Official site
• The All Music Guide

Henryk Wieniawski

Henryk Wieniawski (10 July 1835 – 31 March 1880) was a Polish violinist and composer.

Life[link]

Henryk Wieniawski

Henryk Wieniawski was born in Lublin, Congress Poland, Russian Empire. His father, Tobiasz Pietruszka, had converted to Catholicism. His talent for playing the violin was recognized early, and in 1843 he entered the Paris Conservatoire. After graduation, Wieniawski toured extensively and gave many recitals, where he was often accompanied by his brother Józef on piano. In 1847, Henryk Wieniawski published his first opus, a Grand Caprice Fantastique, the start of a modest but important catalog of 24 opus numbers.

When his engagement to Isabella Hampton was opposed by her parents, Wieniawski wrote Légende, Op. 17; this work helped the parents change their mind, and the couple married in 1860.

At the invitation of Anton Rubinstein, Wieniawski moved to St. Petersburg, where he lived from 1860 to 1872, taught many violin students, and led the Russian Musical Society's orchestra and string quartet. From 1872 to 1874, Wieniawski toured the United States with Rubinstein. Wieniawski replaced Henri Vieuxtemps as violin professor at the Conservatoire Royal de Bruxelles in 1875.

During his residence in Brussels, Wieniawski's health declined, and he often had to stop in the middle of concerts. He started a tour of Russia in 1879 but was unable to complete it. He was taken to a hospital in Odessa after a concert. On 14 February 1880, Tchaikovsky's patroness Nadezhda von Meck took him into her home and provided him with medical attention.^[1][2] His friends also arranged a benefit concert to help provide for his family. He died in Moscow a few weeks later from a heart attack and was interred in the Powązki Cemetery in Warsaw.

His daughter Régine Wieniawski, born in Brussels the year before his death, also became a composer. She published her early works as "Irène Wieniawska," but after marrying Sir Aubrey Dean Paul and becoming a British subject, she used the pseudonym "Poldowski."^[3] Another daughter, Henriette, would go on to marry Joseph Holland Loring in 1904, with Joseph Loring later being among the victims of the Titanic disaster.

Wieniawski was a player in the Beethoven Quartet Society in London where he also performed on viola.

Works[link]

Henryk Wieniawski was considered a violinist of genius and wrote some of the most important works in the violin repertoire, including two extremely difficult violin concertos, the second of which (in D minor, 1862) is more often performed than the first (in F♯ minor, 1853). His L'École moderne, 10 études-caprices is a very well known and required work for aspiring violinists. His Scherzo-Tarantelle, Op. 16 and Légende, Op. 17 are also frequently performed works. He also wrote two popular mazurkas for solo violin and piano accompaniment (the second one, Obertas, in G major), using techniques such as left-hand pizzicato, harmonics, large leaps, and many double stops.

Legacy[link]

Wieniawski was given a number of posthumous honors. His portrait appeared on a postage stamp of Poland in 1952 and again in 1957. A 100 złoty coin was issued in 1979 bearing his image.

What is sometimes called the "Russian bow grip" ought to be called the "Wieniawski bow grip": Wieniawski taught his students his own kind of very stiff bowing that allowed him to play a "devil's staccato" with ease. This "devil's staccato" was easily used to discipline students.

The first violin competition named after Wieniawski took place in Warsaw in 1935. Ginette Neveu took first prize, David Oistrakh second, and Henri Temianka third. The International Henryk Wieniawski Violin Competition has been held every five years since 1952.

Compositions[link]

Published works, with Opus numbers[link]

• Grand Caprice Fantastique, Op. 1
• Allegro de Sonate, Op. 2
• Souvenir de Posen, Mazurka, Op. 3
• Polonaise de Concert No. 1, Op. 4
• Adagio Élégiaque, Op. 5
• Souvenir de Moscow, 2 Russian Romances, Op. 6 (in this work he quoted Alexander Egorovich Varlamov's song The Red Sarafan)
• Capriccio-Valse, Op. 7
• Grand Duo Polonaise for Violin and Piano, Op. 8
• Romance sans Paroles et Rondo elegant, Op. 9
• L'École Moderne, 10 Études-Caprices for Violin Solo, Op. 10
• Le Carnaval Russe, Improvisations and Variations, Op. 11
• 2 Mazurkas de Salon, Op. 12
• Fantasie Pastorale, Op. 13 (Lost)
• Concerto No. 1 in F♯ minor, Op. 14
• Theme Original Varié, Op. 15
• Scherzo-Tarantelle, Op. 16
• Légende, Op. 17
• Études-Caprices for 2 violins, Op. 18
• 2 Mazurkas, Obertasse et Le Menetrier, Op. 19 (NB. No 2 is known as both 'The Bagpipe Player' [ABRSM Vln Gr VIII Syllabus], and 'The Village Fiddler' [Naxos Records])
• Fantaisie Brillante sur Gounod's Faust, Op. 20
• Polonaise Brillante, Op. 21
• Concerto No. 2 in D minor, Op. 22
• Gigue in E minor, Op. 23
• Fantasie Orientale, Op. 24

Unpublished works, and works without opus numbers[link]

• Wariacje na Temat Własnego Mazurka (ok. 1847)
• Aria with Variations in E major (przed 1848)
• Fantasia and Variations in E major (1848)
• Nocturne for solo violin (1848)
• Romance (ok. 1848)
• Rondo Alla Polacca in E minor (1848)
• Duo Concertant on themes from Donizetti's Lucia di Lammermoor (ok. 1850)
• Duo Concertant na Temat Hymnu Rosyjskiego A. Lwowa (ok. 1850)
• Duo Concertant na Temat Rosyjskiej Melodii Ludowej (ok. 1850)
• Fantasia on themes from Meyerbeer's Le prophète (ok. 1850)
• Mazur Wiejski (ok. 1850)
• Fantasia on themes from Grétry's Richard Coeur-de-lion (ok. 1851)
• Duet on themes from Finnish songs (ok. 1851)
• Two Mazurkas (1851)
• March (1851)
• Wariacje na Temat Hymnu Rosyjskiego (ok. 1851)
• Wariacje na Temat "Jechał Kozak Zza Dunaju" (ok. 1851)
• Kujawiak in A minor (1853)
• Variations on the Austrian Hymn (1853)
• Rozumiem, pieśń na głos z fortepianem (1854)
• Souvenir de Lublin, concert polka (ok. 1855)
• Fantasia on themes from Bellini's La sonnambula (ok. 1855)
• Reminiscences of San Francisco (ok. 1874)
• Kujawiak in C major
• Polonaise Triomphale
• Reverie in F sharp minor na Altówkę i Fortepian
• Violin Concerto No.3 in A minor? (1878, unpublished, disappeared? Premiered in Moscow, December 27, 1878)^[4]

References[link]

External links[link]

Wikimedia Commons has media related to: Henryk Wieniawski

• Pilatowicz, Maria. "HENRYK WIENIAWSKI". http://www.usc.edu/dept/polish_music/composer/wieniawski.html. Retrieved 2006-05-13.  — Polish Music Center at USC
• Henryk Wieniawski Society (en)
• Henryk Wieniawski's Gravesite
• Free scores by Wieniawski at the International Music Score Library Project
•  Chisholm, Hugh, ed. (1911). "Wieniawski, Henri". Encyclopædia Britannica (11th ed.). Cambridge University Press. 

Dutch Uncles are an indie band from Marple. They are known for their use of atypical time signatures within a pop context.^[1] Their influences includes several bands such as The Smiths, King Crimson, Steve Reich, XTC and Talking Heads.^[2]

Biography[link]

Originally from Marple, the band started playing together in college. They became Dutch Uncles in April 2008, and In early 2009, the band released an album in Germany with Tapete Records,^[3] a German label, recorded at Cloud Hill Studios in Hamburg.^[4]

The band returned in 2010 with their UK debut single "The Ink", released through the independent record label Love & Disaster on the 31 May 2010.^[5] Soon after, the band signed to London label Memphis Industries and released the single "Fragrant" on 1 November 2010.^[6] The band's second album entitled 'Cadenza' was released on April 25, 2011.^[7] The band toured the UK throughout 2011 including appearances at Reading and Leeds Festivals and stage headline slots at Bestival and Latitude, followed by a European and UK support tour with Wild Beasts.^[8]

The band are recording their 3rd studio album, although no official confirmation has been given.^[9]

Members[link]

From L-R. Daniel "sped" Spedding, Robin Richards, Duncan Wallis, Andrew Proudfoot, Peter Broadhead

Dutch Uncles have five members. A singer - Duncan Wallis, Drummer - Andrew Proudfoot, Bass Guitarist - Robin Richards, Lead Guitarist - Daniel "sped" Spedding, & Guitarist - Peter Broadhead.^[10]

Discography[link]

Albums[link]

• Dutch Uncles (Tapete Records) - February 2009^[11]
• Cadenza (Memphis Industries) - 25 April 2011 (UK chart peak: #174)^[12]

Singles[link]

• 'Face In' (Tapete Records) - December 2008 ^[13]
• 'Steadycam' (Tapete Records) - March 2009 ^[14]
• 'OCDUC' (Love & Disaster) - Love & Disaster vol.1 (compilation album) - January 2010 ^[15]
• 'The Ink' (Love & Disaster) - May 2010 ^[16]
• 'Fragrant' (Memphis Industries) - November 2010^[17]
• 'Face In' (Download only) (Memphis Industries) - February 2011 ^[18]
• 'Cadenza' (Memphis Industries) - 2 May 2011 ^[19]
• 'X-O' (Memphis Industries) - 4 July 2011 ^[20]
• 'The Ink' (Memphis Industries) - September 2011 ^[21]

References[link]

External links[link]

• Official website
• Myspace Profile
• Memphis Industries Profile
• Tapete Records Profile
• Facebook Profile
• Twitter Profile
• Soundcloud Profile