University of Iowa
Iowa Research Online Theses and Dissertations
2012
Historical performance practice in cadenzas for Mozart's concerto for bassoon, K. 191 (186e) Sarah Anne Wildey University of Iowa
Copyright 2012 Sarah Anne Wildey This dissertation is available at Iowa Research Online: http://ir.uiowa.edu/etd/3404 Recommended Citation Wildey, Sarah Anne. "Historical performance practice in cadenzas for Mozart's concerto for bassoon, K. 191 (186e)." DMA (Doctor of Musical Arts) thesis, University of Iowa, 2012. http://ir.uiowa.edu/etd/3404.
Follow this and additional works at: http://ir.uiowa.edu/etd Part of the Music Commons
HISTORICAL
PERFORMANCE
PRACTICE
IN
CADENZAS
FOR
MOZART’S
CONCERTO
FOR
BASSOON,
K.
191
(186e)
by
Sarah
Anne
Wildey
An
essay
submitted
in
partial
fulfillment
of
the
requirements
for
the
Doctor
of
Musical
Arts
degree
in
the
Graduate
College
of
The
University
of
Iowa
July
2012
Essay
Supervisor:
Professor
Benjamin
Coelho
Copyright
by
SARAH
ANNE
WILDEY
2012
All
Rights
Reserved
Graduate
College
The
University
of
Iowa
Iowa
City,
Iowa
CERTIFICATE
OF
APPROVAL
__________________________________
D.M.A.
ESSAY
_______________
This
is
to
certify
that
the
D.M.A.
essay
of
Sarah
Anne
Wildey
has
been
approved
by
the
Examining
Committee
for
the
essay
requirement
for
the
Doctor
of
Musical
Arts
degree
at
the
July
2012
graduation.
Essay
Committee:
____________________________________________
Benjamin
Coelho,
Essay
Supervisor
____________________________________________
Nicole
Esposito
____________________________________________
Christine
Getz
____________________________________________
William
LaRue
Jones
____________________________________________
Andrew
Parker
To
all
the
bassoonists
in
my
life.
ii
My
great‐grandfather
used
to
say
to
his
wife,
my
great‐grandmother,
who
in
turn
told
her
daughter,
my
grandmother,
who
repeated
it
to
her
daughter,
my
mother,
who
used
to
remind
her
daughter,
my
own
sister,
that
to
talk
well
and
eloquently
was
a
very
great
art,
but
that
an
equally
great
one
was
to
know
the
right
moment
to
stop.
Wolfgang
Amadeus
Mozart,
The
Letters
of
Mozart
and
His
Family
iii
ACKNOWLEDGMENTS
There
are
so
many
people
to
thank
for
their
participation
in
the
creation
and
completion
of
this
essay
that
it
is
hard
to
know
where
to
begin.
First
and
foremost,
I
would
like
to
thank
all
the
bassoonists
who
so
generously
donated
their
cadenzas,
without
which
this
essay
would
not
be
possible.
Thank
you
to
Steve
Braunstein
of
the
San
Francisco
Symphony
Orchestra,
Daryl
Durran
of
the
Penn
State
School
of
Music,
Charles
Koster
of
the
University
of
California,
Riverside
Department
of
Music,
Kim
Krutz
of
the
Washburn
University
Department
of
Music,
Erik
Ludwig
of
the
Phoenix
Symphony,
Miles
Maner
of
the
Kansas
City
Symphony
Orchestra,
Carol
McNabb
of
the
University
of
Texas
at
Brownsville
Department
of
Music,
Laurie
Hatcher
Merz
of
the
St.
Cloud
State
University
Department
of
Music,
Frank
Morelli
of
the
Juilliard
School,
Yale
School
of
Music,
Manhattan
School
of
Music,
and
SUNY
Stony
Brook,
Rebecca
Noreen
of
the
Hartford
Symphony
Orchestra,
Eastern
Connecticut
Symphony,
Rhode
Island
Philharmonic,
and
Connecticut
College,
Hartt
School
Community
Division,
Scott
Oakes
of
the
Wichita
State
University
School
of
Music,
Will
Peebles
of
the
Western
Carolina
University
School
of
Music,
Janet
E.
Polk
of
the
University
of
New
Hampshire
Department
of
Music
and
the
Dartmouth
College
Department
of
Music,
Scott
Pool
of
the
University
of
Texas,
Arlington
Department
of
Music,
Peter
Simpson
of
the
University
of
Kentucky
School
of
Music,
David
Sogg
of
the
Pittsburgh
Symphony
Orchestra
and
William
Winstead
of
the
Cincinnati
College‐Conservatory
of
Music
and
the
Cincinnati
Symphony
Orchestra.
Your
contributions
to
the
final
piece
of
my
doctoral
degree
are
greatly
appreciated,
and
for
that
I
am
eternally
thankful.
iv
Throughout
my
educational
career,
I
have
had
the
privilege
and
pleasure
of
so
many
teachers
who
have
supported
and
nurtured
me
into
the
musician
and
scholar
I
am
today.
I
cannot
express
enough
gratitude
for
the
time
and
efforts
invested
by
Kimberly
Buchar
Kelley,
William
Ludwig,
and
Benjamin
Coelho.
Without
them,
this
essay
would
not
exist
today.
I
would
also
like
to
acknowledge
and
greatly
thank
my
Defense
Committee,
Dr.
William
LaRue
Jones,
Dr.
Christine
Getz,
Dr.
Andrew
Parker,
Professor
Benjamin
Coelho,
and
Professor
Nicole
Esposito.
The
amount
of
time
and
effort
you
put
into
my
defense
and
your
critiques,
suggestions,
and
editorial
comments
have
made
this
essay
better
than
I
thought
possible.
I
am
appreciative
beyond
words
for
all
you
have
done
to
make
my
work
stand
out,
and
to
make
me
a
better
scholar.
My
parents,
William
and
Tina
Wildey,
I
cannot
thank
enough.
From
encouraging
me
to
start
music
back
in
fourth
grade,
to
their
continued
support
as
my
studies
and
performance
opportunities
took
me
to
more
and
more
places,
they
were
always
there
for
me.
Thank
you.
And
to
my
better
half,
John
William
Richmond.
It
seems
anything
is
possible
with
your
support
and
love,
and
you
have
always
been
there
through
the
laughter,
tears,
and
occasional
bassoon‐related
drama.
I
am
so
lucky
to
have
someone
as
strong
as
you
with
whom
to
share
my
life
and
love.
Lastly,
but
just
as
important,
to
you
the
reader.
Thank
you
for
taking
time
to
look
at
my
final
effort
as
a
student
at
The
University
of
Iowa.
I
hope
you
enjoy
the
labor
of
my
three
years,
and
you
enjoy
it
as
much
as
I
enjoyed
writing
it.
v
TABLE
OF
CONTENTS
LIST
OF
TABLES……………………………………………………………………………………………….....ix
LIST
OF
EXAMPLES...…………..………………………………………………….…………………………….x
CHAPTER
1.
INTRODUCTION……………………………………………………………………………………1
2.
HISTORICAL
BACKGROUND…………………………………………………………………..6
1.1.
Research
Sources
and
Methodology………………………………………….3
1.2.
Limitations………………………………………………………………………………5
2.1.
Historical
Treatises…………………………………………………..……………...6
2.1.1.
Johann
Joachim
Quantz……….……………………………………….7
2.1.2.
Daniel
Gottlob
Türk……………………………………………...……10
2.1.3.
Carl
Philipp
Emanuel
.
Bach………………..……...………………12
2.1.4.
Leopold
Mozart………………………………………………….…...…13
2.1.5.
Giambattista
Mancini…………………………………………………15
2.1.6.
Johann
Adam
Hiller…………………………………………………...17
2.1.7.
Johann
Friedrich
Agricola…………………………………………..19
2.2.
Modern
Treatises…………………………....………………………………………21
2.2.1.
Leonard
G.
Ratner………………………………………….....……….21
2.2.2.
David
Lasocki
&
Betty
Bang
Mather……………………………22
2.3.
Conclusion…………………………………………………………………….………..26
2.4.
The
Eingang..………………………………………………………………………….27
2.5.
Capabilities
of
the
Classical
Bassoon……………...………………………...29
2.6.
Analysis
of
Piano
Cadenzas
1772‐1781………..............................………34
2.6.1.
Concerto
in
F,
K.
242…………………………………………………35
2.6.2.
Concerto
in
B‐flat,
K.
238…………………………...………………38
2.6.3.
Concerto
in
C,
K.
246………………………………………………….41
2.6.4.Concerto
in
E‐flat,
K.
271…………………………………………….45
2.6.5.
Concerto
in
E‐flat,
K.
365……………………………………………48
2.6.6.
Conclusion.………………………………………………………………..51
3.
EXAMINATION
AND
ANALYSIS
OF
CADENZAS…………………………………..….54
3.1.
Steven
Braunstein…………………………………………………………..……..55
3.1.1.
Biography…………………………………...…………………………………55
3.1.2.
Analysis………………………......…………………………………………….56
3.2
Charles
Koster………………………………………………………………………..62
3.2.1.
Biography…………………………………………………………………….62
3.2.2.
Analysis………………………………………………………………………...63
vi
3.3.
Kim
Krutz……………………………………………………………………………….66
3.3.1.
Biography……………………………………………………………………...66
3.3.2.
Analysis………………………………………………………………………...67
3.4.
Erik
Ludwig……………………………………………………………………………69
3.4.1.
Biography……………………………………………………………………...69
3.4.2.
Analysis………………………………………………………………………...69
3.5.
Miles
Maner……………………………………………………………………………72
3.5.1.
Biography……………………………………………………………………...72
3.5.2.
Analysis.……………………………………………………………………..…72
3.6.
Carol
McNabb…………………………………………………………………………74
3.6.1.
Biography……………………………………………………………………...74
3.6.2.
Analysis………………………………………………………………………...75
3.7.
Laurie
Hatcher
Merz……………………………………………………………….76
3.7.1.
Biography……………………………………….……………………………..76
3.7.2.
Analysis………………………………………………………………………...77
3.8.
Frank
Morelli………………………………………………………………………….78
3.8.1.
Biography……………………………………………………………………...78
3.8.2.
Analysis………………………………………………………………………...79
3.9.
Rebecca
Noreen...……………………………………………………………………83
3.9.1.
Biography..……………………………………………………………………83
3.9.2.
Analysis..………….……………...……………………………………..…….84
3.10.
Scott
Oakes…………………………………………………………………………..86
3.10.1.
Biography……………………………………………………………………86
3.10.2.
Analysis….…………………………………..……………………………….87
3.11.
Will
Peebles………………………………………………………………………….89
3.11.1.
Biography………………………………………………………..…………89
3.11.2.
Analysis…………………………………………………………….……….90
3.12.
Janet
Polk……………………………………………………………………………..91
3.12.1.
Biography…………………………………………………………………91
3.12.2.
Analysis……………………………………………………………..……..92
3.13.
Scott
Pool……………………………………………………………………………..94
3.13.1.
Biography…………………………………………………………………94
3.13.2.
Analysis…………………………………………………………………….95
3.14.
Peter
Simpson………………………………………………………………………98
3.14.1.
Biography…………………………………………………………………98
3.14.2.
Analysis…………………………………………………………………….99
3.15.
William
Winstead………………………………………………………………103
3.15.1.
Biography………………………………………………………………103
3.15.2.
Analysis…………………………………………………………………104
3.16.
Conclusion.………………………………………………………………….…….109
4.
OTHER
CONTRIBUTIONS……………………………………………………………………111
4.1.
Daryl
Durran………………………………………………………………………...111
4.
1.1.
Biography………………………………………………………………….111
4.1.2.
Analysis…………………………………………………………………….112
vii
4.2.
David
Sogg……………………………………………………………………………112
4.2.1.
Biography……………………………...………………………………..112
4.2.2.
Analysis………….……………………………………………………….113
4.3.
Daniel
Matsukawa………………………………………………………………...115
4.3.1.
Biography……………………………………………………………….115
4.3.2.
Discussion……………………………………………………………….115
4.4.
Contributions
of
the
Author…………………………………………………..116
5.
NEED
FOR
FURTHER
STUDY
AND
CONCLUSION…….………………………….120
APPENDIX
A.
CADENZAS
AND
EINGÄNGE…………………………………………………………..….123
A.1.
Steven
Braunstein………………………………………………………………..123
A.2.
Charles
Koster……………………………………………………………………...125
A.3.
Kim
Krutz…………………………………………………………………………….127
A.4.
Erik
Ludwig………………………………………………………………………….128
A.5.
Miles
Maner………………………………………………………………………….129
A.6.
Carol
McNabb……………………………………………………………………….130
A.7.
Laurie
Hatcher
Merz……………………………………………………………..131
A.8.
Rebecca
Noreen……………………………………………………………………132
A.9.
Scott
Oakes...………………………………………………………………………...133
A.10.
Will
Peebles………………………………………………………………………..134
A.11.
Janet
Polk
………………………………………………………………………….135
A.12.
Scott
Pool…………………………………………………………………………...136
A.13.
Peter
Simpson…………………………………………………………………….138
B.
OTHER
CONTRIBUTIONS………………………………………………………………...........139
B.1.
Daryl
Durran………………………………………………………………………..139
B.2.
David
Sogg…………………………………………………………………………...140
B.3.
Sarah
Wildey………………………………………………………………….…….141
C.
CONTACT
INFORMATION
FOR
BASSOONISTS…………………...……………..…142
D.
PERMISSION
FORM
LETTERS
SENT
TO
BASSOONISTS………………….……144
BIBLIOGRAPHY………………………………………………………………………………………………..147
viii
LIST
OF
TABLES
TABLE:
2.1.
Elements
of
cadenzas
for
piano
concertos
studied…………………………………………53
ix
EXAMPLE:
LIST
OF
EXAMPLES
2.1.
First
piano
solo
in
mm.
55‐56
of
K.
242,
second
movement……………………………36
2.2.
Mm.
5‐6
of
cadenza
for
K.
242,
second
movement…………………….…………………..36
2.3.
Eingang
for
K.
242,
m.
59……………………..…………………………………………………..…..37
2.4.
Mm.
56‐60
of
K.
238,
second
movement.
Pervasive
use
of
triplet
figure….………39
2.5.
Mm.
1‐2
of
K.
238,
second
movement
cadenza.
Return
of
triplet
figure………….39
2.6.
Motivic
material
from
m.
50
of
second
movement
and
m.
6
of
cadenza…………..40
2.7.
Melody
of
cadenza,
m.1,
and
melody
from
m.
57……………………………………………43
2.8.
K.
271
movement
1
cadenza,
m.
4…………………………………………………………………46
2.9.
Orchestral
reduction
of
m.
14
of
introduction
later
played
in
left
hand
of
cadenza
(Example
2.6.8)………………………………………………………………………….46
2.10.
Piano
solo
at
m.
75,
later
loosely
imitated
and
embellished
in
the
right
hand
of
the
cadenza
(Example
2.6.8)…............................................................................46
2.11.
M.
13
of
cadenza
of
second
movement
of
K.
271…………………………………………..47
2.12.
Mm.
40‐41
of
solo
piano.
Elements
of
the
right
hand
in
m.
40
appear
in
the
right
hand
of
the
cadenza,
elements
of
the
left
hand
of
m.
41
appear
in
the
left
hand
of
the
cadenza
as
well……………………………………..……………………47
2.13.
Mm.
3‐5
of
cadenza,
taking
an
idea
from
previous
passages
in
the
work………49
2.14.
Mm.
55‐56.
Passage
used
for
imitation
in
the
cadenza………………………………..49
2.15.
Mm.
1‐8
of
the
cadenza
for
the
last
movement
of
K.
365…………………………......50
2.16.
Piano
reduction
of
orchestral
introduction,
showing
the
same
melody
used
in
the
cadenza……………………………….…………………………………………………50
3.1
Mm.
6‐7
of
the
cadenza………………………………………………………………………….….…..56
3.2.
Mm.
50‐52
of
bassoon
solo,
used
as
basis
for
cadenza
in
mm.
9‐12…………….......57
x
3.3.
M.
13
of
bassoon
solo
and
m.
7,
both
utilized
in
the
cadenza
through
transposition…………………………..………………………………………………………………59
3.4.
Main
melodic
material
in
m.
7
of
bassoon
concerto
that
Cadenza
3
is
based
on….……………….........…………………………………………………………………………………61
3.5.
Opening
of
the
cadenza,
inspired
by
mm.
35‐36
of
the
bassoon
solo…………….…63
3.6.
Thematic
material
from
mm.
45‐46
that
is
modified
for
use
in
the
cadenza…….64
3.7.
Mm.
51‐52
of
solo
bassoon,
used
as
material
for
cadenza………………………………64
3.8.
Use
of
the
low
D‐flat2
trill
in
m.
28
of
Mr.
Koster’s
first
movement
cadenza…….65
3.9.
M.
7
of
the
bassoon
solo,
the
main
building
block
for
the
second
movement
cadenza………………………………………………………………………………….66
3.10.
Bassoon
solo
in
mm.
138‐139
that
is
rhythmically
augmented
in
cadenza
m.
5……….………………………………………………………………………..…………67
3.11.
This
rhythm
and
figuration
in
mm.
11‐12
of
the
cadenza
is
a
rhythmic
augmentation
of
mm.
45‐46
of
the
bassoon
solo……………………………………….68
3.12.
The
opening
of
Mr.
Ludwig’s
first
movement
cadenza,
based
on
the
opening
melody
of
the
bassoon
solo………………………………………………..……….70
3.13.
M.
50
of
the
bassoon
solo
(right)
and
m.4
of
the
cadenza
(left).
Rhythms
used
to
homogenize
the
use
of
familiar
motives
with
new
material
in
the
cadenza………………………………………………………………………………………………..…70
3.14.
Mm.
61‐63
of
the
bassoon
solo.
The
interplay
of
high
and
low
voices
is
emulated
in
mm.
12‐15
of
Mr.
Ludwig’s
cadenza……………………………………….71
3.15.
Mm.
138‐142
of
bassoon
solo,
directly
quoted
in
the
opening
measures
of
Mr.
Maner’s
cadenza………………………………………………………………………………..73
3.16.
Mm.
8‐11
of
the
cadenza,
using
motives
pulled
from
mm.
80‐81
of
the
Bassoon
Concerto……………………………………...…………………………………………….76
3.17.
Mm.
9‐10
of
the
cadenza,
utilizing
material
in
mm.
32‐33
of
the
solo………………………………………………………………………………………………………...77
3.18.
Mm.
Mm.
45‐46
and
mm.
112‐113
of
the
bassoon
solo.
The
arpeggio
motive
is
taken
and
used
in
the
Eingang
in
m.
97…………………..………………….79
xi
3.19.
Mm.
152‐153,
piano
reduction
of
the
orchestral
score.
The
sixteenth
note
arpeggios
are
used
for
motivic
content
in
the
cadenza………………….…..80
3.20.
M.
143
of
the
bassoon
solo,
right
before
the
cadenza.
This
sixteenth
note
passage
is
the
basis
for
rehearsal
E
of
the
cadenza………………………...…..81
3.21.
Mm.
21‐22
of
the
third
movement
bassoon
solo.
Motive
for
the
beginning
of
the
third
movement
Eingang
is
taken
from
this
melody…...…….82
3.22.
M.
141
of
bassoon
solo,
used
for
material
present
in
mm.
9‐12
of
cadenza…………........................……………………………………………………………………...84
3.23.
Reworked
ending
of
Ms.
Noreen’s
first
movement
cadenza
to
show
proper
notation
that
would
correctly
reintroduce
the
orchestra………………..85
3.24.
Piano
reduction
of
mm.
3‐4
of
orchestral
introduction
to
second
movement.
This
is
used
in
the
opening
of
the
cadenza
with
slight
modification……………………………………………………………………………………………87
3.25.
Motive
from
m.
13
of
concerto,
used
for
thematic
material
in
cadenza…………………………………………………………………………………………………..88
3.26.
Material
from
the
cadenza
that
Mr.
Oakes
pulls
from
the
thirty‐second
note
theme
in
m.
9
of
the
bassoon
solo……………………………………………………..88
3.27.
Mm.
15‐17
occur
in
modified
form
within
the
closing
measures
of
the
cadenza……………………………………………………………………………………………..89
3.28.
The
sixteenth
notes
in
m.
31‐32
of
the
bassoon
solo
are
used
as
basis
for
m.
6‐8
of
the
cadenza………………………………………………………………………….91
3.29.
The
turn,
a
crucial
element
in
the
body
of
the
work
here
at
m.
10,
is
utilized
at
the
end
of
the
cadenza………………………………………………………….92
3.30.
The
orchestral
tutti
lead
in
to
the
bassoon
cadenza
provides
the
opening
material
in
Ms.
Polk’s
cadenza
for
the
second
movement……………..93
3.31.
Mm.
9‐10
of
the
cadenza,
based
on
mm.
80‐81
of
the
bassoon
solo…………..…..95
3.32.
Sixteenth
note
passage
in
m.
82
of
solo,
used
for
motive
in
mm.
13‐14
of
cadenza……………………………………………………………………………………………….95
3.33.
Mm.
20‐22
of
the
cadenza,
a
variant
of
mm.
51‐52
of
the
bassoon
solo………………………………………………………………………………………………………...96
xii
3.34.
Opening
measures
of
Mr.
Pool’s
second
movement
cadenza.
The
two
quarter
notes
with
the
grace
note
embellishment
are
a
rhythmic
augmentation
of
the
opening
bassoon
solo
melody
for
the
second
movement……………………………………………………………………………………….……...97
3.35.
M.
10
of
the
bassoon
solo.
The
dotted
eighth
and
sixteenth
ornamented
by
thirty‐second
note
grace
notes
are
used
as
a
major
motive
in
the
cadenza………………………………………………………………….97
3.36.
The
beginning
of
Mr.
Simpson’s
cadenza
for
the
first
movement
is
taken
from
the
motive
in
the
bassoon
solo
in
mm.
51‐54
and
120‐122,
omitting
the
trilled
quarter
notes…………………………………………………………………………..99
3.37.
Mm.
80‐81
and
85‐85
of
the
bassoon
solo.
Mr.
Simpson
transforms
this
motive
to
create
a
reminiscent
melody
in
mm.
5‐9
of
his
first
movement
cadenza…………..……………………………………………………………………...99
3.38.
Mm.
9‐12
of
the
cadenza.
This
is
a
play
on
the
bassoon
solo
passage
in
mm.
63‐63…………………………………………………………………………………………100
3.39.
Mm.
130‐140
of
the
bassoon
solo.
The
staccato
eighth
notes
followed
by
a
quarter
note
passages
are
taken
and
utilized
in
mm.
14‐
15
of
the
cadenza…………………………………………………………………………………..100
3.40
The
opening
of
Mr.
Simpson’s
second
movement
cadenza
starts
with
an
exact
quote
from
the
opening
bassoon
solo
in
mm.
7‐8,
leaving
out
a
few
notes,
then
moves
onto
completely
original
material……………….……..101
3.41.
Mm.
9‐10
of
the
bassoon
solo.
Mr.
Simpson
utilizes
both
the
thirty‐
second
notes
and
the
ornamental
thirty‐second
notes,
adding
some
originally
material,
to
create
the
ending
of
his
second
movement
cadenza…………………………………………………………………………………………………102
3.42.
Mm.
112‐113
of
the
bassoon
solo.
The
arpeggiated
sixteenth
notes
are
used
as
the
basis
for
the
opening
of
Mr.
Winstead’s
first
movement
cadenza…………………………………………………………………………………………………104
3.43.
Mm.
120‐122
of
the
bassoon
solo,
used
as
material
for
almost
a
third
of
the
first
movement
cadenza……………………………………………………….105
3.44.
Mm.
48‐49,
62‐63,
and
81‐82.
These
three
separate
motives
are
combined
into
one
to
create
a
new
melodic
idea
in
the
second
half
of
the
cadenza…………………………………………………………………………………………...106
3.45.
This
sixteenth
note
passage
in
m.
86
is
utilized
in
the
third
system
of
the
second
page
of
Mr.
Winstead’s
first
movement
cadenza…………………….106
xiii
3.46.
Mm.
31‐32
are
combined
with
m.
24
to
build
a
new
thematic
area
of
the
second
movement
cadenza……………………………..…………………………..107
3.47.
The
same
rhythmic
motive
as
m.
38
of
the
second
movement
is
combined
with
an
exact
quote
of
mm.
62‐63
of
the
first
movement……..…108
4.1.
The
last
beat
of
Mr.
Sogg’s
Eingang,
quoting
the
passage
from
mm.
50‐
52
of
the
bassoon
solo,
but
leaving
out
the
trilled
quarter
notes…………...…114
4.2.
The
opening
of
the
first
movement
cadenza,
which
pulls
thematic
material
from
mm.
45‐50
and
mm.
112‐118
of
the
bassoon
solo…………….116
4.3.
This
passage
of
the
bassoon
solo
at
m.
13
is
transposed
and
used
at
the
beginning
of
Ms.
Wildey’s
second
movement
cadenza…………………118
4.4.
Mm.
31‐33
of
the
bassoon
solo.
This
passage,
omitting
the
thirty‐
second
notes,
is
the
thematic
material
used
to
end
the
second
movement
cadenza……………………………………………………………………………..118
xiv
1
CHAPTER
1:
INTRODUCTION
Wolfgang
Amadeus
Mozart’s
Concerto
for
Bassoon,
K.
191
has
long
been
an
important
part
of
the
Classical
era
bassoon
repertory.1
Few
composers
of
the
Classical
period
wrote
for
the
bassoon
as
a
solo
instrument,
and
even
fewer
still
paired
it
with
an
orchestral
backing.
K.
191
not
only
is
unique
within
the
bassoon
repertory,
but
also
stands
out
in
the
compositional
career
of
Mozart
as
being
his
first
completed
wind
concerto,
composed
at
the
age
of
eighteen.
There
has
been
much
speculation
as
for
whom
the
Concerto
was
composed;
there
has
been
no
definitive
proof
of
this,
but
what
we
do
know
is
that
the
autograph
score
was
lost,
and
there
is
an
extant
set
of
parts
from
around
1790.
This
print,
published
by
Johann
André
from
the
city
of
Offenbach
was
part
of
a
collection
belonging
to
Thaddäus
Freiherr
von
Dürnitz,
an
amateur
bassoonist
who
owned
seventy‐four
works
by
Mozart.
The
Concerto
for
Bassoon,
K.
191
is
the
only
surviving
solo
bassoon
work
written
by
Mozart.
There
has
been
speculation
that
a
total
of
four
bassoon
works
were
written,
with
a
considerable
amount
of
speculation
given
to
the
instrumentation
of
cello
or
bassoon
for
the
Sonata
in
B‐flat,
K.
292,
but
this
has
never
been
proven.
All
other
bassoon
works,
if
they
did
exist,
are
now
lost
to
us.
As
was
the
custom
in
the
Baroque
and
Classical
period,
composers
often
did
not
write
out
cadenzas,
allowing
the
performer
to
add
their
own
improvisation.
Likewise,
Mozart
did
not
write
cadenzas
for
K.
191,
therefore
a
large
part
of
the
1
While
the
Köchel
number
for
this
concerti
has
been
changed
to
186e,
it
is
more
commonly
recognized
and
still
referred
to
as
K.
191.
For
this
reason,
K.191
will
be
the
standardized
reference
for
the
bassoon
concerti.
2
performance
itself
is
untouched
by
Mozart’s
hand.
Depending
on
personal
(or
teacher)
preference,
the
performer
may
write
an
original
cadenza
for
the
performance
or
use
an
existing
cadenza
written
by
a
well‐known
bassoonist
or
composer.
In
either
case,
the
cadenza
may
be
removed
stylistically
from
Mozart
and
almost
always
removed
from
the
Classical
period.
While
there
are
many
guides
on
how
to
write
a
cadenza
in
the
Classical
style,
there
are
none
specific
to
the
bassoon
and
its
capabilities,
strengths,
or
weaknesses
during
this
period.
Also
lacking
is
an
informational
resource
that
critiques
cadenzas
on
how
they
adhere
to
or
stray
from
Classical
performance
practice
in
terms
of
key
areas
commonly
used
or
where
motivic
material
was
pulled
from,
and
more
specifically
to
the
idiomatic
characteristics
of
the
bassoon.
An
essay
that
analyzes
the
abilities
of
the
Classical
era
bassoon
would
be
a
useful
guide
in
an
era
where
accurate
performance
practice
is
increasingly
sought
after,
even
expected,
in
live
performance.
Present
research
entails
translations
or
explanations
of
treatises
on
performance
practice,
or
information
on
how
to
compose
a
work
or
a
cadenza
in
a
style
that
adheres
to
Classical
practice.
There
are
no
known
resources
that
cater
performance
practice
of
the
Classical
era
specifically
to
the
bassoon.
This
essay
will
take
existing
cadenzas
for
the
Mozart
bassoon
concerto,
and
explain
in
detail
where
the
cadenza
follows
performance
practice.
When
it
does
not,
a
logical
explanation
or
reason
for
why
it
does
not,
such
as
making
concessions
for
the
increased
range
and
flexibility
of
the
modern
bassoon,
for
theoretical
purposes
such
as
to
modulate
to
a
new
key,
etc.,
will
be
given.
3
It
is
the
goal
of
this
essay
to
aid
younger
bassoonists,
either
advanced
high
school
or
beginning
college
students,
with
a
resource
to
critique
cadenzas
used
for
the
Mozart
Bassoon
Concerto.
Since
many
students
at
this
level
are
not
well
versed
in
historical
performance
practice,
nor
what
makes
a
more
or
less
Classically
authentic
cadenza,
this
resource
can
be
a
helpful
guide.
While
this
essay
cannot
cover
every
extant
cadenza
for
K.
191,
it
can
serve
as
a
resource
to
further
evaluate
a
chosen
cadenza
and
allow
the
student
to
evaluate
historical
performance
accuracy.
This
essay
is
not
encouraging
students
to
use
only
the
most
historically
accurate
cadenzas
possible,
but
rather
to
be
aware
of
the
content
and
compositional
style
of
the
cadenza
to
aid
in
its
evaluation.
Some
performance
situations
might
call
for
a
more
historically
accurate
cadenza,
while
others
may
allow
or
even
desire
one
in
a
more
modern
style.
As
with
most
stylistic
performance
nuances
left
to
the
performer,
or
in
this
case
the
student,
it
is
important
to
justify
and
be
able
to
explain
why
a
decision
was
made
to
perform
a
cadenza
in
a
particular
manner.
If
the
student
has
chosen
to
follow
performance
practice
or
to
use
the
modern
abilities
of
the
bassoon
to
dictate
their
choice
of
cadenza,
this
essay
can
help
a
student
justify
their
decisions.
1.1.
Research
Sources
and
Methodology
This
essay
will
be
divided
into
several
sections,
two
of
the
largest
containing
generalized
information
on
the
performance
practice
of
cadenzas
in
the
Classical
period,
and
another
containing
select
cadenzas
from
well‐known
bassoonists
and
evaluating
their
adherence
to
stylistic
practice
within
the
capabilities
of
the
Classical
era
bassoon.
4
In
the
chapter
containing
generalized
information,
specifics
on
composition
and
execution
will
be
drawn
from
several
important
resources,
the
most
crucial
of
which
are
historical
treatises
written
during
the
Classical
era.
Documents
on
the
Classical
era
written
within
the
last
century
that
detail
information
on
cadenza
composition
will
also
be
consulted.
The
purpose
of
the
general
section
will
be
to
explain
common
ornamentation
within
Classical
cadenzas,
derivation
of
motivic
material,
and
approximate
length.
Another
element
scrutinized
in
this
section
will
be
piano
cadenzas
written
by
Mozart
himself,
mostly
those
from
1772‐1781
to
avoid
attributing
traits
of
his
developed
compositional
style
to
his
early
works.
The
study
of
Mozart’s
early
cadenza
will
be
a
crucial
aid
in
determining
stylistic
features
of
his
cadenza
writing
and
seeing
how
it
might
apply
to
cadenzas
written
for
K.
191.
The
chapter
examining
bassoon
cadenzas
will
be
organized
in
alphabetical
order
by
the
composer
of
each
cadenza.
Each
cadenza
will
be
examined
on
its
own
merit
and
an
assessment
will
be
made
of
how
it
adheres
to
or
strays
away
from
Classical
period
practice,
how
it
relates
to
the
abilities
of
the
Classical
era
bassoon,
and
how
it
might
potentially
fit
into
Mozart’s
compositional
style.
Cadenzas
collected
for
research
purposes
were
done
in
a
systematic
fashion
to
avoid
any
bias
in
the
collection
process.
This
process
involved
emailing
all
bassoonists
who
are
currently
or
in
ICSOM
(International
Conference
of
Symphony
and
Opera
Musicians)
or
ROPA
(Regional
Orchestra
Players
Association)
orchestras,
as
well
as
bassoon
instructors
at
NASM
(National
Association
of
Schools
of
Music)
accredited
colleges
or
universities
to
request
their
participation
in
the
essay
by
sharing
their
cadenzas.
The
generic
form
letter
sent
can
be
seen
in
Appendix
D.
5
Lastly,
it
is
also
a
goal
to
obtain
information
on
known
commercial
recordings
for
as
many
cadenzas
as
possible
that
are
utilized
in
this
essay.
It
is
not
the
aim
of
this
research
to
critique
the
individual
performances
of
the
given
cadenzas,
but
rather
to
find
available
recordings
that
will
aid
in
delivering
a
stylistic
interpretation
of
K.
191
by
a
professional
in
the
bassoon
field.
1.2.
Limitations
It
is
obviously
beyond
the
scope
of
this
essay
to
provide
analysis
of
every
known
cadenza
written
for
K.191.
The
focus
will
primarily
be
upon
American
bassoonists,
both
performers
and
instructors.
The
scope
of
the
essay
was
limited
to
persons
within
the
United
States
as
there
would
be
no
language
barrier
to
inhibit
response,
and
email
addresses
to
contact
bassoonists
is
readily
available
through
the
Internet.
Also,
it
is
impossible
to
know
exactly
what
Mozart
would
have
penned,
so
it
is
important
to
note
that
while
this
essay
is
based
on
as
many
historical
resources
as
possible,
it
is
still
speculative
in
nature
in
terms
of
identifying
the
characteristics
of
a
truly
authentic
cadenza.
Also
beyond
the
scope
of
this
research
will
be
the
examination
of
national
or
regional
style
and
how
it
applies
to
cadenzas.
While
there
might
be
distinct
trends
among
the
French,
German,
and
American
schools
of
playing
(especially
in
regards
to
the
bassoon),
this
topic
alone
could
be
the
source
of
another
document
due
to
its
breadth.
6
CHAPTER
2:
HISTORICAL
BACKGROUND
2.1.
Historical
Treatises
Performance
practice
is
an
issue
in
any
work
being
performed
in
the
present
day.
Phrasing
and
articulations
were
quite
different
from
that
of
the
previous
Baroque
period,
and
that
of
the
following
Romantic
period,
and
these
are
elements
that
gives
the
Classical
era
its
unique
sound
and
place
within
music
history.
These
nuances
of
performance
practice
are
just
as
crucial
in
the
cadenzas
of
concerti
as
they
are
within
the
body
of
the
work.
For
the
Classical
era,
many
aspects
of
historical
performance
practice
are
indirect
and
speculative.
While
we
do
have
period
instruments,
we
do
not
have
recordings
from
the
period
available
to
us
of
how
instruments
sounded,
nor
how
the
music
was
phrased
and
styled.
However,
we
do
have
available
many
extant
documents
that
refer
to
or
explain
how
the
music
was
to
be
performed
and
executed.
It
is
with
these
documents
that
we
can
do
our
best
to
reconstruct
what
we
hope
is
the
most
historically
accurate
performance
possible.
Many
historical
treatises
were
written
during
or
about
the
Classical
era
that
described
how
music
was
to
be
executed,
and
this
section
will
examine
those
that
are
referred
to
the
most
in
modern
research.
Each
treatise
will
be
examined
individually
to
find
what
the
specific
author
found
important
to
Classical
performance,
and
a
conclusion
at
the
end
of
this
chapter
will
simplify
the
thoughts
of
several
authors
into
the
most
commonly
agreed
upon
elements
of
performance
practice
that
should
be
considered
in
playing,
compositing,
or
critiquing
a
cadenza.
7
2.1.1.
Johann
Joachim
Quantz
Johann
Joachim
Quantz
(1697‐1773)
began
his
musical
training
with
his
uncle,
Justus
Quantz,
in
1708.
He
later
became
a
celebrated
flutist,
composer,
and
teacher
who
wrote
many
documents
on
performance
practice
during
the
Classical
era.
On
Playing
the
Flute
is
a
valuable
treatise
as
it
was
written
late
in
the
life
of
Quantz
and
was
a
document
that
described
music
as
the
Baroque
era
was
changing
to
the
Classical
era.
His
writings
were
an
influential
source
on
C.P.E.
Bach,
Daniel
Gottlob
Türk,
and
many
other
composers
firmly
entrenched
in
the
Classical
era.
In
the
opening
of
his
treatise,
Quantz
wrote,
“Since
I
am
endeavoring
to
train
a
skilled
and
intelligent
musician,
and
not
just
a
mechanical
flute
player,
I
must
try
not
only
to
educate
his
lips,
tongue,
and
fingers,
but
must
also
try
to
form
his
taste,
and
sharpen
his
discernment.”2
Quantz
was
very
concerned
with
developed
a
highly
proficient
and
musical
musician,
not
just
with
the
specifics
of
playing
the
flute
in
his
treatise.
The
amount
of
information
contained
about
performance
practice
is
vast,
thereby
making
it
an
invaluable
resource
for
any
musician
interested
in
performance
practice.
In
the
beginning
of
his
section
on
the
cadenza,
Quantz
specifically
states
that
a
cadenza
is
suitably
placed
on
the
penultimate
note
of
the
bass,
or
the
fifth
of
the
key
area
of
the
piece,
and
that
it
is
appropriate
for
dark,
slow
movements,
or
quick
serious
ones,
not
just
for
happy,
light
movements
of
a
work.3
The
main
goal
is
to
2
Joachim
Johann
Quantz,
On
Playing
the
Flute,
2nd
ed,
ed.
Edward
R.
Reilly
[Boston:
Northeastern
University
Press,
2001],
7.
3
Ibid,
179‐180.
8
surprise
the
listener
by
having
one
more
unexpected
turn
of
melody
and
events
at
the
end
of
the
piece;
however,
he
warns
that
if
there
are
too
many
cadenzas
placed
within
a
work
(i.e.
after
every
section
of
a
da
capo
aria),
the
listener
becomes
bored
and
is
no
longer
surprised
to
hear
one,
but
rather
expects
it.4
When
composing
a
cadenza,
knowledge
of
some
compositional
technique
is
ideal,
but
the
most
important
elements
to
understand
and
emulate
are
the
principal
sentiment
of
the
theme,
and
repetition
or
imitation
of
what
Quantz
calls,
the
“most
pleasing
phrases”
within
the
work.5
There
is
much
written
about
the
affect
of
music,
and
this
is
what
Quantz
meant
when
he
referred
to
the
principal
sentiment.
A
sad,
dark
cadenza
would
be
very
misplaced
within
a
happy,
allegro
movement.
The
“most
pleasing
phrases”
refers
to
using
main
melodic
ideas,
often
from
the
opening
statement
or
from
a
prime
motive
of
a
later
section
that
can
easily
be
recalled
by
the
listener.
According
to
Quantz,
the
cadenza
contains
two
principal
parts.
The
first
is
repetition
of
material
from
the
body
of
the
work,
which
should
be
short
and
fresh,
giving
it
an
improvised
and
spontaneous
feel.6
The
second
rule
he
states
is
that
cadenzas
should
be
short,
meaning
that
not
too
many
ideas
should
be
introduced;
only
one
or
two
ideas
drawn
from
the
work
should
be
utilized
at
a
time.7
4
Ibid,
180‐181.
5
Ibid,
181‐182.
6
Ibid,
182.
7
Ibid,
182.
9
Quantz
had
several
rules
he
determined
to
be
important
for
a
tasteful
performance,
many
of
which
concerned
rhythm
and
meter.
Primarily,
the
performer
should
not
repeat
the
same
rhythmic
figure,
including
transpositions
of
figures
too
many
times
in
a
row,
but
rather
break
them
up
with
other
rhythmic
figures
to
avoid
monotony.8
Similar
to
this,
there
should
not
be
a
clear
sense
of
meter
or
a
regular
division
of
notes,
but
rather
a
continual
sense
of
variation
to
keep
the
music
from
sounding
composed,
causing
a
more
improvisatory
sound.9
In
terms
of
key
center
and
modulations,
Quantz
emphasized
that
notes
beginning
phrases
should
not
be
heard
too
often
as
they
leave
a
strong
impression
on
the
ear
of
the
listener
and
might
dominate
the
rest
of
the
cadenza.10
Even
though
cadenzas
are
improvisatory,
they
must
follow
rules
of
good
composition
and
intervals
and
dissonant
leaps
leading
to
a
modulation
must
be
resolved
properly.
They
should
not
wander
into
a
key
that
is
too
remote
from
the
original
tonal
center,
and
must
have
a
relationship
with
the
principal
key
of
the
piece.11
A
longer
cadenza
will
usually
modulate
to
the
subdominant,
while
the
longest
ones
can
go
to
the
subdominant
and
the
dominant.
Minor
key
modulations
should
go
to
the
8
Ibid,
182‐183.
9
Ibid,
182.
10
Ibid,
183.
11
Ibid,
184.
10
subdominant
through
the
major
third,
then
to
the
dominant
and
return
to
the
principal
key
area.
Short
cadenzas
should
not
modulate
at
all.12
In
terms
of
affect
and
style,
Quantz
describes
a
few
ways
in
which
the
affect
can
be
reasonably
observed.
In
happy
cadenzas,
the
use
of
extended
leaps
and
brisk
phrases
are
mixed
with
triples
and
trills.
Sad
or
melancholy
compositions
should
mostly
use
smaller
intervals
interspersed
with
dissonances,
taking
care
not
to
mix
these
traits
with
those
of
the
happier
style
cadenza.13
Lastly,
Quantz
describes
that
a
good
cadenza
is
not
created
merely
from
playing
fast
or
florid
passages,
but
rather
how
well
it
toys
with
expectation
and
passions.
14
Concerning
length,
Quantz
was
very
specific
with
expectations
that
governed
the
composition,
and
this
was
highly
dependent
upon
which
instrument
was
playing
the
cadenza.
String
instruments
could
make
cadenzas
as
long
as
they
desired,
however
he
emphasized
brevity
over
length.
Vocalists
and
wind
players
should
only
perform
one
that
could
be
accurately
and
beautifully
executed
in
one
breath.15
2.1.2.
Daniel
Gottlob
Türk
Daniel
Gottlob
Türk
(1750‐1813)
received
his
first
music
lessons
from
his
father,
an
instrumentalist
in
the
service
of
Count
Schönburg,
and
after
his
musical
studies
at
the
Dresden
Kreuzschule
and
the
University
of
Leipzig,
became
a
12
Ibid.
13
Ibid.
14
Ibid,
186.
15
Ibid,
185.
11
renowned
theorist
and
composer.
His
treatise,
School
of
Clavier
Playing,
deals
primarily
with
his
experience
and
knowledge
of
the
Classical
literature,
primarily
keyboard,
and
drew
many
rules
and
standard
practices
from
compositions
of
this
time.
Around
1799
he
began
working
on
his
last
theoretical
work,
Violinschule,
but
it
was
never
completed
before
his
death.
While
Türk’s
School
of
Clavier
Playing,
like
the
Quantz,
deals
with
a
particular
instrument,
it
has
much
information
about
historic
performance
practice.
A
lot
of
focus
is
placed
upon
what
should
or
should
not
appear
in
a
cadenza.
Türk
argues
that
the
most
common
problem
with
cadenza
writing
is
that
it
does
not
resemble
the
piece
in
which
it
is
being
performed;
there
is
not
enough
relation
with
taking
motives
and
themes
from
the
main
body
of
the
work.16
Instead
of
being
its
own
separate
entity,
the
cadenza
should
reinforce
the
liveliest
and
memorable
parts
of
the
solo
it
embellishes,
without
sounding
too
difficult
or
contrived,
clearly
linking
back
to
the
movement
in
which
it
is
placed.17
While
it
is
important
that
the
cadenza
sounds
like
a
part
of
the
larger
work,
it
is
also
equally
important
to
have
variety
to
give
it
unexpected
turns.
A
cadenza
is
not
an
exact
repetition
of
previously
heard
music,
but
something
with
a
related
yet
still
identifiably
different
sense
of
flair.
As
Türk
eloquently
wrote,
“A
cadenza
does
not
have
to
be
erudite,
but
novelty,
wit,
an
16
Daniel
Gottlob
Türk,
School
of
Clavier
Playing,
ed.
Raymond
H.
Haggh
(Lincoln:
University
of
Nebraska
Press,
1982),
298.
17
Ibid,
298‐299.
12
abundance
of
ideas
and
the
like
are
so
much
more
its
indispensable
requirements.”18
In
terms
of
length
and
tonal
centers,
Türk
wrote
that
the
cadenza
should
not
be
made
too
long,
especially
if
they
are
of
a
more
sad
nature;
short
cadenzas
should
never
modulate,
and
longer
ones
may
only
modulate
once.
All
dissonances
must
be
properly
resolved,
and
motives
should
not
be
repeated
in
the
same
key
too
frequently.19
Türk
does
not
give
specifications
on
length
in
terms
of
number
of
breaths
that
should
be
taken,
but
he
does
state
that
the
same
tempo
and
meter
should
not
be
maintained
throughout
the
cadenza
to
make
it
seem
improvisatory.
Unlike
Quantz,
who
did
not
promote
prepared
cadenzas,
Türk
did
not
shy
away
from
them,
but
said
it
was
important
to
follow
the
rules
of
meter
and
tempo
to
make
the
cadenza
sound
more
spontaneous.20
2.1.3.
Carl
Philipp
Emanuel
Bach
Carl
Philipp
Emanuel
Bach
(1714‐1788)
was
one
of
the
more
prolific
children
of
Johann
Sebastian
Bach.
Along
with
the
treatises
by
Quantz,
Leopold
Mozart,
and
J.F.
Agricola,
C.P.E.
Bach’s
Essay
on
the
True
Art
of
Playing
Keyboard
Instruments
is
considered
one
of
the
most
important
writings
on
the
Classical
era,
especially
as
he
was
so
deeply
rooted
in
the
Classical
style.
C.P.E.
Bach
does
not
go
into
great
length
about
the
cadenza,
which
he
describes
as
the
elaboration
of
the
fermata
in
his
treatise.
He
states
they
do
not
18
Ibid,
300.
19
Ibid.
20
Ibid,
301.
13
warrant
much
discussion
as
they
are
just
prolonged
embellishments,
and
prior
to
his
mention
of
the
fermata
he
spends
a
chapter
discussing
ornamentation
and
embellishments.
His
one
primary
advice
is
to
stay
true
the
composer’s
expressive
aim,
meaning
to
be
consistent
with
style
and
affect.21
2.1.4.
Leopold
Mozart
Leopold
Mozart
(1719‐1787),
father
of
Wolfgang
Amadeus
Mozart,
was
a
prolific
composer
and
played
a
large
role
in
W.A.
Mozart’s
musical
training,
which
ultimately
had
a
great
influence
on
his
compositional
style.
Due
to
the
large
impact
Leopold
Mozart’s
tutelage
had
on
his
son,
his
treatise
cannot
be
overlooked.
Leopold
Mozart’s
Treatise
on
the
Fundamental
Principles
of
Violin
Playing
has
less
information
relevant
to
the
performance
practice
of
cadenzas
than
the
previous
treatises,
but
it
still
contains
a
great
deal
of
information
which
can
help
to
build
a
cadenza
that
is
historically
accurate.
A
large
part
of
constructing
a
cadenza
deals
with
embellishing
previously
heard
melodies.
Leopold
Mozart
goes
into
great
depth
on
a
number
of
these
embellishments,
and
one
of
them
is
quite
important
in
the
body
of
his
son’s
bassoon
concerto,
the
appoggiatura.
It
is
stated
that
the
appoggiatura
is
without
exception
connected
to
the
main
note
it
is
ornamenting;
in
string
instruments
this
would
be
within
one
bow
stroke,
for
wind
instruments
it
would
entail
the
use
of
a
slur
21
Carl
Philipp
Emanuel
Bach,
Essay
on
the
True
Art
of
Playing
Keyboard
Instruments,
ed.
William
J.
Mitchell
[New
York:
W.W.
Norton
&
Company,
1949],
144.
14
marking.22
There
are
also
very
specific
ways
of
playing
appoggiaturas,
either
equally
or
unequally
to
the
note
it
is
ornamenting,
and
there
are
guidelines
for
their
use
as
well.
If
the
appoggiatura
is
placed
before
a
quarter,
eighth,
or
sixteenth
note,
it
should
be
given
half
the
value
of
the
note
to
which
it
is
attached,
while
if
it
is
placed
before
a
dotted
rhythm
or
a
half
note
beginning
a
bar
of
3/4,
2/4,
or
4/4
time,
it
is
held
the
length
of
time
indicated
by
the
notated
appoggiatura
itself.23
The
last,
and
perhaps
most
confusing
use
of
the
appoggiatura,
is
when
it
is
held
longer
than
the
note
it
ornaments.
In
6/4
and
6/8
meters,
when
two
notes
of
the
same
pitch
are
tied
together
and
are
preceded
by
an
appoggiatura,
the
first
note
of
the
slurred
pair
gives
up
its
value
entirely
to
the
appoggiatura.24
There
are
many
other
rules
for
appoggiaturas
that
Leopold
Mozart
outlines,
but
these
do
not
apply
to
the
appoggiaturas
used
in
W.A.
Mozart’s
Bassoon
Concerto.
Leopold
Mozart
devotes
an
entire
chapter
to
the
trill
in
his
treatise.
He
states
that
is
must
only
consist
of
a
half
step
or
whole
step,
never
more
and
is
described
as
always
starting
on
the
note
above
the
indicated
trill
note.25
The
method
of
starting
and
ending
the
trill
can
be
varied.
It
can
be
played
straight
with
no
additional
ornamentation,
or
it
may
start
with
an
appoggiatura
or
end
with
an
appoggiatura
as
22
Leopold
Mozat,
A
Treatise
on
the
Fundamental
Principles
of
Violin
Playing,
tr.
Editha
Knocker
[London:
Oxford
University
Press,
1975],
166.
23
Ibid,
167‐168.
24
Ibid,
168.
25
Ibid,
186.
15
well.26
This
is
left
up
to
the
performer
to
do
in
a
way
that
is
tasteful
with
the
general
affect
within
the
movement
the
ornamentation
is
contained.
While
trills
are
not
to
be
performed
too
quickly
in
order
to
avoid
what
Leopold
Mozart
calls
“unintelligible
and
bleating,
or
a
so‐called
‘Goat’s
trill’”,
they
can
vary
in
speed,
usually
starting
slower
and
increasing
in
the
oscillation
between
notes
as
the
trill
nears
its
end.27
Like
the
information
on
the
appoggiatura,
the
section
on
the
trill
is
quite
comprehensive
and
a
great
resource
for
trills
that
might
not
be
contained
within
the
concerto
under
discussion.
Tremolos,
mordents
and
other
types
of
ornamentation
are
also
given
a
later
chapter
in
the
Mozart
treatise.
Of
interest
is
a
small
area
within
the
discussion
of
appoggiaturas
that
deals
with
the
Nachschlag
(singular),
or
Nachschlägen
(plural),
an
important
element
of
the
W.A.
Mozart
bassoon
concerto.
It
is
described
as
a
type
of
passing
appoggiatura,
always
slurred
and
short
by
its
nature,
intended
to
ornament
a
principle
note
and
heighten
slower
pieces.28
2.1.5.
Giambattista
Mancini
The
ideal
goal
of
instrumental
music
of
the
Classical
period
was
to
emulate
the
human
voice
in
lyricism
and
beauty
as
much
as
possible,
therefore
vocal
treatises
cannot
be
overlooked
due
to
their
influence
on
instrumental
performance.
One
of
the
most
important
Classical
vocal
treatises
was
written
by
Giambattista
26
Ibid.
27
Ibid,
189.
28
Ibid,
185.
16
Mancini
(1714‐1800),
a
well‐known
castrato
and
teacher.
His
writings
were
a
more
thorough
and
systematic
discussion
of
those
appearing
in
Opinioni
de’
cantori
antichi
e
moderni
by
Pier
Francesco
Tosi
(1654‐1732),
another
important
castrato
and
teacher.
The
discussion
of
cadenzas
within
Mancini’s
Practical
Reflections
on
Figured
Singing
is
quite
short,
encompassing
only
a
few
pages
of
his
treatise,
but
it
is
full
of
valuable
information
that
would
greatly
aid
both
singers
and
wind
players.
Mancini
discusses
three
concrete
rules
regarding
the
composition
of
cadenzas.
These
include
how
to
make
the
cadenza
be
free
and
secure
in
modulation,
to
know
how
to
measure
and
use
the
breath
while
playing
the
cadenza,
and
how
to
make
the
cadenza
sound
free
and
original.29
The
rule
of
modulation
simply
means
to
feel
free
to
roam
to
keys
other,
but
to
do
so
securely
within
the
guidelines
of
good
composition
and
theory.
The
measurement
and
use
of
the
breath
is
a
very
important
aspect
of
the
cadenza
for
Mancini,
and
he
gives
it
a
fair
amount
of
discussion.
This
does
not
mean
that
only
one
breath
can
be
used,
but
rather
that
the
breath
must
be
taken
in
a
way
that
does
not
interrupt
the
musical
idea
or
the
flow
of
the
cadenza.
Mancini
considers
it
important
that
if
the
cadenza
is
lengthy,
enough
air
be
taken
in
a
discrete
way
that
the
trill
leading
into
the
final
note
is
strong
and
is
not
of,
“…the
state
of
being
unable
to
perfect
the
cadenza
with
a
trill,
but
also
unable
to
make
the
final
note
heard.”30
29
Giambattista
Mancini,
Practical
Reflections
on
Figured
Singing,
tr.
Edward
Foreman
[Champaign,
Illinois:
Pro
Musica
Press,
1967],
55.
30
Ibid.
17
Creativity
is
equally
important,
and
Mancini
strongly
supports
educating
the
student
on
how
to
make
their
own
cadenzas,
starting
from
short,
simple
ones
to
more
long
and
elaborate
as
their
musicianship
grows.
He
proposes
that
a
motive
from
the
music
be
taken,
and
then
adapted
to
the
cadenzas’
needs.
He
writes,
“He
who
knows
enough
to
take
a
motive
or
a
passage
from
the
body
of
the
ritornello
of
an
aria,
and
blend
it
judiciously
with
the
rest
of
his
invention,
will
reap
particular
applause.”31
2.1.6.
Johann
Adam
Hiller
Johann
Adam
Hiller
(1728‐1904)
was
one
of
the
most
famous
German
composers
and
writers
on
music.
Being
so
firmly
entrenched
in
the
Leipzig
music
scene
for
the
majority
of
his
life,
Hiller
came
into
contact
with
many
styles
of
music
and
was
very
vocal
about
what
he
heard.
His
wide
experience
with
music
led
him
to
his
write
his
treatise,
Vocal
Performance
and
Ornamentation,
generalizing
his
thoughts
on
the
Classical
style.
In
the
third
section
of
his
discussion
of
cadenzas
in
his
treatise,
Hiller
quotes
Tosi
on
how
destructive
a
poorly
conceived
cadenza
can
be:
The
contemporary
singer
is
inclined
to
make
fireworks
of
improvised
passages
at
the
end
of
the
first
part
[of
a
da
capo
aria]
and
the
orchestra
has
to
wait.
At
the
end
of
the
second
part,
he
doubles
the
load
in
his
throat
causing
the
orchestra
to
become
bored.
When
the
half
finally
comes
at
the
third
cadence,
the
whole
mine
of
divisions
loaded
with
so
much
effort
is
blown
up,
and
the
orchestra
feels
ready
to
curse
out
of
impatience.32
31
Ibid.
32
Johann
Adam
Hiller,
Tratise
on
Vocal
Performance
and
Ornamentation,
tr.
Suzanne
J.
Beicken
[Cambridge:
Cambridge
University
Press,
2001],
122.
18
This
said
he
goes
on
to
outline
four
rules
that
should
be
followed.
First,
cadenzas
should
not
be
too
frequent,
they
should
not
be
too
long,
they
should
appear
as
only
the
length
of
the
breath,
and
they
should
enter
on
the
I64
chord
while
the
bass
is
on
the
fifth
of
the
key.33
Secondly,
the
content
must
be
based
upon
the
pervading
character
and
chief
affect
of
the
aria
at
all
times
and
should
not
introduce
material
too
remote
or
unrelated
to
the
body
of
the
work.
Thirdly,
the
player
should
introduce
as
much
unexpected
material
as
possible,
but
it
must
also
have
some
clear
connection
and
not
be
on
a
whim.34
Lastly,
identical
figures
should
not
be
repeated
too
often,
but
triads
and
scales
are
good
building
blocks
in
a
cadenza
if
properly
interspersed
with
other
material.35
Hiller
also
gives
a
few
suggestions
on
what
to
avoid.
Cadenzas
should
not
always
be
fast
with
flourishes
of
notes;
sustained
notes
add
beauty
and
fast
sections
might
not
be
appropriate
given
the
style
and
affect
of
the
movement.36
Strange
or
remote
intervals
can
add
an
element
of
surprise,
but
they
should
make
sense
within
the
key
center
or
modulation,
as
they
will
otherwise
cause
more
“havoc
than
good.”37
Lastly,
large
leaps
(those
encompassing
an
octave
or
more)
can
be
33
Ibid,
123‐124.
34
Ibid,
123.
35
Ibid,
123‐124.
36
Ibid,
124.
37
Ibid,
127‐128.
19
appropriate,
depending
on
the
affect
of
the
movement,
but
only
if
placed
within
the
middle
of
the
cadenza
where
there
is
typically
the
most
unrest
and
modulation.38
2.1.7.
Johann
Friedrich
Agricola
J.F.
Agricola
(1720‐1774)
was
a
renowned
musicographer,
composer,
organist,
singing
master,
and
conductor.
He
was
a
student
of
Quantz,
and
also
an
acquaintance
of
C.P.E.
Bach.
His
writings
on
the
Classical
style
are
invaluable
as
he
takes
the
opinions
of
his
teacher
and
friend,
Quantz,
and
combines
them
with
his
knowledge
of
vocal
technique
and
style.
Agricola’s
treatise,
Introduction
to
the
Art
of
Singing,
is
unique
in
that
it
takes
the
already
established
work
of
Tosi
and
adds
his
own
commentary
to
expand
upon
it.
In
the
treatise,
it
is
stated
that
cadenzas
are
only
appropriate
on
the
final
cadence
of
a
given
movement;
there
might
be
many
cadences
or
cause
for
pause
in
music,
but
the
last
is
the
only
to
be
embellished.39
Agricola
also
stated
that
the
singer
should
not
“take
refuge
in
your
overly
extended
divisions,”
or
in
other
words,
the
cadenza
should
not
be
too
lengthy.40
In
terms
of
harmonic
motion,
the
trill
ending
the
cadenza
should
not
be
placed
from
above
on
the
third
note
above
the
final,
since
the
trill’s
resolution
will
remain
unresolved
due
to
the
bass
motion.
Rather,
the
trill
must
be
prepared
from
the
sixth
above
the
bass
so
that
the
fifth
to
which
it
resolves
to
can
already
be
heard
38
Ibid,
128.
39
Johann
Friedrich
Agricola,
Introduction
to
the
Art
of
Singing,
tr.
Julianne
C.
Baird
[Great
Britain:
Cambridge
University
Press,
1995],
205.
40
Ibid,
206.
20
in
the
bass
and
create
a
sense
of
finality.41
Agricola
also
argues
that
the
trill
is
essential
to
end
the
cadenza.
If
it
is
left
out,
the
listener
is
not
prepared
for
the
ending,
therefore
resulting
in
an
abrupt
and
somehow
unsatisfying
ending
that
sounds
like
the
close
to
any
other
section
of
the
piece.42
The
finality
of
the
trill
must
also
not
be
interrupted
by
a
poorly
placed
appoggiatura.
Rather,
it
needs
to
lead
into
the
final
note,
which
also
happens
to
be
the
note
on
which
the
bass
enters,
heavily
implanting
the
feel
of
finality.43
Ornamentation
leading
to
the
final
cadence
is
appropriate,
if
done
lightly,
so
it
avoids
what
was
called
“gargling”
or
becoming
“obnoxious”
to
the
listener
whose
expectations
were
thwarted
with
too
heavy
a
show
of
virtuosity.44
Agricola,
stating
that
the
lack
of
a
cadenza
is
far
better
than
a
poorly
executed
one,
corroborates
the
above
statements
of
Tosi
in
regards
to
what
constitutes
a
good
or
poor
cadenza.45
Agricola
then
adds
a
few
rules
of
his
own
to
what
Tosi
has
established;
these
are:
the
cadenza
should
not
be
too
great
in
length,
it
must
be
related
to
the
main
affect
of
the
piece,
that
similar
figures
should
not
be
repeated
nor
transposed
too
often,
rhythm
not
be
too
strict,
and
not
to
stray
too
far
from
the
home
key.
He
then
goes
on
to
point
out
that
lively
cadenzas
should
have
large
leaps,
41
Ibid,
207.
42
Ibid,
208.
43
Ibid,
209.
44
Ibid.
45
Ibid,
210.
21
trills,
and
triplet
runs,
while
sad
compositions
should
be
more
slow
and
slurred,
mixing
some
dissonant
intervals.
All
types
should
have
some
unexpected
elements
to
make
them
more
beautiful,
and
all
should
only
be
done
in
one
breath
if
not
accompanied
by
another
voice
or
instrument.46
2.2.
Modern
Treatises
While
treatises
written
in
the
Classical
era
by
prominent
musicians
and
composers
are
invaluable
to
a
research
of
this
type,
those
written
after
the
fact
have
just
as
much
information
to
divulge.
Much
research
has
been
done
on
the
Classical
style
through
the
examination
of
period
works,
some
focusing
specifically
on
one
composer,
while
others
go
into
great
depth
about
the
Classical
era
as
a
whole.
For
this
reason,
treatises
that
generalize
the
compositional
style
of
many
Classical
composers
will
be
examined
to
see
how
they
might
aid
in
discovering
an
authentic
style
of
cadenza
composition.
2.2.1.
Leonard
G.
Ratner
Leonard
Ratner
(1916‐2012)
is
a
well‐known
American
musicologist
and
composer
who
focused
on
Classical
and
Romantic
music
in
his
studies.
In
his
book
on
Classical
music,
Ratner
quotes
August
Kollmann
on
many
elements
that
have
been
deemed
as
synonymous
with
the
Classical
cadenza.
He
states
that
the
set
up
and
execution
is
very
standard.
The
main
compositional
component
is
the
leading
chord
on
the
fifth
of
the
final
bass
note
that
is
suspended
by
a
fourth
and
sixth
before
the
fifth
and
third,
and
then
a
pause
introduced
over
a
suspension,
leading
into
the
body
of
the
cadenza.
The
signal
to
instruct
the
orchestra
to
re‐enter
and
to
46
Ibid,
211.
22
signify
the
end
of
the
cadenza
is
a
trill
leading
to
the
final
chord,
causing
a
great
sense
of
satisfaction
to
the
listener.47
He
also
states
that
while
cadenzas
in
all
three
movements
of
a
concerto
might
be
appropriate
they
become
boring
and
sometimes
“disgusting”
if
they
are
too
similar
within
a
single
work;
the
more
often
cadenzas
they
are
used,
the
more
often
it
is
necessary
to
create
new
material.48
Ratner
goes
on
to
describe
a
very
consistent
harmonic
plan,
which
Mozart
used
in
his
extant
cadenzas.
They
are
firmly
anchored
on
the
dominant
chord,
both
begin
and
end
the
cadenza,
thereby
aiding
in
the
clear
sense
of
a
start
and
finish
point.
A
great
deal
of
the
cadential
material
that
is
inserted
between
these
dominant
chords
features
stepwise
bass
motion,
thus
allowing
a
clear
tonal
path
to
be
heard
by
the
listener.49
The
cadenza
should
only
be
used
on
dominant
chords
in
which
the
harmony
can
help
set
up
a
dramatic
return
to
the
tonic.
The
use
of
familiar
material
from
the
body
of
the
work
and
keeping
consistent
with
the
style
of
music
will
help
lead
up
to
this
dramatic
return.50
2.2.2.
David
Lasocki
&
Betty
Bang
Mather
David
Lasocki
wrote
his
doctoral
dissertation
in
1978
and
was
aided
in
his
work
by
Betty
Bang
Mather,
Professor
Emerita
of
Flute
at
the
University
of
Iowa.
47
Leonard
G.
Ratner,
Classic
Music:
Expression,
Form,
and
Style
[New
York:
Schirmer
Books,
1980],
305.
48
Ibid.
49
Ibid,
306.
50
Ibid,
307.
23
Focusing
on
many
treatises
of
the
Classical
era,
both
authors
put
a
great
deal
of
work
into
discerning
how
to
create
a
stylistically
accurate
cadenza
for
woodwind
concerti.
Their
generalized
information
on
this
stylistic
period
is
an
invaluable
source
for
combining
several
well‐known
treatises
into
one
document.
While
The
Classical
Woodwind
Cadenza:
A
Workbook
was
intended
to
be
an
aid
in
writing
an
original
cadenza,
it
contains
a
great
deal
of
information
that
can
be
used
to
critique
available
cadenzas
for
the
Mozart
Bassoon
Concerto.
The
book
opens
with
a
quote
from
Quantz
on
the
expectations
of
a
good
cadenza:
The
object
of
the
cadenza
is
simply
to
surprise
the
listener
unexpectedly
once
more
at
the
end
of
the
piece,
and
to
leave
behind
a
special
impression
in
his
heart
…
[Cadenzas’]
greatest
beauty
lies
in
that,
as
something
unexpected,
they
should
astonish
the
listener
in
a
fresh
and
striking
manner
and,
at
the
same
time,
impel
to
the
highest
pitch
the
agitation
of
the
passions
[emotional
tones]
that
is
sought
after.
You
must
not
believe,
however,
that
it
is
possible
to
accomplish
this
simply
with
a
multitude
of
quick
passages.
The
passions
can
be
excited
much
more
effectively
with
a
few
simple
intervals,
skillfully
mingled
with
dissonances,
than
with
a
host
of
motley
figures.51
Mostly,
the
cadenza
was
intended
to
show
off
a
performer’s
inventiveness,
expressiveness,
sense
of
style,
and
sometimes
when
it
was
appropriate
(and
considered
far
behind
the
other
values
listed
previously),
to
show
off
range
and
ability
to
play
large
intervals,
as
well
as
fast
passage
work.
Of
the
most
important
aspects,
five
elements
were
considered
to
be
the
most
crucial,
all
of
which
concerned
the
start
and
the
end
of
the
cadenza.
The
first
rule
51
David
Lasocki
and
Betty
Bang
Mather,
The
Classical
Woodwind
Cadenza:
A
Workbook
[New
York:
McGinnis
&
Marx,
1978],
15.
24
stated
is
it
must
start
over
the
orchestra’s
six‐four
chord,
and
the
soloist
must
choose
a
note
of
the
tonic
triad
to
play.52
The
four
other
rules
are
in
regard
to
the
process
of
ending
a
cadenza.
The
easiest
way
to
end
is
by
trilling
on
the
second
scale
degree
of
the
key
over
the
implied
dominant
seventh,
and
trilling
to
the
second
scale
degree
by
way
of
the
third
scale
degree.
The
final
trill
should
end
with
a
two‐ note
close
into
the
first
scale
degree,
those
two
notes
being
the
note
below
the
principal
note
of
the
trill
(the
first
scale
degree)
and
the
principal
note
of
the
trill
(the
second
scale
degree)
–
this
is
more
commonly
referred
to
as
a
Nachschlag.53
Lasocki
and
Mather
give
some
specifics
for
the
melodic
figurations
of
the
cadenzas
as
well.
Sections
should
imitate
the
body
of
the
work,
but
these
should
have
some
variation
and
do
not
have
to
be
complete
ideas;
in
fact,
most
cadenzas
do
not
have
phrases
but
rather
sections
due
to
their
incomplete
nature.54
The
rhythmic
material
may
be
made
up
in
figures
of
two
to
eight
eighth
notes
in
length
and
appear
in
either
separate
instances,
repetition,
or
a
sequence
of
melodic
patterns.
These
patterns
can
occur
over
several
beats,
and
scale
chord
and
sequential
patterns
often
move
from
one
register
to
another.55
However,
it
is
advised
to
not
repeat
any
material
too
frequently,
even
in
transposition,
to
avoid
boring
the
ear
of
the
listener.
52
Ibid,
16.
53
Ibid.
54
Ibid,
23.
55
Ibid.
25
There
should
be
no
clear
meter
or
tempo
as
cadenzas
are
meant
to
be
fanciful
and
arhythmic
in
contrast
to
the
precise
phrasing
of
Classical
meter
and
style.
While
the
feel
should
not
be
structured,
the
most
common
way
of
structuring
the
chord
progressions
was
from
the
I64
to
the
V7
to
the
I
chord.
Other
chords
that
could
add
interest
include
chords
built
on
the
seventh
scale
degree
and
substituted
for
the
dominant,
and
subdominant,
supertonic,
and
submediant.
Occasionally
used
are
secondary
dominants
and
secondary
leading
tones,
while
mediant
and
parallel
major
or
minor
tonic
chords
are
infrequently
used.
Of
the
most
commonly
used
substitute
chords,
the
raised
fourth
scale
degree
and
the
lowered
seventh
to
imply
the
secondary
dominant
were
found
throughout
cadenzas
composed
in
the
Classical
era.56
The
character
should
intensify
the
passion
of
the
piece,
building
upon
the
emotion
the
composer
has
set
up
throughout
the
work.
Quick
movements
typically
contained
leaps,
triplets,
and
trills
while
slow‐movement
cadenzas
contained
slower
harmonic
motion,
more
dissonances,
and
smaller
intervals.57
These
last
rules
were
not
intended
to
be
followed
exactly,
but
rather
allowed
for
some
exceptions.
Cadenzas
could
exhibit
tendencies
of
another
type
or
mood
of
cadenza
(fast
movement
cadenzas
could
have
slow,
lyric
sections,
and
slow
movement
cadenzas
could
exhibit
faster
motives
and
rhythms),
but
these
should
only
be
visited
briefly.
Lastly,
the
length
of
a
cadenza
should
only
encompass
a
few
breaths.
The
term
“breath”
should
be
considered
a
relative
term
here
as
some
composers
and
56
Ibid,
28.
57
Ibid,
39.
26
musicians
only
considered
a
breath
one
that
was
easily
seen
or
heard;
a
quick
breath
worked
in
seamlessly
did
not
count
as
a
true
breath
in
the
music.58
Bassoon,
oboe,
and
clarinet
cadenzas
can
be
longer
than
flute
cadenzas
due
to
the
ability
of
the
breath
control
on
the
instrument.59
2.3.
Conclusion
The
above‐mentioned
treatises
reveal
a
standard
set
of
expectations
for
cadenzas
of
the
Classical
era.
The
first,
and
most
important,
is
that
the
cadenza
should
be
started
on
the
dominant
chord,
and
then
proceed
onward.
The
appropriate
affect
and
style
related
to
the
body
of
the
work
should
be
adhered
to,
and
while
there
should
be
some
motives
and
phrases
from
the
work,
unexpected
turns
add
a
heightened
level
of
sophistication.
These
unexpected
turns
must,
at
all
costs,
be
resolved
properly,
and
must
never
lead
too
far
from
the
home
key
area,
especially
if
the
cadenza
is
short.
Cadenzas
are
not
purely
about
virtuosic
display;
they
should
not
have
excessive
repetition
of
motives,
rhythms,
or
themes,
and
should
be
more
improvised
in
style,
lacking
a
clear
sense
of
meter.
Many
agree
that
for
wind
concerti,
the
cadenza
should
be
the
length
of
one
breath,
but
the
term
breath
is
relatively
nebulous
amongst
the
sources
quoted;
it
can
literally
be
only
one
breath
of
air
leading
to
the
necessary
final
cadential
trill,
or
it
can
mean
only
one
large
breath,
with
other
short,
unnoticed
catch
breaths
leading
to
the
cadential
trill.
58
Ibid,
40.
59
For
examples
of
cadenzas
exhibiting
these
tendencies,
see
the
Betty
Bang
Mather
and
David
Lasocki
book,
Free
Ornamentation
in
Woodwind
Music
17001755.
27
While
there
are
many
other
aspects
of
the
cadenza
that
have
been
discussed,
the
afore
mentioned
are
the
most
commonly
agreed
upon
and
will
be
the
basis
of
critique
in
the
later
part
of
this
essay.
Regardless
of
the
nuances
of
performance
or
interpretation
by
the
individual
performer,
the
principles
presented
here
can
help
narrow
down
the
parameters
in
finding
historical
accuracies
or
inaccuracies
in
modern
composed
cadenzas
for
Mozart’s
Bassoon
Concerto.
2.4.
The
Eingang60
There
are
many
instances
in
a
concerto
in
which
the
orchestra
comes
to
a
halt
over
a
fermata
chord,
allowing
the
soloist
a
small
amount
of
freedom
to
improvise
a
short
melodic
phrase,
the
Eingang.
The
Eingang
should
be
differentiated
from
the
cadenza
as
it
is
set
up
in
different
ways
and
are
to
be
treated
differently.
Quantz
describes
the
Eingang
as
the
half
cadence
and
it
usually
appears
at
the
middle
or
the
end
of
typically
slower
works.
He
describes
these
flourishes
as
being
built
upon
a
suspension
of
the
seventh
against
the
bass,
and
they
should
be
quite
brief
and
not
be
confused
with
a
cadenza.61
The
Eingang
must
only
consist
of
principal
notes
found
within
the
bass
chord
upon
which
it
hovers,
and
it
cannot
modulate
to
other
keys.62
60
The
term
Eingang
has
had
many
other
names
throughout
music
history,
but
as
this
is
the
preferred
term
used
in
Bärenreiter
Urtext
editions,
this
will
be
the
designation
for
this
ornamentation
throughout
the
document.
Eingänge
is
plural
while
Eingang
is
singular.
61
Quantz,
193.
62
Ibid,
194.
28
Hiller
describes
the
Eingang
as
a
fermata
over
a
caesura,
and
according
to
him
it
can
occur
above
harmonic
and
dissonant
notes,
and
should
be
a
small,
improvised
ornament,
or
at
the
very
least
a
small
trill
without
a
Nachschlag.63
The
Eingang
should
not
be
arbitrary
ornamentation,
but
it
should
also
transition
to
the
next,
new
section
that
introduces
a
new
melody.64
Hiller
goes
on
to
state
that
they
are
very
often
used
in
transitions
in
rondo
movements.65
According
to
Tosi
and
Agricola,
fermatas
were
appropriate
places
for
minor
ornamentation
if
they
followed
a
few
specific
guidelines.
The
bass
should
be
on
the
fifth
of
the
key
area
in
a
six‐four
position
and
lead
to
a
root
position
chord.66
The
ornament
should
coincide
with
the
main
affect
of
the
work,
but
it
is
not
bound
by
strict
rhythm
or
tempo.
The
key
area
of
the
Eingang
must
be
based
on
the
harmony
of
the
chord
over
which
it
hovers
and
not
move
to
other
key
areas.67
Türk
also
had
a
few
words
to
say
on
the
Eingang,
which
he
termed
the
embellished
fermata.
He
said
it
should
be
kept
in
the
same
style
and
affect
as
the
piece
in
which
it
is
performed,
and
it
should
be
based
on
the
prescribed
harmony.
The
six‐four
chord
with
a
fermata
is
the
basis
for
ornamentation,
and
no
interval
should
be
included
in
the
embellishment
that
does
not
belong
to
the
harmony,
with
63
Hiller,
129.
64
Ibid,
130.
65
Ibid,
131.
66
Agricola,
212‐213.
67
Ibid,
213.
29
the
exception
of
passing
tones;
moreover
it
must
completely
avoid
modulation.68
Türk
describes
this
type
of
ornaments
as
short,
and
its
purpose
is
to
be
an
improvised
transition
to
a
new
section
of
music
that
would
sound
abrupt
or
harsh
without
a
slight
musical
interjection.
The
main
purpose
is
to
help
bring
back
the
home
key
area
and
principal
subject.69
An
area
Türk
described
as
one
of
the
more
popular
to
receive
an
Eingang
is
within
the
body
of
a
rondo
movement.
Based
on
sources
from
historical
treatises,
we
can
make
a
few
rules
and
distinctions
between
the
cadenza
and
the
Eingang.
The
cadenza
was
typically
placed
at
the
end
of
a
movement
where
it
incorporated
old
and
new
material
in
an
improvised
style,
and
was
free
to
modulate
and
explore
new
tonalities.
The
Eingang,
on
the
other
hand,
was
a
short
improvisatory
statement
used
to
link
a
new
section
of
music
back
to
the
home
key
area
and
main
idea,
usually
by
the
means
of
improvised
ornamentation
limited
to
the
key
area
of
the
six‐four
chord
over
which
it
was
placed,
and
was
typically
seen
within
rondo
movements.
This
will
be
a
critical
distinction
to
make
when
looking
at
the
movements
of
the
Mozart
bassoon
concerto,
especially
the
final
rondo
movement.
2.5.
Capabilities
of
the
Classical
Bassoon
When
considering
the
historical
capabilities
of
the
Classical
era
bassoon,
it
is
important
to
realize
that
a
great
deal
of
what
would
determine
sound
quality
and
pitch
is
purely
speculative.
Very
few
bassoons
of
the
period
survived
intact,
and
while
the
body
might
remain
in
good
condition,
the
bocal
and
reed
are
certainly
68
Türk,
290‐291.
69
Ibid,
294.
30
lacking.
As
with
modern
instruments,
the
bocal
and
reed
can
make
a
great
deal
of
difference
to
the
overall
sound
production,
quality,
and
pitch,
so
all
statements
of
authentic
sound
and
pitch
must
be
taken
with
a
grain
of
salt;
without
a
complete
working
system
from
the
Classical
era,
we
are
left
to
our
best
conjectures.
Even
when
a
more
complete
Classical
bassoon
appears
to
be
intact
(including
a
bocal
and
what
appears
to
be
a
reed
that
would
have
functioned),
bassoons
were
often
put
through
modifications
during
their
lifetime
to
update
them
to
new
standards
of
playing.
Even
today
it
is
not
rare
to
have
extra
keys
or
rollers
added
to
make
the
bassoon
easier
for
performance.
The
reed
of
the
Classical
era
was
scraped
in
a
different
manner
from
what
bassoonists
now
play
on,
and
it
was
also
significantly
larger,
at
times
more
equal
in
size
to
the
modern
day
contrabassoon
reed.
As
with
any
modern
bassoon,
the
workmanship
of
the
reed
greatly
alters
how
the
bassoon
facilitates
notes
and
what
leaps,
intervals,
or
slurs
are
more
easily
facilitated.
Without
such
an
integral
part
of
the
instrument,
it
must
be
noted
that
many
statements
on
feasibility
of
performance
are
speculative.
However,
with
the
aid
of
other
historical
sources,
we
can
determine
the
likelihood
of
facility
for
certain
passages
of
music.
In
his
article,
Early
Bassoon
Fingering
Charts,
Paul
J.
White
compiles
known
fingering
charts
for
the
bassoon
up
through
the
romantic
era,
as
well
as
known
information
on
dulcian
fingerings.
While
this
does
not
allow
us
to
completely
ascertain
what
leaps,
intervals,
or
slurs
would
be
easy
or
problematic,
it
does
give
us
an
idea
of
what
type
of
range
would
have
been
possible.
Another
important
element
that
is
distinguishable
from
extant
fingering
charts
is
the
facility
that
might
be
31
expected
between
certain
notes.
On
early
bassoons,
it
was
often
necessary
to
use
the
embouchure
to
bend
the
note
to
the
correct
pitch,
and
some
fingerings
would
be
so
complex
that
facility
might
not
be
achievable.
It
is
these
elements
of
range
and
facility
that
will
be
examined
to
show
the
capability
of
the
Classical
bassoon
while
comparing
it
to
modern
cadenzas.
As
White
describes
in
his
article,
we
are
lucky
enough
to
not
just
have
the
written
documentation
of
bassoon
fingering
charts,
but
also
an
accompaniment
to
the
fingering
charts
to
describe
how
to
read
the
chart;
some
fingering
charts
even
contained
specific
notes
on
how
the
embouchure
could
enhance
the
accuracy
of
the
note.70
White
gives
a
collation
of
several
fingering
charts
to
show
the
most
common
notes
in
the
range
of
the
bassoon,
which
extends
from
B‐flat1
to
D5
(and
in
one
instance,
a
fingering
chart
that
goes
up
to
F5,
an
impressive
note
to
most
bassoonists
on
their
modern
instrument!).71
Of
the
most
commonly
problematic
notes,
the
low
B‐natural1
is
perhaps
the
most
difficult.
There
was
no
tone
hole
or
key
for
this
pitch,
and
most
charts
require
a
bassoonist
to
play
a
sharp
B‐flat1
or
a
flat
C‐natural2;
there
is
no
standard
fingering
for
this
note
as
it
was
largely
dependant
upon
the
bassoon
and
the
capabilities
of
the
bassoonist
to
either
bring
the
pitch
up
or
down
through
embouchure.72
However,
70
Paul
J.
White,
“Early
Bassoon
Fingering
Chart,
“
The
Galpin
Society
Journal
43
[March
1990]:
69.
71
All
octave
designations
are
given
by
the
American
Scientific
Pitch
Notation
(SPN)
system.
In
this
designation
system,
middle
C
=
C4.
72
White,
77.
32
due
to
this
pitch
bending,
it
is
reasonable
to
argue
that
sudden
changes
between
a
C2
and
B‐natural1
would
be
very
difficult
to
fluently
execute,
especially
if
slurred.
C‐sharp/D‐flat2
is
also
quite
particular.
This
required
either
a
half‐hole
of
the
C2
tone
hole
(something
quite
difficult
as
it
required
specific
placement
over
the
low
D2
key
as
well
as
getting
the
exact
right
amount
of
the
C
tone
hole
covered),
a
pinched
C2
using
a
great
deal
of
embouchure,
or
a
very
slacked
D2
to
achieve
the
required
pitch.73
Like
B‐natural1,
the
C‐sharp/D‐flat2
would
be
difficult
to
perform
quickly,
especially
when
slurred.
During
the
Classical
era,
the
E‐flat2
key
was
fairly
standard,
but
the
F‐sharp2
key
was
not.
The
most
common
way
of
playing
F‐sharp2
was
to
play
a
G2
but
add
the
E2
thumbhole.74
F‐sharp2
was
weak
and
often
could
not
be
pushed
to
high
dynamics
without
the
pitch
loosing
stability.
B‐flat2
posed
its
own
difficulties,
as
there
was
no
standardized
key
for
this
pitch
at
this
point
in
the
Classical
era.
A
forked
fingering
was
most
commonly
used,
requiring
the
pointer
and
ring
finger
of
the
left
hand
to
cover
tone
holes
and
using
any
variety
of
thumb
and
pinky
keys
to
help
stabilize
the
pitch.75
Another
problematic
note
that
did
not
have
a
standardized
key,
but
rather
difficult
fingerings,
was
C‐sharp3.
This
note
was
played
with
the
pointer
and
middle
fingers
of
the
left
hand
covering
the
tone
holes,
as
well
as
the
pointer
finger
of
the
73
Ibid,
78.
74
Ibid.
75
Ibid,
79.
33
right
hand.
Then
any
numbers
of
keys
in
a
combination
of
the
A‐flat2,
F2,
or
E2
keys
or
tone
holes
were
covered.
Like
B‐flat2,
E‐flat3
was
a
note
that
required
a
forked
fingering
(as
it
still
does
today)
and
a
combination
of
other
fingers,
utilizing
any
of
the
following:
right
pointer
finger,
right
ring
finger,
and
occasionally
right
middle
finger
or
the
A‐flat2
key.76
While
flick
or
vent
keys77
were
beginning
to
be
introduced
during
the
Classical
era,
the
evolution
of
the
bassoon
was
gradual
and
not
all
bassoons
were
equipped
with
these.
Some
of
the
upper
octaves
notes
(i.e.
B‐flat3
and
C‐sharp4)
had
the
same
difficulty
of
forked
fingerings,
but
now
a
tightened
embouchure
to
produce
the
higher
octave
was
needed.
On
bassoons
without
flick
keys,
fast
octave
leaps
would
have
been
more
difficult
due
to
embouchure
changes
the
leaps
necessitated.
Octave
leaps
became
particularly
difficult
on
E4,
E‐flat4,
and
F4.
From
E4
through
the
top
of
the
range
of
the
Classical
bassoon,
there
are
no
standardized
fingerings.
Each
chart
in
White’s
article
cites
different
fingerings,
therefore
notes
above
E4
will
have
to
be
examined
on
a
case‐by‐case
situation
during
the
discussion
of
each
cadenza
to
see
if
the
fingerings
would
be
possible.
76
Ibid.
77
Flick
or
vent
keys
are
a
series
of
keys
controlled
by
the
left
hand
thumb
that
facilitate
the
notes
A4
through
C5
(sometimes
D5).
These
keys
were
initially
used
to
executed
notes
in
the
upper
register
of
the
bassoon,
but
now
they
are
used
to
help
to
avoid
a
break
in
the
sound
of
the
note,
or
what
is
commonly
referred
to
as
a
“crack.”
2.6.
Analysis
of
Piano
Cadenzas
17721781
34
Written
in
1774
when
he
was
just
eighteen,
Mozart’s
Bassoon
Concerto
falls
within
the
transitional
period
of
his
early‐
to
mid‐
life
works
that
were
influenced
by
the
Italian
style78.
Keeping
in
mind
Mozart’s
age
when
he
wrote
his
bassoon
concerto,
cadenzas
from
piano
concerti
written
during
1772‐1781
will
be
examined.
Mozart’s
compositional
style
changed
as
he
aged,
and
by
examining
all
cadenzas
from
his
life
many
attributes
of
his
later
compositional
years
may
be
mixed
in
and
lead
to
a
clouded
vision
of
his
early
style.
The
assertion
that
Mozart
only
wrote
cadenzas
for
his
students
incapable
of
improvising
their
own
is
statement
that
cannot
be
verified.
There
is
evidence
supporting
that
Mozart
only
wrote
them
for
himself;
he
kept
score
copies
with
the
cadenzas
written
into
them
to
himself,
and
carried
around
cadenzas
for
his
piano
works
separate
from
the
rest
of
the
music.79
The
only
cadenza
that
can
be
proven
to
be
written
for
a
student
is
K.
246,
set
a,
in
which
the
written‐out
part
was
used
for
teaching
purposes
during
his
travels
of
1777‐1778;
even
the
cadenzas
he
wrote
for
his
sister
Nannerl
were
cadenzas
he
would
have
used
himself
in
performance.80
It
is
safe
to
speculate
that
Mozart
wrote
cadenzas
in
a
style
that
did
not
take
78
Oxford
Music
Online,
s.v.
“(Johann
Chrysostom)
Wolfgang
Amadeus
Mozart,”
http://www.oxfordmusiconline.com.proxy.lib.uiowa.edu/subscriber/article/grove/ music/40258pg3?q=Wolfgang+Amadeus+Mozart+&search=quick&pos=1&_start=1 #S40258.3.8
[accessed
February
26,
2012].
79
Christoph
Wolff,
“Cadenzas
and
Styles
of
Improvisation
in
Mozart’s
Piano
Concertis,”
in
Perspectives
on
Mozart
Performance,
ed.
R.
Larry
Todd
and
Peter
Williams
[Cambridge:
Cambridge
University
Press,
1991],
230.
80
Ibid,
231.
35
performance
difficulties
into
account
for
a
specific
performer,
but
were
rather
an
exact
vision
of
how
he
wanted
his
cadenzas
to
sound
and
how
they
would
relate
to
the
body
of
the
work
they
ornamented.
2.6.1.
Concerto
in
F,
K.
24281
Termed
one
of
the
Salzburg
Concerti,
K.
242
was
written
for
Countess
Lodron,
a
sister
of
Archbishop
Colloredo,
and
her
two
daughters,
Louise
and
Josepha
(both
of
whom
were
possible
pupils
of
Mozart)
in
February
of
1776
for
the
mother
and
daughter
trio
to
play
together.82
The
simplicity
of
one
of
the
parts
(that
was
later
removed
because
it
was
seen
as
non‐essential)
led
scholars
to
assume
that
one
of
the
pianists
was
not
very
advanced
in
their
skill.83
Mozart
himself
later
rearranged
this
concerto
to
include
only
two
piano
parts
during
his
early
years
in
Vienna,
where
he
played
it
with
his
pupil
Josepha
von
Auernhammer.84
The
piece
changed
very
little
when
it
was
modified
for
the
two
piano
version,
showing
only
minor
changes
in
transitional
sections.85
The
cadenza
of
the
second
movement
is
short,
and
it
leaves
room
for
little
modulation.
As
stated
by
treatises,
it
is
begun
on
a
dominant
chord
in
root
position.
81
Wolfgang
Amadeus
Mozart,
Concerti
in
F
major
for
three
or
two
Pianos
and
Orchestra,
Piano
reduction
by
Douglas
Woodfull‐Harris
[Kassel:
Bärenreiter,
1991].
82
C.M.
Girdlestone,
Mozart’s
Piano
Concertis
[London:
Cassell
&
Company
Limited,
1978],
88.
83
Arthur
Hutchings,
A
Companion
to
Mozart’s
Piano
Concertis
[Oxford:
Oxford
University
Press,
1989],
54.
84
Marius
Flothuis,
Mozart’s
Piano
Concertis
[Amsterdam:
Rodopi,
1994];
14.
85
Ibid.
36
The
cadenza
appears
to
begin
in
F
major,
then
modulates
to
B‐flat
major.
Using
unexpected
chromatic
passing
tones
(mm.
4‐5
of
the
cadenza),
Mozart
heightens
the
intensity
of
the
cadenza
.
This
leads
to
a
short
recapitulation
on
beat
three
of
m.
5
of
the
cadenza,
which
recalls
a
partial
statement
of
the
melody
in
the
orchestra
at
m.
11,
and
the
first
piano
in
m.
55,
&"'()
&"'()
!"#"
%$&"'()
Example
2.1.
First
piano
solo
in
mm.
55‐56
of
K.
242,
second
movement.
!"#
%$!"#
%$Example
2.2.
Mm.
5‐6
of
cadenza
for
K.
242,
second
movement.
37
After
the
recapitulation
in
m.
5
of
the
cadenza,
the
music
leads
to
a
trill
highlighting
the
second
scale
degree
(the
C‐natural
in
the
right
hand
of
both
solo
pianists)
with
a
Nachschlag
to
the
tonic
chord
in
m.
63.
The
third
movement
of
K.
242
includes
two
short
instances
of
Eingänge.
This
movement
is
marked
as
a
rondo,
a
type
of
movement
in
the
Classical
era
that
is
often
augmented
using
Eingang.
The
first
instance
of
Eingänge
occurs
at
m.
59,
and
is
only
assigned
to
the
first
piano.
The
Eingang
is
begun
on
the
fifth
of
the
chord,
and
is
atypical
due
to
the
amount
of
accidentals
used
in
it.
While
this
is
an
aberration
from
the
tonal
scheme
advocated
by
the
authors
of
the
previously
discussed
treatises,
the
Eingang
does
lead
back
to
the
tonic
chord
and
to
the
melody
that
first
introduced
the
movement
in
m.
1.
"'(#$
! &
"#
%$Example
2.3.
Eingang
for
K.
242,
m.
59.
The
second
piano
Eingang
in
m.
104
is
slightly
longer
than
the
previous,
but
it
still
follows
the
rules
of
the
period.
Begun
on
a
dominant
chord,
it
has
a
high
38
degree
of
chromatic
passing
tones,
but
leads
solidly
to
the
tonic
chord
and
the
return
of
the
melody
from
m.
1
of
the
movement.
Although
taking
some
liberties
in
K.
424,
Mozart
stayed
fairly
close
to
the
prescribed
usage
of
Eingänge
and
structure
of
cadenzas
found
in
Classical
era
treatises.
His
Eingänge
tend
to
have
more
non‐chord
notes
than
what
the
treatises
recommend,
but
they
all
enter
on
a
dominant
chord
and
resolve
to
a
tonic
chord
that
reintroduces
a
main
theme
or
melody
that
has
ended
a
secondary
theme
section.
The
cadenza,
while
short,
does
bring
back
the
home
key
of
the
piece
after
modulating
to
material
previously
seen
in
the
movement,
and
a
cadential
trill
ornamented
by
a
final
Nachschlag
to
herald
the
return
of
the
orchestra
and
the
end
of
the
movement.
2.6.2.
Concerto
in
Bflat,
K.
23886
Written
in
January
of
1776,
K.
238
is
another
one
of
Mozart’s
Salzburg
Concerti,
and
was
one
that
he
played
himself
in
Munich,
Augsburg,
and
Mannheim.87
This
concerto
stands
out
not
only
for
being
termed
the
most
difficult
of
his
Salzburg
Concerti,
but
also
because
as
it
was
written
for
Mozart
himself,
not
for
a
benefactor,
student,
or
friend.88
We
are
lucky
to
still
have
a
copy
of
his
cadenza
for
this
concerto
86
Wolfgang
Amadeus
Mozart,
Concerti
in
Bflat
major,
Piano
reduction
by
Douglas
Woodfull‐Harris
[Kassel:
Bärenreiter,
1991].
87
Girdlestone,
88.
88
Hutchings,
54.
39
today
that
was
preserved
by
his
father,
Leopold
Mozart,
but
unfortunately
no
Eingänge
for
m.
99
and
168
in
the
third
movement.89
In
the
second
movement,
Andante
un
poco
adagio,
the
use
of
the
triplet
is
pervasive
throughout
the
cadenza,
as
it
is
in
the
body
of
the
movement.
The
cadenza
begins
on
the
fifth
of
the
home
key
(B‐flat),
and
slowly
transitions
back
to
the
home
key
of
E‐flat
through
a
short
eleven‐measure
cadenza.
"&'#$
!
"#
%$Example
2.4.
Mm.
56‐60
of
K.
238,
second
movement.
Pervasive
use
of
triplet
figure.
!"#
%$Example
2.5.
Mm.
1‐2
of
K.
238,
second
movement
cadenza.
Return
of
triplet
figure.
89
Flothuis,
13.
40
This
cadenza
uniquely
stays
solidly
in
B‐flat
through
most
of
its
length,
really
only
recalling
the
home
key
of
E‐flat
on
the
cadential
trill
on
the
F
that
ends
the
cadenza.
The
motivic
material
in
m.
6
of
the
cadenza
is
taken
loosely
from
m.
50
of
the
body
of
the
work,
which
uses
the
same
rhythms
and
ornamentations,
only
changing
the
pitches
of
the
left
hand
to
differentiate
it.
"#$%&
! !
!
!
!
!
Example
2.6.
Motivic
material
from
m.
50
of
second
movement
and
m.
6
of
cadenza
The
final
movement
of
the
concerto,
Rondeau,
also
contains
a
cadenza
composed
by
Mozart.
Like
the
second
movement,
the
cadenza
makes
great
use
of
the
pervasive
triplet
figure,
as
well
as
the
long
trill
in
mm.
5‐8
of
the
cadenza
that
is
seen
in
the
body
of
the
work
in
mm.
47‐52,
and
mm.
200‐204.
However,
it
does
not
directly
recall
any
motives
from
the
work.
The
final
movement
cadenza
stays
in
F
major
for
a
shorter
time
than
the
cadenza
of
the
second
movement,
and
begins
to
modulate
back
to
B‐flat
major
in
m.
41
10.
This
cadenza
is
atypical
in
that
it
does
not
use
a
cadential
trill
on
C
to
return
it
to
B‐flat
major
and
the
re‐entrance
of
the
orchestra,
but
rather
a
series
of
trilled
notes,
beginning
with
C
and
moving
upward
to
E‐natural
before
using
the
traditional
Nachschlag
and
returning
to
the
main
theme
of
the
movement.
The
cadenzas
presented
in
this
particular
concerto
vary
from
the
discussion
of
the
information
contained
in
the
aforementioned
treatises.
The
reliance
on
motivic
material
from
the
body
of
the
work
is
quite
minimal.
While
the
second
movement
cadenza
resolves
in
the
prescribed
way,
the
third
movement
is
an
aberration
as
it
has
a
series
of
trills
that
moves
away
from
the
expected
C
cadential
trill,
then
to
the
Nachschag.
While
the
ending
of
this
cadenza
is
not
completely
in
accordance
with
what
is
described
in
treatises,
both
cadenzas
do
enter
on
the
proper
dominant
chord
and
modulate
back
to
the
home
key.
2.6.3.
Concerto
in
C,
K.
24690
The
final
of
the
so‐called
Salzburg
Concerti,
K.
246,
was
written
in
April
of
1776
for
either
the
Countess
Lützow91
or
for
Therese
Pierron
who
played
the
concerto
in
Mannheim.
It
has
been
said
that
the
concerto
was
written
in
a
more
simplistic
style
for
someone
who
did
not
have
the
inventiveness
Mozart
required
with
his
performances.92
This
concerto
stands
out
in
the
Salzburg
period
for
having
90
Wolfgang
Amadeus
Mozart,
Concerti
in
C
Major,
Piano
reduction
by
Michael
Töpel
[Kassel:
Bärenreiter,
1991].
91
Girdlestone,
91.
92
Flothuis,
15.
42
no
fewer
than
three
cadenzas,
written
by
Mozart,
for
both
the
first
and
second
movement
that
the
performer
can
choose.
The
cadenza
A
of
the
first
movement
is
unique
in
that
it
does
not
stray
far
away
from
the
C
major
tonality.
The
left
hand
is
not
utilized
whatsoever,
making
the
statement
of
an
intentionally
simplistic
cadenza
writing
style
believable.
While
the
style
is
imitative
of
the
body
of
the
work,
calling
upon
the
dominant
rhythm
of
the
sixteenth
note
runs,
it
does
not
in
fact
quote
any
distinct
motive
but
sounds
reminiscent
of
the
piece.
The
cadenza
starts
on
a
dominant
chord
and
is
traditionally
ended
by
the
cadential
trill
on
the
D
with
a
Nachschlag
leading
to
the
tonic
key.
Cadenza
B
is
quite
similar
to
A
as
it
is
primarily
made
up
of
sixteenth‐note
runs,
and
while
the
left
hand
is
utilized,
it
plays
mostly
single
notes
or
chords.
Like
cadenza
A,
Cadenza
B
does
not
quote
a
specific
area
of
the
body
of
the
work
but
sounds
like
an
extension
of
it,
and
ends
with
a
cadential
trill
ornamented
by
a
Nachschlag
and
returning
to
the
home
key.
Cadenza
C
is
far
different
from
the
previous
two
in
terms
of
scope,
utilization
of
both
hands,
and
content.
At
thirty‐two
measures
in
length,
this
cadenza
is
far
longer
than
the
preceding
ones,
as
well
as
more
complicated.
The
main
melody
at
m.
1
of
the
cadenza
can
be
seen
as
an
elaborated
version
of
the
main
melody
the
piano
introduces
in
m.
57.
43
!"#
%$
Example
2.7.
Melody
of
cadenza,
m.
1,
and
melody
from
m.
57.
The
melody
of
the
second
section
of
the
cadenza,
marked
Allegro
at
m.
23,
is
related
to
the
theme
at
m.
81,
but
transposed.
While
cadenza
C
begins
and
ends
in
a
traditional
manner,
it
is
also
quite
unique.
Mozart
wrote
a
very
measured
cadenza
with
bar
lines
to
give
more
structure
than
he
did
in
cadenzas
A
and
B.
He
even
goes
so
far
as
to
put
in
the
tempo
guidelines
of
Adagio
in
m.
21
and
Allegro
in
m.
23.
The
structured
nature
of
the
cadenza
gives
more
credibility
to
the
claim
that
it
was
for
a
performer
who
needed
more
instruction
or
struggled
with
inventiveness.
It
is
unique
in
its
length
as
it
is
by
far
the
longest
cadenza
of
the
Salzburg
Concerti.
The
cadenzas
for
the
second
movement
of
K.
246,
Andante,
follows
a
similar
pattern
to
those
for
the
first
movement,
containing
three
different
cadenzas
of
varying
difficulty
and
content.
Like
Cadenza
A
in
the
first
movement,
Cadenza
A
of
the
second
movement
stays
mostly
in
F
major,
the
key
area
of
the
movement,
with
only
a
few
chromatic
passing
tones.
The
left
hand
is
only
called
upon
minimally
in
this
cadenza,
linking
it
in
style
to
its
partner
in
the
first
movement.
The
cadenza
pulls
loosely
from
thematic
material
located
within
the
body
of
the
movement;
the
thirty‐second
notes
are
reminiscent
of
the
thirty‐second
note
passages
in
mm.
49‐50
44
and
again
in
mm.
120‐121
in
the
body
of
the
work.
It
ends
traditionally
with
a
trill
on
G,
leading
to
an
implied
Nachschlag
and
an
F
major
chord.
The
B
Cadenza
of
the
second
movement
is
unmeasured
and
appears
like
an
extension
of
new
material
to
the
body
of
the
work
rather
than
repeating
ideas
and
building
upon
them.
The
use
of
the
sixteenth
and
thirty‐second
note
motives
call
upon
ideas
already
represented
earlier
in
the
movement,
but
it
does
not
quote
an
earlier
passage
in
the
concerto.
Both
hands
are
much
more
equal
in
their
use,
but
the
right
hand
is
primarily
the
voice
leading
modulations
as
almost
all
accidentals
are
notated
in
this
hand.
Cadenza
B
ends
traditionally
with
a
trill
on
G,
an
implied
Nachschlag,
and
a
firm
re‐entry
into
F
major.
The
final
cadenza
of
this
movement,
is
similar
to
its
partner
in
the
first
movement
as
it
is
the
most
active,
most
equal
between
both
hands,
and
relies
the
most
heavily
upon
materials
from
the
body
of
the
work.
The
thirty‐second
note
patterns
that
open
the
cadenza
are
elaborations
of
a
similar
motive
occurring
in
mm.
116‐119.
Like
Cadenza
B,
this
modulation
is
led
primarily
by
the
right
hand,
which
is
also
the
most
active,
leading
from
C
major
back
to
F
major
through
a
cadential
trill
with
a
Nachschlag,
back
to
a
root
position
F‐major
chord.
The
third
and
final
movement,
Rondeau,
contains
an
Eingang
composed
by
Mozart.
It
starts
on
the
dominant
chord,
entering
into
a
series
of
sixteenth
notes
that
are
not
particularly
linked
to
the
body
of
the
work
other
than
in
style.
After
a
series
of
trills
and
turns,
another
trill
on
G
leads
back
into
the
main
motive
of
the
movement,
acting
in
the
traditional
way
of
a
catapult
from
the
B
section
of
a
movement
back
into
the
A
movement.
2.6.4.
Concerto
in
Eflat,
K.
27193
45
K.
271
is
said
to
be
the
concerto
that
freed
Mozart
from
his
more
traditional
bonds
that
he
felt
when
composing
his
earlier
piano
concerto
for
Countess
Londron.94
In
January
of
1777,
a
talented
French
pianist,
Mademoiselle
Jeunehomme,
passed
through
Salzburg
and
Mozart
was
requested
to
write
a
concerto
for
her.
Now
having
a
virtuosic
pianist
to
write
for,
Mozart
took
on
a
new
style
to
show
off
the
complexity
and
idiomatic
possibilities
of
the
piano;
it
was
by
far
the
most
difficult
piece
of
his
career
to
this
date
and
even
surpassed
most
of
the
demands
his
contemporaries
wrote
for
the
piano.95
In
terms
of
scope,
both
the
movement
and
its
cadenza
are
much
greater
in
length
than
the
previously
discussed
concerti
and
their
cadenzas.
The
beginning
of
the
cadenza
starts
in
B‐flat
major,
introduces
a
new
idea
not
heard
within
the
body
of
the
work,
then
moves
to
a
section
in
m.
4
where
both
hands
are
recalling
separate
ideas
previously
presented.
The
right
hand
recalls
and
slightly
alters
the
melody
in
mm.
75‐81
of
the
concerto
while
the
left
hand
is
repeating
the
orchestral
introduction
that
spans
from
mm.
8
‐21.
93
Wolfgang
Amadeus
Mozart,
Concerto
in
Eflat
major,
Piano
reduction
by
MA
Ruthardt
[New
York
City:
International
Music
Company,
1943].
94
Girdlestone,
94.
95
Flothius,
17.
46
!&'"#
%
!"#$
Example
2.8.
K.
271
movement
1
cadenza,
m.
4.
!"#
%$Example
2.9.
Orchestral
reduction
of
m.
14
of
introduction
later
played
in
left
hand
of
the
cadenza
(Example
2.6.8).
"&'#$
!
"#
%$Example
2.10.
Piano
solo
at
m.
75,
later
loosely
imitated
and
embellished
in
the
right
hand
of
the
cadenza
(Example
2.6.8).
47
The
tranquillo
section,
m.
17
of
the
cadenza,
also
recalls
elements
of
the
movement.
The
piano
fills
the
role
of
both
piano
and
orchestra
with
a
slightly
altered
melody
that
had
previously
occurred
at
mm.
96‐99
before
ending
the
cadenza
with
a
cadential
trill
on
an
F,
leading
to
a
root
position
E‐flat
major
chord.
The
cadenza
of
the
second
movement
is
much
more
free
than
that
of
the
first,
and
relies
less
heavily
upon
materials
from
pre‐existing
motives
and
materials.
The
beginning
is
very
chromatic,
leading
to
a
sense
of
unstable
tonality.
Yet
the
key
is
clearly
established
in
m.
13
of
the
cadenza
when
a
familiar
theme
enters;
the
right
hand
plays
a
melody
reminiscent
to
one
played
in
m.
40,
and
the
left
hand
plays
a
similar
pattern
to
the
bass
line
in
m.
41.
!"#
%$Example
2.11.
M.
13
of
cadenza
of
second
movement
of
K.
271.
!"#
%$
Example
2.12.
Mm.
40‐41
of
solo
piano.
Elements
of
the
right
hand
in
m.
40
appear
in
the
right
hand
of
the
cadenza,
elements
of
the
left
hand
of
m.
41
appear
in
the
left
hand
of
the
cadenza
as
well.
48
The
melody
starting
on
the
last
beat
of
m.
14
of
the
cadenza
is
an
embellished
and
slightly
altered
version
of
material
from
m.
49
of
the
piano
part.
It
leads
to
a
series
of
trills
that
concludes
with
a
cadential
trill
on
D,
followed
by
a
Nachschlag
into
a
C
minor
root
chord.
The
last
movement
of
K.
271
will
not
be
discussed,
as
it
is
far
different
from
that
of
the
previous
concerto,
and
is
seemingly
unrelated
in
style
to
the
Bassoon
Concerto.
This
movement
features
several
disparate
sections,
the
Rondo,
Menuetto,
and
Presto,
and
its
discussion
will
not
add
any
insight
into
the
type
of
Eingang
or
cadenza
style
this
document
is
investigating.
2.6.5.
Concerto
in
Eflat,
K.
36596
K.
365
was
composed
either
January
15th
or
16th
of
1779
when
Mozart
was
at
Salzburg,
or
November
4th
or
5th
of
1780,
when
he
left
for
Munich.
It
is
not
clear
for
whom
it
was
written,
but
many
scholars
tend
to
believe
it
was
intended
to
be
for
himself
and
his
sister
Nannerl.97
The
cadenza
for
the
first
movement
of
K.
365
is
unique
from
the
others
previously
discussed
as
it
encompasses
a
great
deal
more
modulation
than
before
(see
chart
at
end
of
section).
From
E‐flat,
it
modulates
to
five
different
key
areas
before
making
its
way
back
to
E‐flat
major
again
to
end
the
cadenza.
The
motivic
material
is
derived
directly
from
the
body
of
the
work.
The
opening
of
the
cadenza
(mm.
2‐3)
which
is
utilized
frequently
throughout,,
is
96
Wolfgang
Amadeus
Mozart,
Concerti
in
Eflat
Major,
Piano
reduction
by
Michael
Töpel
[Kassel:
Bärenreiter,
1991].
97
Girdlestone,
97.
49
derived
from
areas
such
as
mm.
55‐56
and
other
instances
where
the
two
pianos
are
playing
running
sixteenth
notes
together.
!"#
%$!"#
%$
Example
2.13.
Mm.
3‐5
of
cadenza,
taking
an
idea
from
previous
passages
in
the
work.
!"#
%$!"#
%$
Example
2.14.
Mm.
55‐56.
Passage
used
for
imitation
in
the
cadenza.
Mm.
12‐13
of
the
cadenza
are
transposed
versions
of
material
from
mm.
163‐164
with
an
added
elaboration
thrown
in
(mm.
14‐16
of
the
cadenza)
preceding
a
repeat
of
material
in
mm.
17‐24
which
mirrors
that
previously
heard
in
mm.
175‐182.
50
The
cadenzas
provided
for
the
third
movement
are
unique
for
Mozart
as
he
normally
did
not
include
a
cadenza
within
a
Rondeau
movement,
but
rather
an
Eingang,
occasionally
more.
In
this
case,
the
cadenza
opens
with
the
highly
recognizable
main
theme
that
the
orchestra
introduces
within
the
first
bar
of
the
movement.
!"#
%$!"#
%$
Example
2.15.
Mm.
1‐8
of
the
cadenza
for
the
last
movement
of
K.
365.
!"#
%$!"#
%$
Example
2.16.
Piano
reduction
of
orchestral
introduction,
showing
the
same
melody
used
in
the
cadenza.
51
This
first
theme,
with
some
alterations
of
pitch,
then
transitions
into
m.
14
where
yet
another
melody
from
the
main
body
of
the
work,
mm.
207‐234
is
overlaid
on
top
of
the
main
theme.
The
main
theme
continues,
in
fragmented
form,
until
a
theme
from
a
different
section
is
introduced.
The
right
hand
in
the
first
piano
part
and
both
hands
of
the
second
piano
in
m.
22
link
to
mm.
285‐297
of
the
concerto.
This
theme
of
switching
between
two
hands
or
voices
continues
in
the
cadenza,
with
some
slight
alterations,
until
m.
39
where
both
pianos
are
interplaying
with
long
swept
passages
of
notes.
This
leads
to
a
new
section
(but
slightly
resembling
the
sixteenth‐note
unison
section
in
the
first
movement),
followed
by
the
cadential
trill
with
a
Nachschlag
to
return
to
the
home
key
of
E‐flat.
2.6.6.
Conclusion
In
the
years
surrounding
the
composition
of
Mozart’s
bassoon
concerto,
we
can
see
stylistic
trends
occurring
within
his
piano
concerti.
These
include
sparse
use
of
modulations,
with
those
used
staying
within
a
predictable,
related
framework.
Earlier
on
in
his
Salzburg
years,
Mozart’s
cadenzas
were
relatively
short
and
then
grew
to
be
quite
lengthy,
the
most
notable
being
K.
365,
which
had
a
cadenza
of
46
measures
in
length.
The
cadenzas
almost
always
end
with
a
cadential
trill
on
the
second
degree
of
the
scale,
marked
by
a
Nachschlag
to
lead
into
a
root
position
chord
in
the
home
key.
The
cadenzas
almost
always
derived
motivic
material
(in
varying
amounts)
from
the
movement
in
which
they
were
encompassed,
either
as
literal
quotes
or
as
paraphrases,
augmentations,
or
diminutions.
52
As
Mozart’s
style
grew
and
developed,
he
tended
to
use
fewer
written
Eingänge
in
his
music,
but
usually
two
cadenzas.
K.
246
is
certainly
unique
with
the
number
of
cadenzas,
which
were
written
for
varying
degrees
of
proficiency
on
piano,
and
K.
242
only
contains
one
composed
by
Mozart
himself,
but
these
aberrations
aside,
two
cadenzas
per
concerto
seems
to
be
his
standard
at
this
time.
While
not
always
true
in
Mozart’s
piano
works
discussed,
cadenzas
in
final
rondo
movements
of
concerti
during
Mozart’s
life
was
not
common,
as
stated
in
many
historic
treatises.
While
the
majority
of
bassoonists
do
not
traditionally
use
a
cadenza
in
the
third
movement
of
the
Bassoon
Concerto,
it
is
not
completely
outside
the
practice
given
what
is
found
in
Mozart’s
piano
concerti
during
this
time,
but
it
should
be
noted
that
their
use
was
not
common
or
expected.
For
quick
ease
of
reference,
the
following
table
contains
the
most
basic
of
compositional
information
common
to
the
five
Mozart
piano
concerti
discussed:
Table
2.1.
Elements
of
cadenzas
for
piano
concerti
studied.
Concerto
Movement
K.
242
K.
238
K.
238
K.
246
K.
246
K.
246
K.
246
K.
246
K.
246
K.
271
K.
271
K.
365
K.
365
K.
365
53
Key
Area
Length
Motivic
Cadential
Derivation
Trill
with
Nachschlag
8
measures
Yes
Yes
11
measures
Yes
Yes
II.
Adagio
II.
Andante
F
–
B‐flat
B‐flat
–
E‐ flat
III.
Rondeau
F
–
B‐flat
I.
Allegro
(a)
C
I.
Allegro
(b)
C
–
G
–
C
I.
Allegro
I
G
–
C
II.
Andante
(a)
F
II.
Andante
(b)
C
–
B‐flat
–
F
II.
Andante
I
C
–
F
I.
Allegro
B‐flat
–
B‐ flat
minor
–
E‐flat
II.
Andantino
C
major
–
C
minor
I.
Allegro
E‐flat
–
C‐ flat
–
B‐ flat
–
D
minor
–
C
minor
–
E‐flat
III.
Rondeau
E‐flat
–
A‐ flat
–
E‐ flat
III.
Rondeau*
E‐flat
–
A‐ flat
–
E‐ flat
11
measures
4
measures
Unmeasured
32
measures
4
measures
Unmeasured
No
Yes
Yes
Yes
Yes
Yes
No
Yes
Yes
Yes
Yes
Yes
21
measures
Yes
32
Yes
Yes
Yes
26
Yes
Yes
26
Yes
Yes
46
Yes
Yes
45
Yes
Yes
*
This
cadenza
is
from
an
earlier
version
and
is
included
in
the
appendix
of
the
Urtext
edition.
CHAPTER
3:
EXAMINATION
AND
ANALYSIS
OF
CADENZAS
54
For
this
study,
fifteen
bassoonists
who
are
either
members
of
ROPA
or
ICSOM
orchestras
or
professors
of
bassoon
at
NASM
accredited
schools
submitted
their
original
cadenzas
to
be
examined
for
adherence
to
Classical
style,
feasibility
on
the
Classical
era
bassoon,
and
compositional
traits
of
Mozart’s
style
from
his
piano
cadenzas
in
the
years
surrounding
his
Bassoon
Concerto98.
The
cadenzas
will
be
studied
individually
to
more
easily
make
reference
to
a
particular
bassoonist’s
composition,
and
areas
of
adherence
or
distance
from
Classical
style
will
be
noted.
No
value
judgment
will
be
made
on
the
individual
cadenza,
as
personal
preference
is
highly
arbitrary
and
not
easily
quantifiable.
While
this
study
is
intended
to
show
Classical
practice
in
the
cadenzas
provided,
it
is
important
to
note
that
not
all
the
bassoonists
conscientiously
wrote
in
a
way
to
strictly
adhere
to
performance
practice,
nor
to
the
capabilities
of
the
Classical
era
bassoon.
Instead,
they
chose
to
write
something
that
would
stylistically
fit
into
the
Mozart
Bassoon
Concerto,
but
might
not
fit
into
the
criteria
of
Classical
performance
practice.
These
bassoonists
wanted
to
put
their
own
unique
imprint
onto
a
very
standard
piece
while
utilizing
the
capabilities
of
the
modern
bassoon,
all
the
while
still
recalling
elements
of
the
movement
in
which
the
cadenza
was
placed.
It
is
important
to
know
that
because
of
this,
the
cadenzas
will
not
perfectly
adhere
to
Classical
performance
practice.
Brief
biographical
information
on
each
of
the
bassoonists
will
be
provided
before
the
analysis
of
the
cadenza,
as
well
as
known
available
recordings
of
the
98
All
bassoonists
were
sent
a
generic
email,
which
may
be
viewed
in
Appendix
D.
55
bassoonist
studied
playing
the
Mozart
Bassoon
Concerto
with
their
versions
of
the
cadenza.
Information
on
how
to
contact
the
bassoonists
individually
for
permission
to
use
cadenzas
or
for
information
on
how
to
obtain
recordings
will
be
included
in
Appendix
C.
When
referring
to
the
original
manuscript,
all
references
are
to
the
solo
bassoon
part,
unless
otherwise
noted.
To
see
the
entire
cadenza,
please
refer
to
Appendix
A.
3.1.
Steven
Braunstein
3.1.1.
Biography
Steven
Braunstein,
a
native
of
New
York
City,
began
playing
bassoon
in
the
eighth
grade
and
contrabassoon
in
his
first
year
of
college.
His
bassoon
teachers
have
included
Bill
Douglas,
Arthur
Weisberg,
Elias
Carmen,
and
William
Polisi.
He
has
studied
contrabassoon
with
Burt
Dial
and
Paul
Camerata,
and
reeds
with
Lou
Skinner.
He
holds
degrees
from
the
California
Institute
of
the
Arts
and
the
State
University
of
New
York
at
Stony
Brook.
His
performing
career
includes
playing
contrabassoon
for
the
Toronto
Symphony,
the
Orquestra
Communitat
Valenciano,
and
the
San
Francisco
Symphony,
his
current
position.
As
a
soloist,
Mr.
Braunstein
has
premiered
Michael
Tilson
Thomas’
Urban
Legend
for
contrabassoon
and
orchestra,
a
piece
composed
for
him.
His
performing
career
also
includes
multiple
summer
festival
engagements,
coaching
at
the
Apple
Hill
Center
for
Chamber
Music
and
performing
at
Aspen,
Sun
Valley
Music
Festival,
Colorado
Music
Festival,
and
for
ten
summers
at
the
Grand
Tetons
Music
Festival.
3.1.2.
Analysis
56
Mr.
Braunstein
begins
his
cadenza
for
the
first
movement
of
K.
191
with
the
same
melodic
material
the
bassoon
introduces
in
the
first
two
measures
of
its
solo,
mm.
35‐36.99
From
there
he
shifts
to
a
series
of
eighth
notes,
leading
to
a
fermata
on
564)(+176&2,(+6
a
low
B‐flat1
(mm.6‐7).
He
then
leads
into
a
running
series
of
sixteenth
notes
that
is
/0+1!12)3,&4) $()*&%+,-& based
on
orchestral
opening,
with
some
embellishments.,
as
seen
in
example
3.1
$)%%66&
8
$%&'
Example
3.1.
Mm.
6‐7
of
the
cadenza.
. $%&'
!" In
the
treatises
discussed,
repetition
more
than
twice
is
considered
in
slight
$%&'
excess,
so
the
series
of
four
slurred
groupings
of
sixteenth
notes
in
mm.
6‐7
of
the
$%&'
!# cadenza
may
be
seen
as
breaking
historical
pratice.
However,
Mr.
Braunstein
uses
this
as
a
seemless
way
of
moving
up
to
the
upper
register
of
the
bassoon
in
a
way
utilized
in
the
solo,
rather
than
introducing
a
sudden,
large
leap
that
might
seem
out
of
context.
The
last
beat
of
m.
9
through
the
end
of
12
of
the
cadenza
may
be
seen
as
a
repetition
and
alteration
of
motives
used
in
two
areas
of
the
concerto,
mm.
50‐54
and
mm.
119‐124.
99
Wolfgang
Amadeus
Mozart,
Concerto
in
Bflat
major
for
Bassoon
and
Orchestra,
Piano
reduction
by
Martin
Schelhaas,
Cadenzas
and
Eingänge
by
Jane
Gower
[Kassel:
Bärenreiter,
2003].
57
!"##$
%$
Example
3.2.
Mm.
50‐52
of
bassoon
solo,
used
as
basis
for
cadenza
in
mm.
9‐12.
This,
like
the
previously
discussed
section,
can
be
seen
as
breaking
from
period
practice
in
the
number
of
repetitions,
but
it
does
follow
the
precedent
of
quoting
important
motivic
material
from
the
body
of
the
work.
Mr.
Braunstein
again
uses
this
repetition
of
melodic
material
to
move
stepwise
upward
to
the
G4
in
m.
13
of
the
cadenza,
rather
than
introducing
a
leap
that
would
sound
uncharacteristic
of
the
concerto.
The
cadenza
ends
with
a
trill
on
the
second
scale
degree
of
the
key,
leading
to
a
Nachschlag
and
ending
on
B‐flat3
to
introduce
the
return
of
the
orchestra,
all
of
which
is
historically
accurate
and
supported
by
the
cadenzas
of
Mozart’s
piano
works.
Much
of
the
material
upon
which
the
cadenza
is
based
is
from
the
body
of
the
work,
and
Mozart
added
new
material
in
his
cadenzas,
as
seen
in
the
piano
works
studied.
This
takes
Mr.
Braunstein’s
cadenza
a
bit
further
away
from
a
composition
that
could
have
been
from
Mozart’s
hand,
but
does
adhere
to
what
treatises
advocate
by
using
material
from
the
body
of
the
work.
One
aspect
that
does
not
adhere
to
performance
practice
is
the
lack
of
modulation
within
the
cadenza.
Most
treatises
advocate
moving
to
different,
closely
58
related
tonalities,
especially
in
longer
cadenzas.
This
cadenza
could
be
seen
as
having
moderate
length;
therefore,
the
lack
of
modulation
is
not
historically
accurate.
That
aside,
the
cadenza’s
lack
of
modulation
is
not
problematic;
staying
in
B‐flat
allows
the
cadenza
to
sound
like
a
natural
part
of
the
movement.
Many
treatises
described
woodwind
cadenzas
being
one
breath
in
length,
and
it
has
been
shown
how
this
is
an
ambiguous
statement
at
best.
Given
the
individual
performance
capabilities
of
the
bassoonist
and
how
easily
they
can
facilitate
unheard
or
unnoticed
breaths,
this
could
easily
be
done
in
Mr.
Braunstein’s
cadenza,
especially
with
the
fermata
in
m.
5
lending
itself
to
a
very
natural
breath.
Regarding
the
performance
possibilities
on
the
bassoon
of
Mozart’s
time,
Mr.
Braunstein’s
cadenza
falls
within
a
very
acceptable
range
that
most,
if
not
all,
instruments
of
the
period
could
facilitate.
The
trills
are
an
area
of
uncertainty
as
the
instrument
and
the
fingering
needed
to
facilitate
the
transition
between
notes
are
significant
factors.
Depending
on
the
instrument
and
maker
trills
could
have
varying
levels
of
difficulty,
but
there
are
no
fingering
charts
that
offer
insight
into
whether
or
not
certain
trills
had
unique
fingerings
(much
like
on
modern
day
bassoon)
or
whether
they
were
easy
or
impossible.
The
White
article
discussed
previously
makes
it
appear
the
trills
are
possible,
but
individual
complications
could
occur.
Mr.
Braunstein
has
written
three
cadenzas
for
the
second
movement,
and
each
shall
be
discussed
separately.
The
first
of
the
second
movement
cadenzas
utilizes
two
main
elements
of
the
bassoon
solo,
the
melody
in
m.
13
(used
at
the
59
beginning
of
the
cadenza)
and
the
melody
in
m.
7
(used
after
the
first
fermata),
both
in
transposition.
"#
!
$%&&''(
Example
3.3.
M.
13
of
bassoon
solo
and
m.
7,
both
utilized
in
the
cadenza
through
transposition.
This
cadenza
briefly
flirts
with
the
g
minor
tonality,
as
evidenced
by
the
use
of
F‐sharp4
after
the
fermata
on
the
B‐flat2,
a
common
modulation
to
the
relative
minor.
The
use
of
chromaticism
is
not
something
that
was
seen
in
Mozart’s
style
during
the
time
the
Bassoon
Concerto
was
written,
and
other
than
instances
of
passing
tones
it
is
not
stylistically
in
line
with
Classical
practice.
The
purpose
of
this
chromaticism
was
not
to
stay
within
specific
stylistic
guidelines,
but
to
provide
a
half‐step
motion
passing
tones
for
a
smooth
transition
back
to
the
middle
register,
as
opposed
to
a
large
leap.
This
chromaticism
leads
to
an
ambiguous
tonal
area
that
does
not
modulate
as
easily
back
into
F
major
as
Mozart’s
cadenza
writing.
While
the
tonal
areas
are
not
what
would
be
standard
in
Mozart’s
cadenzas,
the
brief
reliance
on
a
previously
heard
motive,
leading
to
new
areas
is
in
line
with
his
style.
The
range
is
consistent
within
the
possibilities
of
the
Classical
era
bassoon,
but
the
chromatic
tones
after
the
second
fermata
on
the
F2
presents
one
tricky
60
fingering
passage
on
the
low
C‐sharp2.
As
described
earlier,
this
particular
note
needs
either
a
difficult
half‐hole
technique
on
the
low
C
tone
hole,
or
an
extreme
embouchure
fluctuation
for
the
low
C‐natural2
or
D‐natural2.
Some
discussion
is
warranted
about
the
notational
style
in
this
cadenza.
Where
the
first
movement
cadenza
was
very
straight‐forward
in
rhythm
and
meter
and
clearly
led
back
to
the
orchestra,
the
second
movement
cadenzas
are
not
quite
as
clear
based
on
the
bar
lines.
The
lack
of
meter
markings
or
bar
lines
is
intentional,
emphasizing
a
more
improvisatory
and
free‐flowing
style
that
did
not
have
a
strict
tempo,
as
advocated
by
Classical
treatises.
The
notes
are
grouped
with
beams
in
order
to
show
the
phrasing;
notes
beamed
or
slurred
together
were
intended
to
be
phrased
with
one
another
and
lead
to
or
from
other
groupings
of
notes.
The
note
groupings
do
not
comprise
a
meter,
especially
the
notes
following
the
fermata.
Rather,
they
were
not
intended
to
have
a
proportional
relationship
to
one
another,
but
to
be
heard
in
a
free
flowing
and
improvisational
style.
Lastly,
due
to
the
way
the
cadenzas
were
written,
the
last
note
of
each
of
the
second‐movement
cadenzas
should
be
written
after
a
bar
line
where
the
meter
and
tempo
of
the
movement
would
is
again
be
observed,
and
a
tutti
marking
would
be
placed
above
this
last
note
to
help
indicate
the
return
of
the
orchestra.
What
is
said
about
the
first
cadenza
for
the
second
movement
directly
applies
to
the
second
cadenza
that
Mr.
Braunstein
has
provided.
It
relies
heavily
upon
the
same
motivic
material
discussed
previously,
with
some
minor
changes
to
the
middle
section
(substituting
half
notes
for
sixteenth
notes
and
deleting
a
fermata).
The
same
problems
of
facility
(C‐sharp2)
are
present
in
this
cadenza
as
61
well,
and
the
use
of
chromaticism
and
the
orchestral
re‐entry
are
not
synonymous
with
standard
practice
of
the
Classical
era,
nor
that
of
Mozart’s
writing
in
his
early
period.
This
second
cadenza
relies
a
bit
more
heavily
upon
the
body
of
the
work
for
its
motivic
derivation,
and
might
be
seen
as
not
consistent
with
the
originality
found
in
Mozart’s
cadenzas.
However,
in
modern
terms,
Mr.
Braunstein’s
reliance
on
motives
from
the
body
of
the
work
helps
to
make
this
cadenza
sound
like
an
extension
of
Mozart’s
music,
and
this
was
Mr.
Baunstein’s
intent
in
using
these
motives
so
heavily.
Of
all
the
cadenzas
presented
for
the
second
movement,
this
last
and
final
one
is
perhaps
the
most
stylistically
authentic.
Very
different
from
the
other
two,
this
cadenza
pulls
from
only
one
of
the
sources
used
previously,
the
main
melody
in
m.
7
that
opens
the
bassoon
solo.
!
"#$$%%&
Example
3.4.
Main
melodic
material
in
m.
7
of
bassoon
concerto
on
which
Cadenza
3
is
based
on.
While
this
cadenza
has
no
modulation,
it
is
short
enough
that
it
might
not
be
considered
necessary
in
Classical
performance
practice.
There
is
still
some
of
what
would
be
termed
excess
repetition
in
the
rhythmic
patterns
(but
once
again,
this
is
used
to
make
a
smooth
melodic
transition
from
the
upper
register
of
the
bassoon
to
the
lower
register),
the
ending
trill
pattern
and
transition
into
the
orchestra
reintroduction
is
much
more
smooth
and
could
potentially
have
fit
into
Mozart’s
62
style.
The
minimal
use
of
motives
from
the
body
of
the
work
is
also
consistent
with
Mozart’s
piano
cadenza
writing
style.
The
high
C5
is
not
out
of
the
range
of
the
Classical
era
bassoon,
but
it
is
pushing
it
to
the
high
end
of
what
could
most
commonly
be
played.
The
fluidity
between
pitches
in
this
particular
cadenza
is
much
more
accommodating
to
the
Classical
bassoon,
with
few
problematic
notes
that
could
not
be
handled
by
a
competent
bassoonist.
3.2.
Charles
Koster
3.2.1.
Biography
Charles
Koster,
professor
of
bassoon
at
the
University
of
California,
Riverside,
holds
degrees
in
Bassoon
and
Music
Theory
from
the
University
of
Iowa.
His
principal
teachers
have
included
John
Miller,
Sherman
Walt,
Richard
Plaster,
Louis
Skinner,
and
Ronald
Tyree.
His
extensive
orchestral
experience
includes
performances
with
groups
such
as
the
Hollywood
Bowl,
Pasadena
Symphony
Orchestra,
Pacific
Symphony
Orchestra,
and
the
Los
Angeles
Philharmonic.
He
also
has
experience
with
Baroque
and
Classical
bassoons,
having
performed
with
the
American
Bach
Soloists,
Philharmonia
Baroque
Orchestra,
Magnificat,
Tafelmusik,
The
City
Musick,
and
the
Los
Angeles
Baroque
Orchestra,
among
others.
Koster
is
an
associate
editor
for
the
Journal
of
the
International
Double
Reed
Society.
As
an
active
member,
he
has
contributed
several
articles
for
publication
on
reedmaking,
as
well
as
the
history
of
the
bassoon.
3.2.2.
Analysis
63
Mr.
Koster
contributed
a
great
deal
of
original
work
to
this
project,
including
a
first
movement
cadenza
and
Eingang,
a
second
movement
cadenza,
and
a
third
movement
Eingang.
The
first
to
be
discussed
will
be
the
first
movement
cadenza.
The
most
striking
feature
of
this
cadenza
on
first
glance
is
its
length.
At
thirty‐six
measures,
this
cadenza
is
longer
than
the
typical
woodwind
cadenza
of
the
Classical
era,
regardless
of
whether
the
breaths
are
taken
discretely.
There
is
also
a
great
deal
of
rhythmic
and
thematic
repetition,
with
the
majority
of
the
thirty‐six
measures
being
taken
up
by
three
distinct
motives.
This
would
be
considered
an
excess
of
repetition
during
the
Classical
period.
In
terms
of
current
performance
practice,
Mr.
Koster’s
reliance
on
the
motives
serves
the
purpose
of
modulating
to
another
key.
While
keeping
the
ear
stabilized
on
a
familiar
motive
(i.e.
the
sixteenth
note
passage
from
mm.
14‐21
of
the
cadenza),
the
key
area
is
shifting
around
a
highly
familiar
melody,
allowing
something
recognizable
with
something
new
during
the
modulation
process.
While
the
rhythmic
and
thematic
repetition
may
be
seen
in
historical
terms
as
excessive,
it
is
taken
from
the
body
of
the
work,
which
is
very
standard
practice.
The
first
theme
is
taken
from
the
opening
motive
of
the
bassoon
solo
in
m.
35
of
the
8-710.49-%5/0.-
concerto:
23.4'4516/%71
#1$$--%
Example
3.5.
Opening
of
the
cadenza,
inspired
by
mm.
35‐36
of
the
bassoon
solo.
(
#$%&
64
The
next
motive,
which
appears
in
m.
6
of
the
cadenza,
is
taken
loosely
from
the
bassoon
solo
at
mm.
45‐46:
!"##$
%$
Example
3.6.
Thematic
material
from
mm.
45‐46
that
is
modified
for
use
in
the
cadenza.
Lastly,
the
following
sixteenth
note
section
is
the
basis
for
the
largest
part
of
the
cadenza:
!"##$
%$
Example
3.7.
Mm.
51‐52
of
solo
bassoon,
used
as
material
for
cadenza.
The
cadenza
does
modulate
several
times,
but
given
its
length
this
is
not
too
problematic.
However,
certain
passages
do
not
work
well
with
the
Classical
era
bassoon,
and
this
is
perhaps
where
Mr.
Koster’s
cadenza
pulls
the
furthest
away
from
period
practice.
65
Throughout
the
cadenza,
there
are
several
instances
of
C‐sharp2/D‐flat2,
a
note
that
has
been
discussed
as
difficult
to
facilitate.
In
one
case
in
particular,
m.
28,
there
is
a
trill
on
D‐flat2.
%-
&'()
*,
Example
3.8.
Use
of
the
low
D‐flat2
trill
in
m.
28
of
Mr.
Koster’s
first
movement
&'() cadenza.
*%
&'() This
likely
would
not
have
been
possible,
due
to
the
issues
with
covering
a
half
hole
with
the
thumb,
or
from
embouchure
changes
to
bend
the
pitch.
In
mm.
13,
23,
and
*+
&'() 33,
notes
pushing
the
highest
range
of
the
bassoon
are
shown
(respectively,
high
C 5,
high
C5
and
D‐flat5,
and
high
C5
and
D5).
The
fingerings
for
the
highest
notes
are
quite
difficult,
varying
from
maker
to
maker,
and
according
to
White’s
article,
very
few
bassoons
had
the
capacity
to
play
the
high
D5.
While
the
note
might
be
unrealistic
in
terms
of
historic
practice,
it
is
easily
achieved
on
the
modern
bassoon,
and
serves
as
a
pivot
note
to
then
modulate
back
into
B‐flat
major.
In
contrast,
the
Eingang
to
the
first
movement
is
stylistically
accurate.
It
is
short,
stays
within
B‐flat,
and
leads
the
orchestra
to
the
return
of
the
original
theme.
The
second
movement
cadenza
Mr.
Koster
provides
is
much
shorter
than
the
one
for
the
first
movement,
and
is
also
adheres
much
more
to
Classical
style.
He
takes
some
motivic
derivation
from
the
opening
melody
of
the
solo
bassoon
and
!"##$
66
then
alters
it
into
a
completely
new,
unexpected
melody
that
leads
to
a
cadential
trill
to
end
the
movement
by
bringing
the
orchestra
back
in.
!
"#$$%%&
Example
3.9.
M.
7
of
the
bassoon
solo,
the
main
building
block
for
the
second
movement
cadenza.
The
Eingang
for
the
third
movement,
while
having
some
chromaticism
in
it,
is
not
too
far
fetched
tonally
from
period
practice
to
be
improbable,
being
used
as
a
chromatic
passing
tone
rather
than
a
modulation.
It
is
short,
helps
to
lead
back
into
the
next
section,
and
works
easily
for
fingerings
on
the
Classical
bassoon.
3.3.
Kim
Krutz
3.3.1.
Biography
Professor
of
bassoon
at
Washburn
University,
Kim
Krutz
has
enjoyed
a
long
history
of
bassoon
performance.
For
twelve
seasons
she
was
the
primary
contrabassoonist
and
bassoonist
with
the
Kansas
City
Symphony,
a
group
with
whom
she
is
still
on‐call.
She
has
also
had
the
privilege
of
playing
with
the
Kansas
City
Civic
Orchestra,
the
Kansas
City
Civic
Opera
Orchestra,
the
Kansas
City
Chamber
Orchestra,
Starlight
Theater,
and
has
substituted
on
contrabassoon
with
the
St.
Louis
Symphony.
Other
engagements
have
included
the
Sunflower
Music
Festival
67
Orchestra,
the
Kansas
City
Camerata,
the
Springfield
Illinois
and
Springfield
Missouri
Symphonies,
and
the
Missouri
Symphony
Society.
In
addition
to
being
a
soloist
in
and
around
the
Kansas
City
area,
Ms.
Krutz
is
the
bassoonist
in
the
Mariah
Winds
Trio,
a
group
with
whichshe
has
had
many
prestigious
performances.
Ms.
Krutz
has
worked
in
masterclasses
with
Kenneth
Munday,
Milan
Turkovic,
Charles
Ullery,
Loren
Glickman
and
Richard
Svoboda,
and
has
studied
with
Howard
Halgadahl,
Alan
Hawkins,
and
Marita
Abner.
She
received
her
Bachelors
of
Music
Education
with
a
minor
in
Bassoon
Performance
from
the
University
of
Kansas,
and
her
Masters
of
Music
in
Bassoon
Performance
from
the
University
of
Missouri‐Kansas
City.
3.3.2.
Analysis
Like
many
of
the
cadenzas
previously
studied,
Kim
Krutz
takes
the
opening
solo
melody
of
the
bassoon
and
alters
it
to
introduce
the
cadenza.
The
next
statement,
the
sixteenth
notes
in
m.3,
is
a
quote
from
the
orchestral
B‐flat
major
scales
leading
into
the
opening
bassoon
solo.
Following
the
first
fermata,
Ms.
Krutz
rhythmically
augments
a
melody
heard
in
mm.
138‐139
of
the
solo:
!"##$
%$Example
3.10.
Bassoon
solo
in
mm.
138‐139
that
is
rhythmically
augmented
in
cadenza
m.
5.
34+0(*.54%/2(*4 ,-*.!./012%+0
68
This
augmentation
continues,
quoting
the
same
area
of
the
bassoon
solo,
until
the
#0$$44% cadenza
reaches
m.
9.
M.
9
features
augmentation,
but
this
time
it
is
transposed
with
slight
alterations
from
mm.
45‐46
of
the
solo.
6
#$%&
!!
#$%&
Example
3.11.
This
rhythm
and
figuration
in
mm.
11‐12
of
the
cadenza
is
a
rhythmic
augmentation
of
Mm.
45‐46
of
bassoon
solo.
!"
#$%&
The
cadenza
makes
good
use
of
motives
from
the
body
of
the
concerto,
but
it
becomes
somewhat
repetitive
according
to
Classical
practice;
the
upward
arpeggiated
eighth
notes
in
mm.8‐12,
and
the
slight
change
to
downward
arpeggiated
eighth
notes
in
mm.
13‐16
occur
too
often
without
break.
For
a
modern
performer,
this
rhythmic
repetition
is
a
way
of
using
familiar
rhythmic
and
melodic
materials
from
the
body
of
the
concerto
to
move
through
the
range
of
the
bassoon
without
sounding
too
remote
from
the
movement
in
which
it
is
contained.
The
tonal
center
of
the
cadenza
does
hint
toward
g
minor
in
m.
14,
but
it
is
a
very
short
modulation,
if
it
can
be
considered
one.
While
it
is
moderate
in
length,
the
multiple
fermatas
would
enable
a
performer
to
take
a
breath
that
might
not
interrupt
the
flow
of
the
music,
making
it
sound
continuous
as
period
practice
advocates.
This
cadenza
does
not
make
use
of
original
motives
and
composition,
relying
almost
completely
upon
what
was
written
earlier
in
the
work,
but,
as
stated
earlier,
this
is
a
way
the
modern
performer
can
relate
the
cadenza
to
the
movement
69
from
which
it
is
drawn.
However,
such
reliance
on
content
from
the
body
of
the
movement
is
atypical
with
that
of
Mozart’s
cadenza
writing,
where
he
based
little
on
what
was
previously
heard
and
used
the
body
of
the
cadenza
to
expand
his
writing,
as
seen
in
the
piano
works.
3.4.
Erik
Ludwig
3.4.1.
Biography
Erik
Ludwig,
currently
the
contrabassoonist
with
the
Phoenix
Symphony,
a
position
he
has
held
since
1987.
He
has
spent
summers
teaching
at
the
Eastern
Music
Festival
in
Greensboro,
North
Carolina
for
the
past
twenty‐three
years,
and
has
been
the
professor
of
bassoon
at
Northern
Arizona
University
for
the
past
twelve
years.
Before
his
time
with
the
Phoenix
Symphony,
Mr.
Ludwig
was
the
assistant
principal
bassoon
with
the
Orquestra
Filharmonica
of
Santiago,
Chile,
and
in
1985
he
joined
the
Pittsburgh‐based
Con
Spirito
Woodwind
Quintet.
Mr.
Ludwig’s
teachers
have
included
Otto
Eifert,
Sidney
Rosenberg,
and
Leonard
Sharrow.
He
holds
bachelor’s
degrees
from
Indiana
University
in
German
and
political
science,
and
is
a
master’s
of
music
candidate
at
the
University
of
Cincinnati.
3.4.2.
Analysis
The
beginning
of
Erik
Ludwig’s
cadenza
for
the
first
movement
of
K.
191
starts
with
a
fragmented
quote
of
the
opening
melody
of
the
initial
solo
bassoon
line,
playing
around
with
the
melody
of
mm.
35‐37.
=1<%/#'>10-./#1 *;#'3'-%&.0<%
8"&9$
70
+$#,
7%22110
Example
3.12.
The
opening
of
Mr.
Ludwig’s
first
movement
cadenza,
based
on
the
opening
melody
of
the
bassoon
solo.
?
720,
*.01'*1221
After
the
fermata
in
m.
4
of
the
cadenza,
Mr.
Ludwig
utilizes
another
familiar
motive
6
+$#,
720, from
the
body
of
the
work,
the
trilled
dotted
eighth
with
two
thirty‐second
notes
%--.(./%0&1
used
in
mm.
50,
66,
87,
118,
119
and
145
of
the
solo.
He
uses
+$#, this
rhythm,
%&'($)$#"
34
720, interspersed,
with
running
sixteenth
notes,
causing
the
melody
to
sound
familiar,
yet
different
at
the
same
time.
720,
35
!"#%& !"#$ 36
'())**+
720,
Example
3.13.
M.
50
of
the
bassoon
solo
(right)
and
m.
4
of
the
cadenza
(left).
Rhythms
used
to
homogenize
the
use
of
familiar
motives
with
new
material
in
the
cadenza.
The
use
of
familiar
motives
also
comes
back
in
m.
12‐15
of
the
cadenza.
The
interplay
between
a
set
of
high
and
low
tones
to
create
the
effect
of
two
voices
singing
at
the
same
time
and
interrupting
one
another
is
used
twice
within
the
concerto.
!"##$
71
!"##$
%$Example
3.14.
Mm.
61‐63
of
the
bassoon
solo.
The
interplay
of
high
and
low
voices
is
emulated
in
mm.
12‐15
of
Mr.
Ludwig’s
cadenza.
Mr.
Ludwig
uses
a
mix
of
old
and
new
materials
to
create
his
cadenza,
and
ends
it
with
a
trill
on
the
second
scale
degree
with
a
Nachschlag
to
the
tonic
of
the
home
key
to
usher
in
the
return
of
the
orchestra.
In
this
respect
his
conforms
to
something
Mozart
might
have
written
if
he
had
made
a
cadenza
for
K.
191.
There
is
some
overuse
of
rhythmic
motives,
such
as
the
trilled
eighth
with
thirty‐second
notes
in
mm.4‐5,
the
interplay
of
high
against
low
notes
in
mm.
12‐15,
and
the
sixteenth
note
passages
in
mm.
17‐18.
However,
Mr.
Ludwig
use
of
these
motives
to
propel
his
modulation
forward
without
creating
something
that
does
not
sound
like
the
body
of
the
concerto.
The
thirty‐second
note
passage
in
mm.
4‐5
leads
to
g
minor,
and
the
sixteenth
note
passage
in
mm.
17‐18
is
to
reaffirm
the
solid
entry
back
into
B‐flat
major
before
the
cadential
trill
into
the
tutti
passage
at
the
end
of
the
cadenza.
The
range
of
the
bassoon
falls
well
within
what
a
Classical
bassoon
could
reasonably
play.
There
are
two
areas
that
might
be
of
concern,
the
first
being
the
F‐ sharp2
to
G2
trill
in
m.
5.
The
low
F‐sharp2
was
an
unstable
note
that
might
need
some
embouchure
adjustment
or
difficult
fingerings,
so
this
trill
might
not
be
feasible
on
all
instruments.
The
second
problem
area
is
potentially
the
low
B‐ natural1
to
low
B‐flat1
in
m.
15.
The
low
B‐natural1
did
not
exist
as
a
key
on
the
72
Classical
bassoon,
and
great
changes
in
embouchure
to
facilitate
the
pitch
were
needed.
If
it
were
a
tongued
note
it
might
not
be
as
difficult
or
as
noticeable,
but
a
pitch
change
during
this
slur
might
have
made
audible
something
more
like
a
modern
pitch
bend
technique.
However,
in
the
context
of
modern
composition,
it
works
well
as
a
chromatic
passing
tone
to
settle
back
on
B‐flat1
and
the
return
of
the
home
key.
3.5.
Miles
Maner
3.5.1.
Biography
Miles
Maner
is
one
of
the
newest
members
of
the
Kansas
City
Symphony,
playing
associate
principal
bassoon
and
contrabassoon.
He
has
been
distinguished
as
the
principal
bassoonist
of
the
Breckenridge
Music
Festival,
and
previously
has
attended
the
Pacific
Music
Festival,
the
Tanglewood
Music
Center,
the
National
Repertory
Orchestra,
the
International
Festival‐Institute
at
Round
Top,
and
the
Texas
Music
Festival.
Mr.
Maner
studied
at
Rice
University
with
Benjamin
Kamins
and
the
University
of
Texas
with
Kristin
Wolfe
Jensen.
3.5.2.
Analysis
The
introduction
to
Miles
Maner’s
first
movement
cadenza
directly
quotes
five
measures
of
the
body
of
the
work,
before
branching
off
into
his
own
composition.
While
many
of
the
other
cadenzas
studied
take
their
quotes
from
earlier
in
the
work,
Mr.
Maner’s
quote
is
placed
only
seventeen
measures
after
where
the
material
was
pulled
from
the
work.
73
!"##$
%$
Example
3.15.
Mm.
138‐142
of
bassoon
solo,
directly
quoted
in
the
opening
measures
of
Mr.
Maner’s
cadenza.
While
there
is
no
precedent
stated
in
treatises
or
to
be
concluded
within
Mozart’s
own
cadenza
writings,
it
is
not
frequent
that
material
this
close
to
the
cadenza
be
repeated
within
it.
Mozart
did
not
use
direct
quotes
without
alterations
during
this
time
in
his
career,
leading
this
composition
to
be
a
bit
outside
of
his
stylistic
realm,
although
this
is
a
modern
way
of
ensuring
the
cadenza
sounds
related
to
the
movement
within
which
it
is
placed.
Mm.
143
of
the
solo
and
m.
6
of
the
cadenza
are
identical
to
the
concerto
as
well,
except
Mr.
Maner
has
transposed
it
down
an
octave.
It
is
after
these
measures
that
he
begins
his
original
composition.
The
cadenza
fits
well
within
the
Classical
bassoon
technical
possibilities
and
range,
with
the
exception
of
one
note.
The
high
D‐flat5
in
m.
9
is
one
that
might
not
be
easily
facilitated
due
to
embouchure
and
finger
changes.
This
is
beginning
to
go
above
the
range
of
some
instruments
of
the
time.
The
second
movement
cadenza
starts
off
with
another
direct
quote
from
the
bassoon
solo,
but
this
time
it
is
much
shorter,
emulating
only
the
opening
three
beats
of
the
solo
line.
From
here
he
begins
to
play
with
the
tonality,
introducing
F‐ sharps
and
E‐flats,
leading
to
a
G‐minor
pitch
center.
From
here
a
C‐sharp
is
added,
and
the
F‐sharp
and
E‐flat
are
taken
away,
leading
toward
D‐minor.
The
modulations
are
completed
and
the
cadenza
returns
to
F
major
in
the
final
measure
74
of
the
cadenza,
with
the
traditional
trill
leading
to
the
Nachschlag
and
the
return
of
the
tonic.
The
reoccurring
use
of
the
opening
motive
of
the
theme
through
the
cadenza
is
something
that
is
not
concurrent
with
period
practice.
Themes
were
to
be
briefly
visited
and
then
new
areas
explored,
but
the
doted
quarter
and
three
eighth
notes,
with
the
second
eighth
ornamented
by
a
grace
note,
appears
in
two
instances
in
the
cadenza.
This
might
exclude
it
from
they
style
of
Mozart.
Mr.
Maner’s
main
purpose
of
using
the
motive
was
to
help
propel
his
modulations;
the
F‐sharp
leading
to
g‐ minor
is
introduced
with
the
opening
motive,
and
the
F‐sharp
is
also
taken
away
in
this
motive
when
the
cadenza
begins
to
modulate
once
again.
Within
the
confines
of
the
capabilities
of
the
Classical
bassoon,
this
cadenza
falls
within
a
very
accessible
range.
The
large
leaps
in
the
second
and
third
measures
might
be
difficult
due
to
embouchure
changes,
but
the
free
nature
of
cadenzas
would
allow
a
bassoonist
to
work
around
these
problems
and
make
them
musical.
3.6.
Carol
McNabb
3.6.1.
Biography
Dr.
Carol
McNabb
Goodwin
is
an
associate
professor
at
University
of
Texas
Brownsville
and
Texas
Southmost
College,
where
she
has
taught
since
1999.
She
teaches
double
reeds,
music
theory
and
aural
skills,
serves
as
theory
and
aural
skills
coordinator,
and
directs
the
Scorpio
Consort,
an
early
music
ensemble.
Dr.
McNabb
Goodwin
holds
degrees
in
bassoon
performance
from
the
University
of
North
Texas,
the
University
of
Louisiana
at
Monroe,
and
the
University
75
of
Arizona.
She
has
performed
for
over
twenty
years
in
orchestras
such
as
the
Fort
Worth
Symphony
and
Opera
Orchestras,
the
Shreveport
Symphony,
the
Tucson
Symphony,
and
at
the
Arizona
Music
Festival
in
Scottsdale,
Arizona.
She
performs
regularly
with
the
Valley
Symphony
(Edinburg,
Texas)
and
is
an
active
chamber
musician.
She
has
performed
and
lectured
at
several
Texas
Music
Educators
Association
conferences
as
well
as
at
the
South
Central
Region
College
Music
Society
Conferences.
3.6.2.
Analysis
Carol
McNabb’s
cadenza
for
the
first
movement
of
the
Mozart
Bassoon
Concerto
starts
as
many
seen
previously,
with
a
quotation
of
the
opening
bassoon
solo
motive,
from
where
it
moves
onto
original
material.
After
the
fermata
in
the
third
measure,
the
pattern
of
two
low
eighth
notes
and
two
high
eighth
notes,
the
two
voices
in
conversation,
is
used
from
the
body
of
the
work,
and
is
also
repeated
in
mm.
12‐13.
This
particular
use
of
the
eighth
notes
is
the
one
way
in
which
this
cadenza
overuses
a
rhythmic
pattern,
according
to
Classical
treatises.
However,
Dr.
McNabb
uses
this
motive
to
lead
to
the
F‐sharp
in
m.
5,
a
catalyst
for
the
transition
to
g‐minor.
Mm.
8
and
10
are
a
play
on
the
motives
heard
after
the
exposition
of
the
concerto.
In
the
concerto,
there
is
a
large
upward
leap
of
an
octave,
followed
by
a
cascade
of
four
eighth
notes.
Here,
Dr.
McNabb
plays
with
the
interval,
making
it
a
tenth,
but
then
following
the
same
motivic
pattern
as
occurs
in
the
movement.
$#!%
345%
=
.+-,(
76
$#!%
&,,(-%
9
345%
Example
3.16.
Mm.
8‐11
of
the
cadenza,
using
motives
pulled
from
mm.
80‐81
of
the
Bassoon
Concerto.
12 345% /
10
!"!!#
This
cadenza
flirts
with
moments
of
G‐minor
and
G‐major
tonality,
but
is
345% primarily
focused
on
the
home
key
of
B‐flat
major.
The
ending
is
not
completely
in
0 0
line
with
period
practice,
or
with
Mozart’s
style
of
composition
during
the
time
the
Bassoon
Concerto
was
written.
Traditionally,
the
ending
trill
would
be
on
the
second
degree
of
the
scale,
which
this
cadenza
does,
but
then
a
Nachschlag
would
lead
to
the
tonic
and
reentrance
of
the
orchestra.
In
this
case,
Dr.
McNabb
utilizes
both
upper
and
lower
neighbor
tones,
using
a
B‐flat3
and
a
D4,
in
a
modern
variant
of
a
Nachschlag
turn
to
return
back
to
B‐flat
major.
While
this
cadenza
does
make
good
use
of
motivic
transformation,
the
overuse
of
the
eighth
note
rhythm,
as
well
as
the
non‐traditional
return
to
the
orchestral
ending
is
not
completely
in
line
with
Classical
practice,
nor
what
Mozart
exhibited
in
his
writings,
but
are
techniques
that
are
seen
in
modern
composition
that
imitates
Classical
style.
3.7.
Laurie
Hatcher
Merz
3.7.1.
Biography
Laurie
Hatcher
Merz
began
teaching
bassoon
at
St.
Cloud
State
in
2006
and
has
been
a
professor
of
bassoon
at
Augsburg
College
since
2002.
She
is
presently
/
/
77
second
bassoon
in
the
Minnesota
Opera
Orchestra,
and
a
busy
freelance
player
in
the
Twin
Cities.
She
performs
educational
outreach
programs
with
her
wind
trio,
The
Second
Winds,
and
substitutes
in
the
Minnesota
and
St.
Paul
Chamber
Orchestras.
In
2003
she
was
awarded
the
Classic
Lake
Conference
Fine
Arts
Award
in
teaching,
performing,
and
community
service.
3.7.2.
Analysis
This
cadenza
for
the
second
movement
is
quite
unique
in
that
it
does
not
pull
any
material
from
the
body
of
the
movement
until
the
very
end.
After
the
fermata
in
m.
4,
the
material
for
the
sixteenth
notes
is
pulled
lightly
from
the
orchestra,
which
uses
this
similar
motive
throughout
the
work.
As
this
sixteenth
note
passage
occurs
three
times
in
a
row
and
is
comprised
almost
entirely
of
the
same
rhythm,
it
falls
out
of
adherence
to
period
practice.
Ms.
Merz
primary
use
of
this
motive
is
to
show
off
,8/6.#398*5-.#8
the
range
of
the
bassoon.
It
expands
two
octaves
in
m.
4
to
three
octaves
in
mm.
6‐7,
12#343567-*/6 , -./ while
still
using
a
familiar
motive
of
the
concerto
to
make
these
virtuosic
displays
of
range
fit
stylistically
in
to
the
cadenza.
(6))88*
For
the
motive
in
mm.
9‐10,
Ms.
Merz
pulls
from
the
body
of
the
work
to
give
inspiration
and
form.
It
is
a
rhythmic
augmentation
and
tonal
transposition
of
ideas
% ()*+
that
occurred
in
mm.
32‐33,
with
some
slight
alterations
and
interjections.
0 ()*+
&
()*+ %
%
Example
3.17.
Mm.
9‐10
of
the
cadenza,
utilizing
material
in
mm.
32‐33
of
the
solo.
!"#$
''
()*+
78
The
range
of
the
Classical
bassoon
is
pushed
to
its
highest
common
limits
by
using
the
high
C5
in
m.
10,
and
the
high
D5
in
m.
11
might
not
be
attainable
on
all
period
instruments.
Instead
of
the
traditional
Nachschlag
to
return
to
the
home
key
after
the
cadential
trill,
Ms.
Merz
instead
uses
a
pattern
of
thirty‐second
notes
to
create
a
turn
into
the
final
F.
This
is
not
completely
in
line
with
what
the
treatises
advocated,
nor
how
Mozart
traditionally
ended
his
cadenzas,
but
can
be
seen
as
a
modern
way
of
ornamenting
the
return
to
the
orchestral
tutti.
3.8.
Frank
Morelli
3.8.1
Biography
First
introduced
to
bassoon
through
the
public
school
music
programs
in
Massapequa,
New
York,
Frank
Morelli
has
grown
to
have
an
illustrious
career
as
a
bassoonist.
He
studied
with
Stephen
Maxym
at
the
Manhattan
and
Juilliard
Schools
of
Music,
and
was
the
first
bassoonist
to
be
awarded
a
doctorate
by
the
Juilliard
School.
Chosen
as
a
successor
to
his
teacher,
Stephen
Maxym,
Mr.
Morelli
is
currently
the
professor
of
bassoon
at
the
Julliard
School
of
Music,
the
Yale
School
of
Music,
and
State
University
of
New
York
at
Stony
Brook.
Mr.
Morelli
has
published
many
works
for
bassoon
and
woodwinds,
including
his
Eingänge
and
Cadenzas,
which
are
published
through
TrevCo
Music
(www.trevcomusic.com),
and
therefore
not
included
in
the
appendix.
His
performance
of
the
Mozart
Bassoon
Concerto
can
be
heard
on
the
Orpheus
Chamber
Orchestra
recording,
available
through
Deutsche
Grammophon.
3.8.2.
Analysis
79
Mr.
Morelli
provides
Eingänge
for
the
first
and
third
movements,
as
well
as
cadenzas
for
the
first
and
second
movements
of
the
Mozart
Bassoon
Concerto,
K.
191.
For
all
references
to
his
cadenzas,
please
buy
his
publication
available
through
TrevCo
Music,
and
listen
to
the
recording
available
through
Deutsche
Grammophon.
The
first
movement
Eingang
is
based
on
motivic
elements
heard
in
mm.
45‐
46
and
mm.
112‐113
of
the
concerto,
the
arpeggiated
sixteenth
notes:
#$
%&''(()
!!"
Example
3.18.
Mm.
45‐56
and
mm.
112‐113
of
the
bassoon
solo.
The
arpeggio
motive
is
taken
and
used
in
the
Eingang
in
m.
97.
While
there
are
no
resources
to
document
whether
unaltered
quotations
of
material
is
stylistically
accurate
or
appropriate,
it
can
be
noted
that
Mr.
Morelli’s
is
atypical
compared
to
those
already
studied.
The
piano
concerti
by
Mozart
that
have
been
previously
discussed
do
not
rely
heavily
on
exact
quotations,
so
we
may
say
that
this
is
not
consistent
with
what
Mozart
may
have
written
at
this
period
in
his
compositional
life.
However,
the
Eingang
does
stay
solidly
in
the
key
area
and
avoids
all
modulations,
something
treatises
stressed.
The
opening
motive
of
the
first
movement
cadenza
is
a
simplified
version
of
what
occurs
in
the
opening
bassoon
solo;
mm.
35‐37
are
taken
and
put
into
a
simple
descending
eighth
note
arpeggio
to
give
the
ear
a
familiar
starting
point.
From
here,
80
Mr.
Morelli
quotes
descending
sixteenth
note
arpeggio
passages
that
occur
throughout
the
work
in
the
orchestral
accompaniment,
the
last
instance
in
the
tutti
in
m.
152
of
the
work,
right
before
the
bassoon
cadenza.
!"#
%$
Example
3.19.
Mm.
152‐153,
piano
reduction
of
the
orchestral
score.
The
sixteenth
note
arpeggios
are
used
for
motivic
content
in
the
cadenza.
These
sixteenth
note
passages
are
repeated
several
times
in
a
row,
and
would
be
in
disagreement
with
Classical
performance
practice,
however,
in
this
cadenza
they
are
used
to
lead
into
a
modulation.
At
rehearsal
B,
Mr.
Morelli
brings
back
the
opening
bassoon
solo
theme,
but
this
time
in
c
minor.
He
modulates
further
in
rehearsal
D
to
b‐flat
minor,
where
another
theme
from
the
bassoon
solo
is
introduced,
a
play
on
the
sixteenth
note
passages
that
occur
in
mm.
50‐54
and
mm.
119‐124.
Like
the
sixteenth
note
passage
discussed
based
on
the
orchestral
motives,
this
motive
in
b‐flat
minor
extends
eighteen
measures,
something
that
would
not
have
been
considered
appropriate
in
Classical
style
due
to
the
excessive
repetition
of
a
motive
without
break.
The
main
purpose
of
this
passage
of
repeating
sixteenth
notes
is
to
propel
the
cadenza
back
to
a
less
remote
tonal
center,
but
keeping
a
familiar
motive
so
the
music
does
not
sound
too
far
removed
from
the
movement
of
the
concerto.
81
The
final
passage
at
rehearsal
E
is
based
on
one
of
the
last
melodies
played
by
the
solo
bassoon
before
the
cadenza
in
m.
146:
!"##$
%$Example
3.20.
M.
143
of
the
bassoon
solo,
right
before
the
cadenza.
This
sixteenth
note
passage
is
the
basis
rehearsal
E
of
the
cadenza.
The
cadenza
ends
with
a
traditional
trill
on
the
second
scale
degree
with
a
Nachschlag
to
the
tonic
and
re‐entrance
of
the
orchestra.
While
there
might
be
a
bit
too
much
reliance
on
motivic
material
from
the
body
of
the
concerto,
as
well
as
too
much
repetition
of
these
motives
(used
as
to
make
smooth
tonal
transitions),
the
style
of
modulating
and
the
key
areas
reached
is
something
Mozart
that
could
have
reasonably
penned.
This
cadenza
would
be
easily
facilitated
on
the
Classical
bassoon,
with
one
possible
area
of
exception.
In
the
measures
leading
up
to
rehearsal
D,
low
D‐flat2
occurs
twice,
which
was
used
to
help
set
up
the
b‐flat
minor
key
area.
As
this
is
a
difficult
note
needing
a
complicated
half
hole
fingering
or
a
great
deal
of
embouchure
change,
this
could
be
hard
to
accurately
execute,
especially
the
slur
from
low
C2.
The
second
movement
cadenza
opens
with
a
new
theme,
a
previously
unheard
sixteenth
note
melody,
and
mixes
in
fragmented
and
rhythmically
augmented
quotes
from
the
opening
bassoon
solo
motive.
Rather
than
a
sixteenth
82
grace
note
embellishing
two
eight
notes
slurred
together,
Mr.
Morelli
changes
it
to
a
sixteenth
grace
note
embellishing
two
slurred
quarter
notes,
keeping
the
quoted
pitches
the
same
as
in
the
body
of
the
concerto.
The
grace
note
motive
is
called
upon
several
times,
but
it
is
spread
amongst
other
rhythmic
and
melodic
passages
so
it
is
not
heard
too
frequently
in
succession.
Other
than
this
small
quote,
the
cadenza
is
highly
original.
This
cadenza,
based
on
its
shortness
and
its
minimal
reliance
on
motives
from
the
body
of
the
movement
could
be
seen
as
very
in
line
with
the
style
of
Mozart
during
his
Italian
years.
There
is
only
one
small
passage
that
could
potentially
keep
this
cadenza
from
being
highly
historically
accurate,
and
that
is
the
slur
from
the
low
D‐flat2
to
the
low
B‐flat1,
then
rising
to
the
B‐natural1
just
prior
to
the
second
fermata.
As
has
been
previously
stated,
the
embouchure
and
finger
changes
needed
to
facilitate
the
D‐flat2
are
quite
complex,
and
this
is
only
heightened
when
the
note
is
slurred
to.
Even
though
low
B‐natural1
is
used
as
a
chromatic
passing
tone
to
the
fermata
on
C1,
it
poses
the
same
problems
of
embouchure
as
the
D‐flat2,
but
in
this
case
it
is
a
tongued
note
and
would
be
easier
to
facilitate
than
if
it
were
slurred
to.
The
third
movement
Eingang
is
very
similar
to
that
of
the
first
movement
in
that
it
quotes
from
the
body
of
the
work
it
is
contained
within.
The
triplet
rhythm
is
taken
from
early
in
the
movement,
in
the
bassoon
introductory
solo.
"#$$%%&
! !
!
!
!
!
Example
3.21.
Mm.
21‐22
of
the
third
movement
bassoon
solo.
Motive
for
the
beginning
of
the
third
movement
Eingang
is
taken
from
this
melody.
83
Once
again,
there
is
no
precedent
stated
that
material
from
the
body
of
the
work
cannot
be
directly
quoted
in
an
Eingang,
but
it
is
not
usually
seen
nor
was
it
exhibited
in
Mozart’s
works
from
the
time
the
bassoon
concerto
was
written.
The
one
thing
that
might
be
said
to
be
stylistically
inaccurate
is
the
fermata
after
the
triplet
section.
As
Eingang
were
meant
to
be
short,
improvisatory
flourishes
to
bring
back
a
melody,
a
fermata
could
potentially
extend
it
past
these
specific
guidelines.
Mr.
Morelli
used
this
fermata
to
set
up
a
large
leap
of
almost
two
octaves,
and
by
approaching
the
leap
in
such
a
manner
it
would
be
easier
to
facilitate
on
the
Classical
bassoon
by
having
ample
preparation
time
between
notes.
3.9.
Rebecca
Noreen
3.9.1.
Biography
Rebecca
Noreen,
bassoonist,
was
a
winner
of
the
Artist
International
Competition
in
New
York
City
with
the
Kammer
Quintet
which
appeared
in
two
recitals
in
Carnegie
Recital
Hall.
She
graduated
with
a
Masters
in
Music
from
Manhattan
School
of
Music
and
from
Western
Washington
University
where
she
obtained
a
Bachelors
of
Art
and
a
Bachelors
of
Music.
Ms.
Noreen
performs
with
the
Hartford
Symphony
Orchestra,
the
Eastern
Connecticut
Symphony,
and
the
Rhode
Island
Philharmonic.
She
is
also
a
former
member
of
the
New
Haven
Symphony
and
the
United
States
Coast
Guard
Band.
She
performs
with
many
choral
groups
in
the
area
such
as
the
Stonington
Choral
Society,
Con
Brio,
and
the
Mystic
River
Choral.
She
also
is
principal
bassoonist
of
the
Hartford
Festival
Orchestra,
which
puts
on
programs
such
as
Guitar
Under
the
Stars
and
Opera
al
Fresco
at
the
Hartford
84
Riverfront
Plaza.
Her
chamber
music
ventures
include
the
Prism
Trio
and
the
Laurel
Double
Reed
Ensemble.
Ms.
Noreen
is
an
instructor
of
bassoon
at
Connecticut
College,
Hartt
School
Community
Division,
and
was
instructor
at
the
University
of
Rhode
Island
for
seventeen
years.
She
also
has
attended
the
Waterloo
Festival
and
played
with
members
of
the
New
York
Philharmonic
Orchestra
under
the
conductor
Gerard
Schwartz.
In
Graz,
Austria
she
performed
in
the
Opera
Orchestra
of
the
American
Institute
of
Musical
Studies.
Her
instructors
include
Stephen
Maxym,
Jane
Taylor,
Mark
Eubanks,
Matthew
Ruggiero,
Bruce
Grainger,
and
Gregg
Henegar.
3.9.2.
Analysis
In
her
first
movement
cadenza,
Rebecca
Noreen
opens
with
a
motive
that
is
familiar
to
many
cadenza
that
have
already
been
discussed,
a
play
on
the
opening
motives
of
the
bassoon
solo
exposition.
From
here
she
incorporates
some
new
ideas,
using
arpeggios
that
have
not
been
heard
in
the
body
of
the
work,
but
sound
reminiscent
of
something
that
could
have
happened,
something
Mozart
used
extensively
in
his
piano
cadenzas.
In
mm.
9‐12,
she
plays
with
a
motive
seen
early
in
the
work,
the
interplay
of
upper
voices
playing
eighth
notes
mixed
with
lower
voices
playing
eighth
notes,
the
bassoon
theme
that
sounds
like
to
voices
interrupting
each
other.
!"##$
%$
Example
3.22.
M.
141
of
bassoon
solo,
used
for
material
present
in
mm.
9‐12
of
cadenza.
85
This
section
of
eighth
notes
is
then
followed
by
a
long
passage
of
sixteenth
notes,
leading
into
the
cadential
trill.
Ms.
Noreen
does
not
end
it
with
the
expected
Nachschlag,
but
rather
introduces
a
series
of
eighth
notes
on
the
pitch
C4,
and
then
a
Nachschlag‐like
sixteenth
note
passage
into
the
orchestral
tutti.
This
is
outside
of
period
practice
and
what
Mozart
would
have
written
in
his
cadenzas
at
this
period
of
his
career.
Ms.
Noreen’s
ornamentation
is
an
upper
and
lower
ornamentation
of
the
C4
prior
to
the
orchestra
re‐entrance
to
end
the
concerto.
Due
to
the
notation
of
the
cadenza,
the
ending
of
Ms.
Noreen’s
work
appears
a
bit
ambiguous,
leading
the
orchestra
in
on
beat
three
of
the
measure.
The
tutti
should
be
on
the
downbeat,
and
would
make
more
sense
if
it
appeared
as:
$#!%
!"!!#
&'(())*
Example
3.23.
Reworked
ending
of
Ms.
Noreen’s
first
movement
cadenza
to
show
proper
notation
that
would
correctly
reintroduce
the
orchestra.
Overall,
the
cadenza
would
have
fit
well
on
the
Classical
bassoon,
with
the
possible
exception
of
the
low
B‐natural1
in
m.
8.
As
stated
by
fingering
charts
of
bassoons
from
this
time
period,
the
need
to
change
the
pitch
with
embouchure
would
have
made
it
difficult,
especially
when
slurring
and
trying
not
create
a
pitch
bend
effect.
3.10.
Scott
Oakes
86
3.10.1.
Biography
Scott
Charles
Oakes
currently
serves
as
assistant
professor
of
bassoon
at
Wichita
State
University,
principal
bassoon
of
the
Wichita
Symphony,
and
bassoonist
of
the
Lieurance
Woodwind
Quintet.
Previously,
Mr.
Oakes
held
positions
as
principal
bassoon
with
the
Quad
City
Symphony
(Davenport,
Iowa)
and
Rockford
Symphony
(Illinois),
and
was
a
member
of
both
the
Illinois
Symphony
and
Illinois
Philharmonic.
Additionally,
Mr.
Oakes
has
performed
with
numerous
orchestras
in
the
Chicago
area
and
the
upper
Midwest,
including
the
Chicago
Chamber
Orchestra,
the
Symphonies
of
Green
Bay,
Elgin
Lake
Forest,
Northwest
Indiana,
South
Bend,
New
Millennium
Orchestra
of
Chicago,
and
the
Wisconsin
Chamber
Orchestra,
Also
an
opera
bassoonist,
Mr.
Oakes
has
played
with
the
Wichita
Grand
Opera,
Opera
Illinois,
Des
Moines
Metro
Opera,
Elgin
Opera,
Chicago
Cultural
Center,
and
L’Opera
Piccola
of
Chicago.
Other
engagements
have
included
performances
with
the
Aspen
Festival
Orchestra
and
Chamber
Symphony,
Ravinia
Festival,
Southern
Illinois
Music
Festival,
and
the
Great
Performers
of
Illinois
festival
in
Millenium
Park,
Chicago.
Mr.
Oakes
holds
a
Master
of
Music
degree
from
the
DePaul
University
School
of
Music
and
a
Bachelor
of
Music
degree
from
the
University
of
the
Pacific
Conservatory
of
Music.
His
principal
teachers
were
William
Buchman
of
the
Chicago
Symphony
and
Dr.
Donald
DaGrade.
3.10.2.
Analysis
87
The
beginning
of
Scott
Oakes
second
movement
cadenza
for
the
Mozart
Bassoon
Concerto
starts
out
with
a
statement
that
is
first
heard
in
the
orchestra
in
m.
3‐4.
"#$%&
!
Example
3.24.
Piano
reduction
of
mm.
3‐4
of
orchestral
introduction
to
second
movement.
This
is
used
in
the
opening
of
the
cadenza
with
slight
modifications.
This
use
of
orchestral
themes
that
are
not
seen
in
the
solo
part
is
something
that
was
exhibited
by
Mozart
in
some
of
his
piano
cadenzas
at
this
time,
so
it
is
very
much
in
line
with
his
style
of
composition.
After
the
two
beat
rest
in
the
cadenza,
the
bassoon
repeats
its
melody
from
its
opening
motive
in
m.
7,
and
then
proceeds
to
introduce
new
material
that
has
not
been
seen
in
the
movement
or
the
cadenza.
Mr.
Oakes
stated
this
new
material
is
based
on
Mozart’s
first
Violin
Concerto.
There
is
no
precedent
for
quotations
of
another
work
within
the
cadenza,
but
since
Mozart
did
not
do
this
and
there
was
a
high
level
of
emphasis
placed
upon
originality
in
the
composition
and
execution
of
a
cadenza,
this
can
reasonably
be
said
to
be
outside
the
confines
of
Classical
performance
practice.
Mr.
Oakes
states
that
he
used
this
material
because
the
first
88
Violin
Concerto
and
the
Bassoon
Concerto
were
written
in
such
close
proximity
to
each
other,
and
they
are
very
similar
in
style.
The
thirty‐second
and
sixteenth
note
passage
Mr.
Oakes
uses
in
his
cadenza
A0@+&#)4+((005)B05%'�
are
pulled
from
mm.
13
and
38
of
the
second
movement.
This
is
a
good
usage
of
this
=>#)2)%+?'5@+
theme
as
it
only
appears
twice,
which
is
what
many
treatises
stated
to
be
the
maximum
number
of
times
motives
and
themes
should
occur
in
a
row.
4+((005
1
!"##$$% -,,'/&0
< Example
3.25.
Motive
from
m.
13
of
concerto,
used
for
thematic
material
in
cadenza.
4(5.
The
material
in
the
anacrusis
to
m.
20
of
the
cadenza
is
also
pulled
from
a
motive
7
occurring
from
the
body
of
the
work,
the
bassoon
solo
line
in
mm.
9
and
32.
4(5.
89
4(5.
Example
3.26.
Material
from
the
cadenza
that
Mr.
Oakes
pulls
from
the
thirty‐second
note
theme
in
m.
9
of
the
bassoon
solo.
26 4(5.Starting
with
the
quarter
notes
after
the
last
fermata
of
the
cadenza,
Mr.
Oakes
%&'(%)-%%',
quotes,
with
some
alterations
of
pitch
and
interval,
the
melody
of
mm.
15‐17.
21 4(5.
!"##$
%$
89
Example
3.27.
Mm.
15‐17
occur
in
modified
form
within
the
closing
measures
of
the
cadenza.
The
last
quote
of
the
cadenza
comes
from
the
end
of
the
second
movement
of
the
concerto.
The
flourish
of
notes
of
the
bassoon
solo
in
m.
47,
right
before
the
introduction
of
the
cadenza,
is
exactly
quoted
in
m.
27.
The
cadential
trill
is
as
Mozart
would
have
written
it,
but
instead
of
a
Nachschlag,
Mr.
Oakes
has
put
in
a
flourish
of
upper
and
lower
neighbor
tones.
This
is
an
ornamented
variation
on
a
traditional
ending.
This
cadenza
lies
well
within
the
confines
of
Classical
bassoon
ability.
The
low
C‐sharp2
sixteenth
note
that
is
slurred
to
the
G2
at
the
beginning
of
the
cadenza
is
the
only
problematic
note
that
would
be
difficult
on
a
period
instrument.
Mr.
Oakes
uses
this
as
a
passing
tone,
starting
with
the
first
note
of
each
sixteenth
note
grouping,
from
C2
to
C‐sharp2
and
finally
to
D2.
3.11.
Will
Peebles
3.11.1.
Biography
Dr.
Will
Peebles
teaches
bassoon
and
serves
as
the
director
of
the
Western
Carolina
University
School
of
Music.
He
has
taught
courses
in
music
theory,
history,
and
world
music,
as
well
as
established
Western’s
Low
Tech
Ensemble,
which
performs
on
Balinese,
Javanese,
and
Sudanese
gamelan.
Having
focused
his
doctoral
work
on
the
historical
development
of
bassoon
fingering
systems,
Dr.
Peebles
has
collected
many
historical
instruments
over
the
90
years
including
reproductions
of
Renaissance
instruments
such
as
the
crumhorn
and
racket,
to
antique
bassoons
from
the
early
nineteenth
century.
Dr.
Peebles
maintains
an
active
performing
career,
appearing
in
faculty
recitals
on
campus
and
in
the
area.
He
regularly
plays
with
the
Asheville
(North
Carolina)
Symphony
and
occasionally
performs
with
the
Charleston
and
Greenville
Symphonies
(South
Carolina),
Jacksonville
Symphony
(Florida),
Grand
Rapids
Symphony
(Michigan),
August
Symphony
(Georgia),
Charlotte
and
Western
Piedmont,
Brevard
and
North
Carolina
Symphonies
(North
Carolina).
Before
coming
to
Western
Carolina,
Dr.
Peebles
taught
music
history
at
Michigan
State
University,
bassoon
at
Albion
College,
and
played
nine
years
in
the
Grand
Rapids
Symphony.
He
also
performed
occasionally
with
orchestra
around
Michigan,
including
the
Lansing,
Kalamazoo,
Battle
Creek,
Detroit,
Jackson,
and
West
Short
Symphony
Orchestras.
3.11.2.
Analysis
Dr.
Will
Peebles
provides
us
with
a
cadenza
for
the
second
movement
of
the
concerto,
and
starts
it
off
by
quoting
the
opening
motive
of
the
bassoon
solo
in
m.
7,
and
then
transposes
it
upward
three
times.
This
is
one
time
more
than
is
recommend
by
treatises
from
the
Classical
period.
His
purpose
for
using
this
motive
three
times
is
to
raise
the
tension
of
the
music,
before
releasing
it
when
moving
to
a
new
motive
in
m.
4.
His
next
motive,
in
m.
4,
utilizes
the
same
orchestral
context
as
that
of
Mr.
Oakes,
the
triplet
sixteenth
notes
leading
into
a
quarter
note.
From
here
Dr.
Peebles
quotes,
with
alterations
of
pitch,
mm.
31‐32
of
the
concerto.
!"##$
%$
91
Example
3.28.
The
sixteenth
notes
in
m.
31‐32
of
the
bassoon
solo
are
used
as
basis
for
m.
6‐8
of
the
cadenza.
The
thirty‐second
note
passage
in
m.
8‐9
of
the
cadenza
is
started
with
and
based
on
the
motive
of
the
thirty‐second
notes
in
m.
32.
From
here
we
have
completely
new
material
that
has
not
yet
been
seen
in
the
work.
Dr.
Peebles’
use
of
chromaticism
in
this
new
section
is
not
necessarily
supported
by
either
Mozart’s
early
compositional
style,
nor
Classical
treatises,
but
it
does
serve
as
an
effective
way
to
get
back
to
F
major
without
a
drawn
out
series
of
modulations.
The
turns
in
m.
12
are
taken
from
the
turn
in
m.
10
and
m.
33
of
the
concerto,
and
propel
the
cadenza
back
to
the
reentrance
of
the
orchestra.
The
traditional
Nachschlag
is
not
used,
but
rather
a
written
out
turn
to
lead
the
orchestra
back.
!"##$
%$Example
3.29.
The
turn,
a
crucial
element
in
the
body
of
the
work
here
at
m.
10,
is
utilized
at
the
end
of
the
cadenza.
3.12.
Janet
Polk
3.12.1.
Biography
Janet
Polk
earned
her
bachelor’s
degree
at
the
University
of
Massachusetts
at
Amherst,
and
her
master’s
degree
at
the
University
of
New
Hampshire.
Currently,
92
she
is
principal
bassoon
of
both
the
Vermont
Symphony
Orchestra
and
the
Portland
(Maine)
Symphony
Orchestra.
Her
previous
orchestral
engagements
have
been
the
Springfield
(Mass.)
Symphony,
New
Hampshire
Symphony,
New
Hampshire
Music
Festival
and
Indian
Hill
Symphonies,
and
traveled
to
Honduras
through
the
Partners
of
Americas.
As
a
member
of
the
Block
ensemble,
Ms.
Polk
has
won
prizes
in
the
International
Concert
Artists
Guild
Competition
and
John
Knowles
Paine
competition,
and
has
performed
at
the
Round
Top
Festival
in
Texas.
In
her
solo
career,
Ms.
Polk
has
performed
with
the
Vermont
Symphony,
Portland
Symphony,
Indian
Hill
Symphony,
Dartmouth
Symphony,
UNH
Orchestra,
Northampton
(Mass.)
Chamber
Orchestra,
and
Furman
University
Concert
Band,
and
given
recitals
at
many
New
England
colleges
and
universities.
In
March
2001,
Janet
premiered
Vermont
composer
Gwyneth
Walker’s
Concerto
for
Bassoon
and
Strings,
which
was
composed
especially
for
her.
He
also
premiered
the
Sonata
for
Bassoon
and
Piano
by
Christopher
Kies
in
January
of
2004.
In
addition
to
her
performing
career,
Ms.
Polk
teaches
bassoon
at
the
University
of
New
Hampshire
and
Dartmouth
College.
3.12.2.
Analysis
Ms.
Polk
provides
a
short
cadenza
for
the
second
movement,
one
which
could
fall
into
the
category
of
needing
only
one
breath,
depending
on
how
long
fermatas
were
held,
and
whether
or
not
the
bassoonist
would
choose
to
breathe
around
those
cadenzas.
The
material
is
very
straight
forward,
taking
the
orchestral
lead
in
to
the
cadenza
and
utilizing
it
for
the
opening
cadenza
solo.
93
!"#
%$Example
3.30.
The
orchestral
tutti
lead
in
to
the
bassoon
cadenza
provides
the
opening
material
in
Ms.
Polk’s
cadenza
for
the
second
movement.
The
material
before
the
last
fermata
is
a
transposed
quote
from
the
beginning
of
the
bassoon
solo.
The
cadenza
ends
will
a
trill
on
the
second
scale
degree
and
a
Nachschlag
to
the
tonic
where
the
orchestra
returns,
in
accordance
to
period
style.
This
cadenza
is
quite
short,
and
without
modulation.
Many
of
the
treatises
examined
advocated
shorter
cadenzas
for
woodwind
concerti,
and
also
stated
that
shorter
cadenzas
should
not
modulate,
or
possibly
only
to
a
closely
related
key
and
then
back
again.
By
this
practice,
Ms.
Polk’s
cadenza
is
quite
stylistically
accurate.
However,
the
amount
of
reliance
upon
motives
from
the
body
of
the
cadenza
is
not
something
witnessed
in
the
piano
works
of
Mozart
from
this
time,
and
may
be
seen
as
straying
from
his
compositional
style.
Ms.
Polk
stated
she
wrote
this
when
she
was
very
young,
attending
the
Popkin‐Glickman
Bassoon
Camp,
and
she
wanted
something
that
specifically
quoted
many
features
of
the
work
so
it
would
sound
like
a
cadenza
that
belonged
to
the
movement.
In
terms
of
application
to
the
Classical
era
bassoon,
Ms.
Polk
has
written
a
cadenza
that
fits
the
instrument
very
well.
Both
the
range
and
notes
within
her
94
composition
could
be
easily
executed
by
any
of
the
bassoons
mentioned
in
the
White
article.
3.13.
Scott
Pool
3.13.1.
Biography
Since
the
fall
of
2009,
Scott
Pool
has
been
the
assistant
professor
of
bassoon
at
the
University
of
Texas
at
Arlington.
In
addition
to
the
bassoon
studio
at
UT
Arlington,
Dr.
Pool
teaches
courses
in
music
theory
and
aural
skills.
Before
his
tenure
at
UTA,
he
was
the
associate
professor
of
bassoon
at
Valdosta
State
University
in
Valdosta,
Georgia
from
2002‐2009.
He
has
also
been
the
resident
bassoonist
at
the
Orfeo
International
Music
Festival
in
Vipiteno,
Italy
since
2009.
Dr.
Pool
has
performed
concerts
and
recitals
throughout
the
Americas
and
Europe,
and
has
been
featured
on
National
Public
Radio.
In
his
performance
career,
Dr.
Pool
has
served
as
the
principal
bassoon
of
the
Valdosta
Symphony
Orchestra,
the
Albany
(Georgia)
Symphony
Orchestra,
the
Savannah
Symphony
Orchestra,
and
was
a
bassoonist
with
the
Cypress
Chamber
Players.
He
is
an
active
member
of
the
International
Double
Reed
Society,
with
whom
he
has
given
numerous
conference
performances
and
presentations.
Dr.
Pool
has
performed
with
the
Tucson
Pops,
the
Tucson
Symphony
Orchestra,
the
Orchestra
Symphonica
UANL
of
Monterrey,
Mexico,
and
the
Oklahoma
City
Philharmonic.
He
has
also
been
an
active
musical
participant
in
Oklahoma
City’s
Lyric
Theater
and
the
Arizona
Theater
Company.
Prior
to
completing
the
Doctor
of
Musical
Arts
degree
at
the
University
of
Arizona,
Dr.
Pool
earned
music
degrees
from
the
University
of
Oklahoma
and
the
95
University
of
Central
Oklahoma.
He
has
studied
with
Will
Dietz
of
Tucson,
Arizona,
and
Carl
Rath
of
Oklahoma
City,
Oklahoma.
3.13.2.
Analysis
Like
many
of
the
other
bassoonists
studied
have
done,
Scott
Pool
starts
his
first
movement
cadenza
by
quoting
the
opening
motives
of
the
bassoon
solo.
He
repeats
this
motive
two
times,
interrupting
each
with
a
flourish
of
sixteenth
notes.
The
next
section,
in
m.
9,
takes
it
motivic
content
from
mm.
80‐81
and
mm.
84‐84
of
the
bassoon
solo,
with
a
small
ornamented
interruption
between
the
two
occurrences
of
this
melody.
!"##$
%$Example
3.31.
Mm.
9‐
10
of
the
cadenza,
based
on
mm.
80‐81
of
the
bassoon
solo.
Right
after
this
variation
melody,
Dr.
Pool
takes
a
variation
from
the
same
passage,
the
sixteenth
note
run
in
mm.
82
and
86
directly
following
the
quarter
note
and
eighth
note
motive.
!"##$$%
Example
3.32.
Sixteenth
note
passage
in
m.
82
of
solo,
used
for
motive
in
mm.
13‐14
of
cadenza.
--
'()*
96
-/ The
cadenza
then
falls
into
a
repeated
sixteenth
note
pattern,
leading
up
to
the
'()*
fermata
in
m.
18.
At
m.
19,
Dr.
Pool
quotes
mm.
50‐54
and
120‐124
of
the
bassoon
solo
and
basis
his
cadenza
on
this
for
the
next
five
measures.
-. '()*
%,
'()*
Example
3.33.
Mm.
20‐22
of
the
cadenza,
a
variant
of
mm.
51‐52
of
the
bassoon
solo.
%+ '()*
!"##$
Regarding
performance
practice,
this
cadenza
is
created
from
a
great
deal
of
%&
'()*motivic
content
of
the
solo,
and
is
repeated
far
more
than
the
two
times
condoned
by
Classical
treatises,
but
in
the
modern
context
it
is
used
as
a
catalyst
for
modulation
while
still
retaining
a
rhythmic
motive
of
the
concerto.
This
cadenza
is
also
quite
long
for
what
many
composers
thought
appropriate
for
a
woodwind
instrument;
even
with
unnoticed
breaths
that
do
not
interrupt
the
phrase,
it
is
longer
than
extant
woodwind
examples.
The
range
is
well
within
that
of
the
Classical
era
bassoon,
and
it
does
not
pose
any
specific
fingering
issues
when
moving
between
notes.
However,
the
ending
is
quite
uncommon,
both
for
Classical
practice
and
for
Mozart,
as
there
is
no
trill
or
Nachschlag
leading
to
the
tonic
re‐ entrance
of
the
orchestra.
97
The
second
movement
cadenza
starts
with
an
interrupted
variation
and
rhythmic
augmentation
of
the
bassoon
melody.
The
two
quarter
notes
embellished
with
a
grace
note
are
taken
from
mm.
5‐7
of
the
bassoon
solo.
3'2.4#+5.66''1+7'1-04#'
)*#+,+-./012.
5.66''1
% % Example
3.34.
Opening
measures
of
Mr.
Pool’s
second
movement
cadenza.
The
two
8 with
the
grace
note
embellishment
are
a
rhythmic
augmentation
of
quarter
notes
the
opening
bassoon
solo
melody
for
the
second
movement.
5619
In
mm.
5‐6
of
the
cadenza,
the
ornamentation
is
taken
directly
from
the
solo
line
as
well,
and
repeated.
This
motive
is
repeated
three
times,
leading
it
to
be
outside
the
common
practice
of
the
Classical
era.
!"##$
%$
Example
3.35.
M.
10
of
the
bassoon
solo.
The
dotted
eighth
and
sixteenth
ornamented
by
thirty‐second
note
grace
notes
are
used
as
a
major
motive
in
the
cadenza.
From
here
to
the
end
of
the
cadenza,
Mr.
Pool
utilizes
new
material
to
bring
in
the
return
of
the
orchestra.
While
there
is
still
a
great
deal
of
repetition
within
this
cadenza,
it
is
more
in
line
with
performance
practice
than
the
first
movement
!"##$
98
cadenza.
It
is
much
shorter,
most
certainly
within
the
span
of
a
single
breath,
and
the
cadential
trill
with
the
Nachschlag
is
executed
in
the
style
of
Mozart
as
well
as
other
composers
of
the
Classical
era.
This
cadenza
also
fits
well
into
the
performance
abilities
of
the
Classical
bassoon
as
there
are
no
difficult
fingerings
or
pitches
pushing
the
most
common
range
of
the
instrument.
3.14.
Peter
Simpson
3.14.1.
Biography
Peter
Simpson
studied
bassoon
with
Donald
Rankin
at
the
University
of
Rhode
Island,
Donald
Bravo
at
the
University
of
New
Hampshire,
and
Rudolf
Klepac
at
the
Hochschule
Mozarteum
in
Salzburg,
Austria.
Mr.
Simpson
has
been
the
professor
of
bassoon
at
the
University
of
Kentucky
since
1976,
as
well
as
the
principal
bassoonist
with
the
Lexington
Philharmonic
since
1978.
His
performance
career
is
quite
extensive,
including
engagements
with
the
New
Hampshire
Music
Festival,
the
Goldovsky
Opera
Institute,
the
Louisville
Orchestra,
the
Peninsula
Music
Festival,
the
Lakeside
Symphony,
and
the
Des
Moines
Metro
Opera.
Mr.
Simpson
has
also
spent
time
arranging
woodwind
music.
His
works
are
published
through
International
Opus,
ALRY
Publications,
and
Bocal
Music.
He
has
performed
his
original
arrangements
at
several
International
Double
Reed
Society,
MNTA
and
NACWPI
Conferences.
Mr.
Simpson
has
a
DAT
recording
from
1990
of
his
performance
of
the
Mozart
Bassoon
Concerto
with
the
cadenzas
provided.
Please
contact
him
for
more
information.
3.14.2.
Analysis
99
Peter
Simpson
begins
the
first
movement
cadenza
by
quoting
a
popular
passage
from
the
bassoon
solo,
the
passage
at
mm.
51‐54,
and
its
partner
passage
at
mm.
120‐124.
This
sixteenth
note
passage
in
mm.
1‐4
of
the
cadenza
is
clearly
calling
upon
this
earlier
passage
in
the
work,
leaving
out
the
trilled
quarter
notes.
Example
3.36.
The
beginning
of
Mr.
Simpson’s
cadenza
for
the
first
movement
is
taken
from
the
motive
in
the
bassoon
solo
in
mm.
51‐54
and
120‐122,
omitting
the
trilled
quarter
notes.
After
the
fermata
in
m.
5,
Mr.
Simpson
transforms
a
passage
from
mm.
80‐81
and
mm.
84‐85
of
the
solo
to
create
a
passage
that
sounds
reminiscent
of
Mozart’s
writing,
but
it
is
not
a
direct
quote.
!#
!"
$%&&''(
Example
3.37.
Mm.
80‐81
and
84‐85
of
the
bassoon
solo.
Mr.
Simpson
transforms
this
motive
to
create
a
reminiscent
melody
in
mm.
5‐9
of
his
first
movement
cadenza.
Directly
following
this,
in
mm.
10‐12
of
the
cadenza,
Mr.
Simpson
composes
a
familiar
motive
using
elements
from
the
body
of
the
concerto.
In
mm.
62‐63
and
100
141‐142
we
have
a
seen
a
conversational
eighth
note
motive,
sounding
like
two
voices
singing
together
and
interrupting
each
other.
This
is
altered
in
the
cadenza
by
changing
the
octaves;
rather
than
each
voice
singing
two
notes
before
the
other
interrupts,
the
lower
voice
has
less
melodic
material
in
mm.
10‐12.
Example
3.38.
Mm.
9‐12
of
the
cadenza.
This
is
a
play
on
the
bassoon
solo
passage
in
mm.
62‐63.
The
last
quote
Mr.
Simpson
uses
is
from
the
last
solo
section
of
the
first
movement
of
the
concerto.
In
mm.
14‐15
of
the
cadenza,
he
starts
each
measure
with
two
staccato
eighth
notes,
followed
by
a
quarter.
This
is
a
transposition
of
a
melody
that
occurs
in
mm.
138‐140
of
the
bassoon
solo.
He
uses
new
material
to
interrupt
these
quotes,
and
to
finish
off
the
cadenza.
!"##$
%$Example
3.39.
Mm.
130‐140
of
the
bassoon
solo.
The
staccato
eighths
followed
by
a
quarter
note
passages
are
taken
and
utilized
in
mm.
14‐15
of
the
cadenza.
Mr.
Simpson
ends
the
cadenza
with
the
trill
on
the
second
scale
degree,
stated
as
common
practice
in
treatises
and
in
Mozart’s
own
compositions,
but
he
101
does
not
end
it
with
the
traditional
Nachschlag.
Instead
he
uses
upper
and
lower
neighbor
tones
of
the
second
scale
degree
in
a
modern
version
of
cadential
ornamentation
to
lead
into
the
tonic
and
the
reintroduction
of
the
melody.
Overall,
Mr.
Simpson
relies
quite
heavily
on
material
that
has
been
previously
seen
within
the
first
movement
of
the
concerto,
and
this
material
he
uses
with
quite
a
bit
of
repetition.
This
is
not
standard
with
either
Classical
treatises
or
with
Mozart’s
style
of
composition
from
this
early
part
of
his
career,
but
does
work
well
within
the
confines
of
composition
to
allude
back
to
the
body
of
the
work.
However,
the
writing
style
does
fall
well
within
the
abilities
of
the
bassoon
of
this
period,
posing
few
awkward
finger
motions
between
notes,
and
staying
within
a
range
that
was
easily
accessible
to
players.
In
his
second
movement
cadenza,
Mr.
Simpson
starts
with
an
exact
quote
from
the
opening
motive
of
the
bassoon
solo.
He
leaves
the
first
note
of
the
bassoon
solo
out,
and
after
the
second
eighth
note
rest
he
then
leads
into
completely
new
material
to
put
his
own
originality
into
the
cadenza.
Example
3.40.
The
opening
of
Mr.
Simpson’s
second
movement
cadenza
starts
with
an
exact
quote
from
the
opening
bassoon
solo
in
mm.
7‐8,
leaving
out
a
few
notes,
then
moves
onto
completely
original
material.
In
the
m.
4
of
the
cadenza
(notated
as
m.
23
in
his
score),
he
pulls
a
familiar
motive
from
the
beginning
of
the
solo
as
well,
the
thirty‐second
notes.
He
uses
these
102
in
an
exact
quote,
up
until
the
last
four
thirty‐second
notes
where
he
creates
his
own
material
based
on
this
familiar
motive.
After
a
series
of
sixteenth
note
rests,
he
then
takes
another
quote
from
the
passage
directly
following
the
thirty‐second
note
passage
previous
used,
the
turn
between
the
dotted
eight
note
C4
and
sixteenth
note
D4.
!"##$
%$Example
3.41.
Mm.
9‐10
of
the
bassoon
solo.
Mr.
Simpson
utilizes
both
the
thirty‐ second
notes
and
the
ornamental
thirty‐second
notes,
adding
some
original
material,
to
create
the
ending
of
his
second
movement
cadenza.
Mr.
Simpson
then
ends
the
cadenza
with
a
trill
on
the
second
scale
degree,
leading
to
the
Nachschlag
and
the
return
of
the
orchestra
on
the
tonic.
Like
his
first
movement
cadenza,
Mr.
Simpson
does
use
quite
a
bit
of
quotation
to
fill
up
the
cadenza.
This
goes
against
the
originality
of
new
motives
advocated
by
Classical
treatises,
as
well
as
against
what
Mozart
had
written
in
his
piano
cadenzas
during
this
time,
but
does
do
a
highly
effective
job
of
sounding
as
if
it
belongs
to
the
movement.
Similar
again
to
his
second
movement,
this
cadenza
stays
very
well
within
the
abilities
of
the
Classical
bassoon,
staying
in
a
comfortable
range
and
avoiding
tricky
fingering
passages.
This
cadenza
also
has
the
distinction
of
the
potential
to
be
played
within
the
span
of
a
breath,
something
highly
encouraged
for
woodwind
cadenzas.
3.15.
William
Winstead
103
3.15.1.
Biography
William
Winstead
is
principal
bassoonist
with
the
Cincinnati
Symphony
Orchestra
and
professor
of
music
at
the
Cincinnati
College‐Conservatory
of
Music.
Mr.
Winstead
began
his
musical
training
as
a
pianist
and
composer
before
taking
up
the
study
of
several
wind
instruments,
including
the
oboe
and
the
bassoon.
A
graduate
of
the
Curtis
Institute,
Mr.
Winstead
built
a
career
for
twenty‐five
years
as
a
college
professor,
teaching
bassoon,
piano,
theory,
and
composition
at
West
Virginia
University,
Indiana‐Purdue
University,
Florida
State
University,
the
Oberlin
Conservatory
of
Music
and
now
finally
at
the
Cincinnati
College
Conservatory
of
Music.
He
joined
the
Cincinnati
Symphony
Orchestra
in
1987.
A
former
president
of
the
International
Double
Reed
Society,
Mr.
Winstead
has
served
as
a
member
of
the
National
Endowment
for
the
Arts
Music
Advisory
Panel,
and
now
regularly
appears
at
the
Sarasota
Music
Festival
and
at
the
Marlboro
Music
Festival.
As
a
composer,
he
has
had
works
premiered
by
the
Philadelphia
Orchestra
and
the
Pittsburgh
Symphony.
He
has
received
numerous
commissions,
grants,
and
awards,
including
an
NEA
grant
in
1976
for
a
United
States
bicentennial
work
for
narrator
and
orchestra.
In
addition,
he
collaborated
with
Sol
Schoenbach
in
publishing
three
volumes
of
solo
bassoon
music.
Mr.
Winstead’s
recording
of
the
Mozart
Bassoon
Concerto,
with
his
original
cadenzas,
is
not
available
for
commercial
sale
through
any
major
recording
label.
However,
those
interested
in
hearing
it
should
contact
him
directly
to
purchase
a
104
copy.
Sheet
music
for
his
original
cadenza
is
available
for
purchase
through
TrevCo
Music
(www.trevcomusic.com),
therefore
they
will
not
be
included
in
the
appendix.
3.15.2.
Analysis
William
Winstead
has
written
Eingänge
for
both
the
first
and
third
movements
of
the
Mozart
Bassoon
Concerto,
as
well
as
cadenzas
for
the
first
and
second
movements.
The
first
movement
Eingang
is
short,
in
accordance
with
Classical
performance
practice,
staying
within
the
key
of
B‐flat
major
and
leading
to
the
re‐entrance
of
the
orchestra
and
a
restatement
of
a
previously
heard
theme.
Mr.
Winstead
uses
the
traditional
lower
neighbor
tone
ornamentation
of
the
F
pitches,
and
then
adds
in
a
flourish
of
sixteenth
notes
that
pick
up
speed,
eventually
setting
the
tempo
for
the
orchestra
should
return
.
At
a
cursory
glance,
Mr.
Winstead’s
first
movement
cadenza
is
exceptionally
long.
It
is
longer
than
any
of
the
Mozart
cadenzas
studied,
and
it
is
well
beyond
a
breath
than
period
treatises
advocate.
Much
of
this
length
is
due
to
repetitive
statements
made
early
in
the
cadenza.
The
beginning
of
the
cadenza
is
newly
composed
material
that
leads
into
a
sixteenth
note
arpeggio
passage.
These
arpeggios
are
taken
from
a
motive
heard
twice
within
the
body
of
the
movement
in
mm.
45‐46
and
112‐113.
!"##$
%$Example
3.42.
Mm.
112‐113
of
the
bassoon
solo.
The
arpeggiated
sixteenth
notes
are
used
as
a
basis
for
the
opening
of
Mr.
Winstead’s
first
movement
cadenza.
105
After
the
arpeggio
passage,
the
next
section
is
based
on
the
trilled
quarter
note
and
sixteenth
note
passage
that
occurs
at
mm.
50‐54
and
119‐124
of
the
bassoon
solo.
This
trilled
quarter
note
and
sixteenth
note
passage
is
repeated
for
forty‐two
beats
(occasionally
leaving
out
the
trilled
quarter
note).
This
section
makes
up
a
very
large
portion
of
the
cadenza,
almost
a
third
of
its
entire
length,
and
due
to
its
excess
repetition,
it
can
be
said
to
not
follow
Classical
practice.
The
purpose
of
this
prolonged
section
for
Mr.
Winstead
is
to
lead
his
modulation
and
bring
about
a
new
key
area.
!"##$
%$
Example
3.43.
Mm.
120‐122
of
the
bassoon
solo,
used
as
material
for
almost
a
third
of
the
first
movement
cadenza.
The
next
section
of
Mr.
Winstead’s
first
movement
cadenza,
starting
on
the
top
of
the
second
page,
utilizes
material
from
three
sections
of
the
bassoon
solo
in
its
creation.
The
first
section
is
mm.
48‐49
and
115‐166
of
the
solo,
utilizing
a
quarter
note
followed
by
a
leap
to
a
low
half
note
and
another
leap
to
a
high
quarter
note.
This
is
followed
by
a
diminution
of
the
eighth
note
passages
occurring
at
mm.
62‐63
and
141‐142.
Finally,
the
motive
used
at
mm.
80‐81
and
84‐85
is
used
to
close
out
the
theme.
#$ %!
106
!"
&'(())*
Example
3.44.
Mm.
48‐49,
62‐63,
and
81‐82.
These
three
separate
motives
are
combined
into
one
to
create
a
new
melodic
idea
in
the
second
half
of
the
cadenza.
The
last
quote
relied
upon
occurs
on
the
third
system
of
the
second
page.
The
tongued
sixteenth
note
passage
is
from
the
bassoon
solo
in
mm.
82
and
86.
!"##$
%$Example
3.45.
This
sixteenth
note
passage
in
m.
86
is
utilized
in
the
third
system
of
the
second
page
of
Mr.
Winstead’s
first
movement
cadenza.
After
this
point
of
quotation
to
the
end
of
the
cadenza,
Mr.
Winstead
relies
mostly
on
original
ideas,
incorporating
small
rhythmic
or
motivic
ideas
from
the
movement
that
last
only
one
to
two
beats.
The
abundant
use
of
themes
from
the
solo
bassoon
part
is
something
that
was
not
standard
within
the
practice
of
cadenza
writing
during
the
Classical
era,
nor
in
Mozart’s
style
in
this
part
of
his
career.
More
emphasis
was
placed
on
original
motives
stemming
out
from
quoted
melodies
or
phrases,
but
it
does
provide
a
way
of
allowing
the
cadenza
to
sound
like
it
is
an
organic
part
of
the
concerto.
The
cadenza
overall
would
work
well
on
a
period
instrument
as
it
stays
well
within
the
range,
and
the
finger
motion
between
notes
would
be
possible,
with
one
exception
of
the
A‐natural4
trill
in
the
second
to
last
measure.
Fingerings
for
the
107
upper
register
of
the
Classical
bassoon
were
quite
complicated,
and
depending
on
the
instrument,
this
might
not
be
easily
facilitated.
However,
without
knowledge
of
special
trill
fingerings
that
might
make
this
easier,
it
is
hard
to
say
with
absolute
certainty
that
this
would
be
impossible.
The
other
aspect
of
this
ending
that
does
not
adhere
to
performance
practice
is
the
trill,
which
is
placed
on
the
seventh
scale
degree,
rather
than
on
the
second.
While
it
does
have
a
Nachschlag
leading
to
the
tonic
and
the
orchestral
return,
the
pitch
C
would
be
more
stylistically
appropriate
than
A.
The
use
of
the
A‐natural
does
still
provide
a
large
amount
of
tension,
as
the
leading
tone
needs
to
be
resolved
to
the
tonic,
and
still
provides
an
accurate
way
of
resolving
the
cadenza
back
into
the
orchestral
tutti.
The
second
movement
cadenza
starts
out
with
original
material
that
comprises
approximately
a
third
of
its
length.
It
is
not
until
the
pick
up
to
the
fourth
system
of
the
cadenza
that
familiar
material
is
introduced.
The
sixteenth
note
motive
from
mm.
31‐32
is
combined
with
a
rhythmic
pattern
seen
in
mm.
24
and
41.
!" #$
%&''(()
Example
3.46.
Mm.
31‐32
are
combined
with
m.
24
to
build
a
new
thematic
area
of
the
second
movement
cadenza.
Shortly
after
this,
on
the
first
system
of
the
second
page,
Mr.
Winstead
combines
a
motive
from
mm.
13
and
38
of
the
second
movement
with
a
direct
quote
108
from
mm.
62‐63
of
the
first
movement.
There
is
no
supporting
literature
to
say
whether
or
not
using
motives
from
different
movements
was
standard
practice
in
the
Classical
era,
but
Mozart’s
composition
of
the
time
did
not
support
using
ideas
from
different
movements
within
the
same
cadenza.
!"
#$
%&''(()
Example
3.47.
The
same
rhythmic
motive
as
m.
38
of
the
second
movement
is
combined
with
an
exact
quote
of
mm.62‐63
of
the
first
movement.
To
the
end
of
this
cadenza,
Mr.
Winstead
uses
original
material,
alluding
to
themes
heard
within
the
second
movement,
but
not
specifically
quoting
any
of
them.
His
ending,
like
the
first
movement
cadenza,
while
it
does
have
the
Nachschlag
leading
to
the
tonic,
uses
the
seventh
scale
degree,
the
E‐natural,
to
trill
upon.
This
is
not
in
line
with
standard
practice
that
would
trill
upon
the
second
scale
degree.
This
cadenza
would
fit
well
into
the
performance
abilities
of
the
Classical
bassoon.
The
range
is
kept
well
within
the
abilities
of
the
instrument
(with
the
exception
of
the
ending
ossia
that
extends
up
to
a
C5,
a
note
that
might
be
problematic
on
some
bassoons).
There
are
no
areas
that
pose
potential
difficulties
in
fingerings
or
in
embouchure
changes,
either.
The
last
movement
Eingang
is
very
short,
fitting
well
within
the
criteria
placed
upon
it
by
Classical
treatises.
However,
it
is
a
series
of
fermatas
on
F4,
F3,
and
F2
respectively.
The
Eingang
was
intended
to
be
a
short
improvised
section
that
109
aided
in
the
return
of
an
orchestra
between
sections,
and
traditionally
were
made
up
of
moving
notes.
While
Mr.
Winstead’s
Eingang
is
not
specifically
noted
as
being
outside
the
practice
of
Classical
style,
it
is
certainly
not
in
line
with
what
Mozart
penned
in
his
piano
Eingänge.
3.16.
Conclusion
Being
so
far
removed
from
the
Classical
era,
it
is
easy
to
understand
how
many
cadenzas
composed
for
K.
191
have
moved
away
from
period
practice.
In
the
case
of
all
of
the
cadenzas
examined,
there
have
been
some
elements
that
have
not
agreed
with
what
would
have
typically
been
composed
at
the
time.
This
is
not
necessarily
a
problem
or
an
error,
but
rather
we
can
see
how
our
sense
of
music
and
style
has
been
influenced
by
the
current
period
of
performance
practice
and
has
impacted
composition
for
cadenzas
of
an
earlier
style
of
music.
It
is
important
to
note
that
many
bassoonists,
including
the
ones
who
agreed
to
participate
in
this
study,
did
not
intend
to
create
a
completely
historically
accurate
cadenza.
Rather,
they
wanted
to
take
stylistic
practices
and
combine
them
with
the
ability
of
the
modern
bassoon
that
far
surpasses
its
predecessors.
It
was
important
to
many
of
the
bassoonists
in
this
essay
that
they
combine
something
old
with
something
new,
to
create
their
own
unique
Classical
era
sound
for
the
Mozart
Bassoon
Concerto.
However,
regardless
of
the
intent
of
these
cadenzas,
we
can
see
from
the
purely
academic
side
of
this
endeavor
that
period
practice
is
something
often
shaded
or
obscured.
The
intent
of
this
essay
was
to
show
the
performance
application
of
these
cadenzas
given
strictly
Classical
guidelines,
and
how
most
110
cadenzas
do
not
meet
those
guidelines.
While
this
is
not
an
error
or
something
to
be
shunned,
it
shows
how
truly
far
we
have
moved
from
performance
practice
and
that
we
can
only
begin
to
speculate
what
kind
of
cadenza
Mozart
might
have
written
for
this
central
work
of
bassoon
literature.
For
this
study,
many
bassoonists
responded
to
the
email
inquiry,
and
while
CHAPTER
4:
OTHER
CONTRIBUTIONS
111
they
may
not
have
had
cadenzas
to
contribute,
they
donated
other
materials
worth
discussion.
In
this
chapter,
the
Eingänge
of
Daryl
Durran
and
David
Sogg
will
be
discussed,
as
well
as
discussion
of
Daniel
Matsukawa’s
live
performances
and
the
author’s
own
cadenzas.
For
references
to
the
complete
Eingänge,
please
refer
to
Appendix
B.
4.1.
Daryl
Durran
4.1.1.
Biography
Daryl
Durran
is
currently
a
faculty
member
of
the
Pennsylvania
State
University
School
of
Music,
a
position
that
he
has
held
since
1983,
as
well
as
a
member
of
the
Pennsylvania
Quintet.
Prior
to
his
current
position,
he
was
principal
bassoonist
of
the
Milwaukee
Ballet
Orchestra
and
the
Waukesha
Symphony
Orchestra,
as
had
made
frequent
appearances
with
the
Milwaukee
Symphony
Orchestra.
He
has
also
taught
at
the
National
Music
Camp,
Interlochen,
Michigan,
as
well
as
the
American
Band
College
in
Ashland,
Oregon.
His
festival
experience
is
extensive,
including
the
Festival
of
Two
Worlds
Orchestra
in
Spoleto,
Italy
and
the
Britt
Festival
Orchestra
in
Jacksonville,
Oregon.
For
nine
seasons
he
was
the
principal
bassoonist
of
the
Music
at
Penn’s
Woods
Festival
Orchestra.
Born
in
Los
Angeles,
Mr.
Durran
holds
degrees
from
the
University
of
Arizona
and
the
University
of
Wisconsin‐Milwaukee.
He
is
part
of
the
International
Double
Reed
Society,
regularly
offering
presentations
at
their
annual
conferences.
3.2.2.
Analysis
112
Mr.
Durran
does
not
provide
a
cadenza
for
the
first
movement
of
K.
191,
but
he
does
provide
an
Eingang,
which
traditionally
is
placed
on
the
fermata
in
m.
97.
True
to
treatises
from
the
Classical
era,
it
is
a
very
short
solo
area
embellishing
the
fermata.
With
the
exception
of
the
E‐natural4
passing
tones
embellishing
the
various
F4
pitches
at
the
beginning
of
the
Eingang,
it
stays
solidly
within
the
key
and
helps
lead
back
to
the
restatement
of
the
main
melodic
material.
For
the
third
movement,
an
Eingang
is
also
provided.
Traditionally
placed
on
the
last
beat
of
m.
106,
the
bassoon
leads
into
the
melody
first
heard
in
the
opening
measures
of
the
orchestral
introduction
to
the
music.
It
is
short,
as
required
by
period
practice,
and
stays
completely
within
the
key.
Both
of
these
Eingänge
appear
to
work
well
on
the
Classical
era
bassoon.
The
finger
motion
between
the
notes
does
not
pose
any
great
difficultly,
and
it
is
very
well
seated
within
the
most
common
range
of
the
instrument.
4.2.
David
Sogg
4.2.1.
Biography
David
Sogg
joined
the
Pittsburgh
Symphony
Orchestra
as
Co‐Principal
bassoon
in
1989.
Born
in
San
Jose,
California,
he
started
studying
bassoon
with
San
Francisco
Opera
bassoonist
Jerry
Dag.
His
college
career
included
a
degree
in
German
literature
from
Harvard
College,
and
his
major
bassoon
studies
included
Sherman
Walt
of
the
Boston
Symphony,
Günter
Piesk
of
the
Berlin
Philharmonic,
and
Norman
Herzberg,
with
whom
he
studied
for
his
Master
of
Music
at
the
113
University
of
Southern
California.
After
receiving
two
summer
fellowships
at
the
Tanglewood
Music
Center,
he
began
his
professional
playing
career.
Prior
to
his
time
at
the
Pittsburgh
Symphony
Orchestra,
Mr.
Sogg
served
as
the
principal
bassoon
of
the
St.
Paul
Chamber
Orchestra,
as
well
as
the
Omaha
Symphony
and
Chamber
Orchestra.
He
has
appeared
numerous
times
with
the
Berlin
Philharmonic,
Minnesota
Orchestra,
San
Diego
Symphony,
and
the
Los
Angeles
Philharmonic.
He
was
a
founding
member
of
the
summer
Brightstar
Music
Festival
in
Charlotte,
North
Carolina,
and
has
frequently
performed
with
the
Pittsburgh
Chamber
Music
Project.
As
a
proponent
of
contemporary
music
performance,
Mr.
Sogg
has
performed
works
by
American,
Chinese,
French,
and
Russian
composers,
including
“Andy
Warhol
Sez,”
a
work
written
for
him
by
Paul
Moravec.
Susan
Kander,
an
opera
and
chamber
music
composer,
also
recently
composed
a
work
for
him
entitled,
“The
Lunch
Counter.”
Mr.
Sogg
has
performed
recitals
and
concerts
in
Pittsburgh,
San
Jose,
Tallahassee,
and
Seattle,
numerous
International
Double
Reed
Society
Conferences,
as
well
as
at
the
Duquesne
University
Mary
Pappert
School
of
Music
where
he
is
a
member
of
the
performance
faculty.
Mr.
Sogg
has
given
master
classes
in
Boston,
San
Jose,
The
People’s
Republic
of
China,
and
has
attracted
students
from
around
the
US,
as
well
as
from
Bulgaria
and
Venezuela.
4.2.2.
Analysis
For
the
Mozart
Bassoon
Concerto,
David
Sogg
has
provided
us
with
two
Eingänge,
one
for
the
first
movement
and
one
for
the
last
movement.
The
first
114
movement
Eingang
starts
off
in
a
manner
many
bassoonists
use,
by
ornamenting
the
note
F
(in
various
registers)
with
its
lower
neighbor
tone,
changed
to
an
E‐natural
from
the
E‐flat
in
the
key
signature.
From
here,
Mr.
Sogg
adds
in
a
fermata,
and
then
introduces
material
previously
heard
in
the
cadenza,
the
trilled
sixteenth
note
section.
Example
4.1.
The
last
beats
of
Mr.
Sogg’s
Eingang,
quoting
the
passage
from
mm.
50‐ 52
of
the
bassoon
solo,
but
leaving
out
the
trilled
quarter
notes.
There
is
no
precedent
in
treatises
for
whether
or
not
quotations
or
references
to
music
heard
prior
in
a
movement
and
used
in
an
Eingang
was
standard
practice
during
the
Classical
era;
treatises
describe
that
it
should
sound
improvised,
be
short,
and
not
modulate.
While
there
is
no
information
in
treatises
on
this
kind
of
motivic
use,
it
can
be
noted
in
the
Mozart
piano
Eingänge
studied
that
this
is
not
a
technique
that
was
utilized.
Mr.
Sogg’s
third
movement
Eingang
is
completely
original.
It
is
five
measures
in
length,
which
is
still
short
enough
to
not
be
considered
an
Eingang,
but
it
is
pushing
the
upper
limit
of
what
was
proposed
in
treatises.
The
originality
of
this
Eingang
is
very
much
in
line
with
Mozart’s
writings.
These
Eingänge
work
well
within
the
capabilities
of
the
Classical
bassoon.
In
both,
the
finger
motions
between
notes
would
not
be
difficult
to
facilitate,
and
the
range
sits
very
comfortably
within
the
expected
capabilities
of
the
instrument.
4.3.
Daniel
Matsukawa
115
4.3.1.
Biography
Daniel
Matsukawa
has
been
the
principal
bassoon
of
The
Philadelphia
Orchestra
since
2000.
He
began
studying
the
bassoon
at
the
age
of
thirteen,
and
the
following
year
he
won
his
first
competition
and
was
a
featured
soloist
performing
the
Mozart
Bassoon
Concerto
with
a
professional
orchestra
in
New
York.
He
was
a
scholarship
student
of
the
pre‐college
division
of
both
the
Juilliard
School
and
the
Manhattan
School
of
Music,
studying
under
Harold
Goltzer
and
Alan
Futterman.
Mr.
Matsukawa
studied
at
Juilliard
for
two
years,
then
attended
the
Curtis
Institute
of
Music,
where
he
studied
under
retired
Philadelphia
Orchestra
principal
bassoonist
Bernard
Garfield.
4.3.2.
Discussion
Mr.
Matsukawa
responded
to
email
inquiries
by
stating
he
has
performed
the
Mozart
Bassoon
Concerto
numerous
times,
and
has
had
three
performances
of
the
piece
with
the
Philadelphia
Orchestra
where
he
improvised
his
own
original
cadenzas.
Due
to
copyright
statutes
with
the
orchestra,
he
was
not
allowed
to
send
a
copy
of
his
recording,
nor
was
the
author
able
to
rent
or
purchase
recordings
to
take
an
aural
dictation
of
the
cadenzas.
However,
since
Mr.
Matsukawa
does
compose
his
cadenzas
in
a
very
stylistically
true
way
to
the
Classical
period,
using
improvisation
alone,
it
would
be
worth
hearing
him
perform
live
to
determine
what
elements
of
the
concerto
he
takes
to
weave
his
cadenzas,
and
how
he
puts
the
cadenzas
together.
4.4.
Contributions
of
the
Author
116
The
following
cadenzas
were
written
by
the
author
in
her
late
undergraduate
career,
in
what
she
assumed
to
be
in
the
style
of
Mozart.
With
little
knowledge
of
the
depth
of
performance
practice
that
went
into
the
composition
of
a
cadenza,
material
from
within
the
body
of
the
concerto
was
very
heavily
relied
upon
because
that
was
what
Mozart
“sounded
like”
to
the
author.
This
is
a
common
misconception
among
young
bassoonists,
and
helps
show
how
Classical
performance
style
can
be
easily
confused
with
the
style
of
a
specific
work
of
a
composer,
not
the
period
they
lived
in.
Now
that
the
author
knows
more
about
historic
performance
practice,
she
still
uses
these
cadenzas,
even
with
the
full
knowledge
of
how
they
do
not
truly
represent
the
Classical
era.
Rather,
like
many
bassoonists
who
shared
their
work
for
this
essay,
the
cadenza
is
fulfilling
to
the
author
as
it
evokes
the
mood
and
sound
of
the
Mozart
Bassoon
Concerto
and
sounds
homogenous
with
the
body
of
the
work.
This
first
movement
cadenza
was
composed
with
the
intent
of
using
as
much
melodic
and
rhythmic
material
from
the
concerto
as
possible
to
create
a
strong
link
between
the
two.
The
opening
material
of
the
cadenza
is
a
transposition
of
what
occurs
at
both
mm.
45‐50
and
mm.
112‐118
of
the
solo
bassoon
part:
'.((//)
-
'()*
Example
4.2.
The
opening
of
the
first
movement
cadenza,
which
pulls
thematic
material
from
mm.
45‐50
and
mm.
112‐118
of
the
bassoon
solo.
,
'()*
117
From
here
the
cadenza
quotes
the
sixteenth
note
section
that
occurs
in
mm.
50‐54
and
mm.
120‐124.
This
sixteenth
note
passage
is
continued
for
longer
than
historical
treatises
described
as
accurate
of
the
Classical
era.
This
lengthy
passage,
lasting
sixteen
beats,
is
used
as
a
catalyst
to
modulated
to
B‐flat
minor.
After
some
chromatic
passagework
that
emphasizes
both
instances
of
F‐major
and
B‐flat
major,
a
chromatic
sixteenth‐note
passage
leads
to
a
trill
on
the
penultimate
note
and
the
second
scale
degree
of
B‐flat
major,
and
leads
with
a
Nachschlage
back
to
the
orchestral
tutti.
This
cadenza
poses
potential
problems
of
facility
in
the
upper
register.
C5
was
a
note
pushing
the
upper
range
of
the
Classical
era
bassoon,
and
it
might
not
be
possible
on
all
bassoons
of
the
period.
The
chromaticism
might
pose
a
problem
as
well,
as
the
fingerings
for
D‐flat
and
G‐flat
throughout
the
cadenza
could
require
complicated
forked
fingerings,
or
be
unstable
and
weak.
While
this
cadenza
was
intended
to
be
composed
with
a
sense
of
brevity,
the
length
is
longer
than
the
prescribed
breath
Classical
treatises
emphasized,
but
the
fermata
on
the
F2
would
provide
a
natural
breathing
point.
The
reliance
of
material
from
the
body
of
the
concerto
causes
it
to
stray
from
Mozart’s
compositional
style
as
he
exhibited
more
originality
of
themes
within
his
cadenzas.
This
cadenza
exhibits
some
Classical
era
compositional
traits,
but
does
not
adhere
completely
due
to
the
thematic
and
rhythmic
repetition,
length,
and
lack
of
original
material.
The
second
movement
cadenza
was
composed
in
much
the
same
way
as
the
first
movement
cadenza,
and
has
the
same
shortcomings
when
regarding
historical
118
performance
practice.
The
cadenza
begins
with
a
transposition
of
the
melodic
material
found
in
m.
13
and
m.
38
of
the
bassoon
solo.
!"##$
%$Example
4.3.
This
passage
of
the
bassoon
solo
at
m.
13
is
transposed
and
used
at
the
beginning
of
Ms.
Wildey’s
second
movement
cadenza.
This
motive
is
repeated
three
times
consecutively,
which
does
not
follow
Classical
performance
practice
in
cadenzas.
This
repeated
motive
leads
into
an
arpeggiated
sixteenth‐note
passage,
used
in
this
cadenza
to
modulate
the
key,
which
is
immediately
followed
by
a
restatement
of
F‐major
using
a
familiar
motive
from
mm.
31‐32
of
the
bassoon
solo.
After
the
fermata,
the
cadenza
uses
a
sixteenth‐note
scale
passage
to
once
again
reaffirm
the
key
area
as
F‐major,
and
ends
with
a
quote
of
material
heard
in
mm.
31‐33
of
the
bassoon
solo:
!"##$
%$Example
4.4.
Mm.
31‐33
of
the
bassoon
solo.
This
passage,
omitting
the
thirty‐ second
notes,
is
the
thematic
material
used
to
end
the
second
movement
cadenza.
119
The
cadenza
ends
using
a
trill
on
the
seventh
scale
degree,
which
leads
Nachschlag
to
the
tonic
and
the
orchestral
tutti.
The
use
of
the
seventh
scale
degree
instead
of
the
second
is
something
that
does
not
adhere
to
performance
practice.
Like
the
first
movement
cadenza,
the
repetition
of
rhythmic
and
motivic
material
causes
this
cadenza
to
stray
away
from
Classical
practice.
The
heavy
reliance
on
materials
from
the
bassoon
solo
also
is
something
that
would
not
have
been
consistent
with
Mozart’s
writings
for
his
cadenzas.
While
the
range
is
much
more
accessible
to
the
Classical‐era
bassoon,
there
is
one
note
in
particular
that
would
have
been
difficult
to
execute,
the
C‐sharp2.
As
this
note
required
either
a
difficult
half‐hole
fingering
on
the
C2
tone
hole,
or
required
significant
embouchure
changes
to
help
bend
the
pitch
from
either
C2
or
D2,
it
could
not
have
been
easily
facilitated.
CHAPTER
5:
NEED
FOR
FURTHER
STUDY
AND
CONCLUSION
120
This
essay
was
not
intended
as
an
end
all
for
performance
practice
and
accuracy
pertaining
to
the
bassoon
nor
the
Mozart
bassoon
concerto.
As
it
has
only
studied
the
works
of
a
handful
of
bassoonists,
it
is
quite
narrow
in
its
scope,
and
there
are
many
performance
elements
that
could
not
be
quantified
nor
qualified
and
put
into
words
in
an
essay.
One
of
the
limitations
of
this
essay
is
the
lack
of
knowledge
of
the
original
style
and
sound
of
the
Classical
era
bassoon.
There
are
no
recordings,
no
complete
working
instruments
with
a
functional
reed,
nor
players
from
the
Classical
era
to
instruct
us
on
how
to
hold
the
bassoon,
how
to
use
the
embouchure,
or
how
to
play.
This
is
something
that
will
probably
never
be
solved,
and
is
why
performance
practice
is
always
a
hot
topic
of
debate
among
early
music
performers.
While
playing
on
historical
instruments
is
becoming
increasingly
popular
and
common,
this
essay
was
directed
toward
younger
students
who
likely
would
not
have
experience
on
period
instruments
or
replicas.
However,
one
of
the
areas
of
study
that
could
be
conducted
would
be
to
play
these
cadenzas
on
period
instruments.
Since
the
bassoon
was
in
such
a
state
of
evolution
throughout
the
Classical
era,
this
would
necessitate
trying
several
different
bassoons
from
several
makers,
possibly
all
the
bassoons
that
have
fingering
charts
listed
in
the
Paul
J.
White
article.
This
would
be
an
incredibly
lengthy
task
to
undertake,
but
it
could
have
rewarding
results
in
the
end.
The
discrepancy
placed
upon
the
speculation
of
some
instruments
being
more
able
than
121
others
could
be
put
to
an
end
and
a
more
concrete
list
of
possibilities
for
technical
execution
of
the
Classical
bassoon
could
be
concluded.
Only
three
of
the
bassoonists
who
donated
their
cadenzas
to
this
project
have
recordings
available.
The
manner
of
performance
of
a
cadenza
is
just
as
crucial
as
the
manner
it
was
written.
There
is
much
emphasis
placed
in
the
Classical
period
that
only
one
breath,
or
what
seemed
to
only
be
one
breath,
should
be
taken
when
executing
a
cadenza.
Without
individually
performing
these
cadenzas,
or
hearing
someone
play
them,
it
is
impossible
to
speculate
how
historically
accurate
the
performance
is
since
individual
nuance
is
impossible
to
notate.
The
manner
in
which
a
person
plays
a
cadenza
can
have
a
completely
different
impact
on
how
historically
accurate
it
sounds.
If
the
player
is
literal
with
the
tempo,
rhythm,
and
markings,
it
will
not
sound
like
the
improvised
solo
area
that
treatises
advocated.
The
method
of
articulation
and
air
support
and
speed
can
change
many
factors
as
well.
A
database
of
recordings
of
the
Mozart
Bassoon
Concerto
categorized
by
authenticity
of
performance
and
sound
would
be
something
beneficial
to
those
seeking
a
Classical
performance,
but
it
is
far
beyond
the
scope
of
this
paper.
It
was
not
the
intent
of
this
essay
to
discover
whether
or
not
there
have
been
new
trends
in
bassoon
playing,
possibly
leading
to
an
American
style
or
a
modern
performance
practice.
Especially
in
the
Baroque
period,
the
nationality
of
the
performer
and
whom
they
studied
with
could
have
a
large
impact
on
how
they
played,
either
by
a
different
way
of
thinking
about
the
length
and
execution
of
notes
or
the
instrument
itself,
such
as
French
performance
practice
and
the
French
bassoon.
This
essay
was
intentionally
narrow
in
its
scope,
selecting
only
American
122
bassoonists
using
very
specific
criteria.
A
larger
scope
essay,
delving
deeper
into
the
studies
and
traditions
of
bassoonists
of
other
nationalities
might
lead
to
some
interesting
conclusions
about
national
performance
practice,
or
even
a
universal
style
of
modern
performance
practice.
Lastly,
this
work
was
not
intended
to
teach
a
bassoonist
how
to
write
their
own
cadenza
for
the
Mozart
Bassoon
Concerto,
but
rather
how
to
critique
the
contents
of
one
already
written.
There
are
many
fantastic
essays
in
existence
about
how
to
write
cadenzas
that
are
stylistically
appropriate
to
the
Classical
period,
and
those
should
be
sought
out
for
more
in‐depth
information.
The
purpose
of
this
essay
is
to
be
an
instructional
guide
for
younger
bassoonists
on
evaluating
the
historical
performance
practice
accuracy
of
cadenzas
written
for
the
Mozart
Bassoon
Concerto.
If
the
student
knowingly
does
not
follow
performance
practice
and
is
questioned
on
their
reasons
why
they
chose
not
to
adhere
to
the
Classical
style,
this
can
help
ground
their
reasoning
in
the
modern
capabilities
of
the
bassoon,
or
through
their
knowledge
of
music
theory.
There
is
no
right
or
wrong
answer
when
choosing
a
cadenza,
but
like
most
choices
in
music,
it
is
good
to
have
a
sound
background
knowledge
and
justification
for
any
decision
that
is
not
clearly
stated
or
notated
in
the
music.
APPENDIX
A:
CADENZAS
AND
EINGÄNGE
123
A.1.
Steven
Braunstein
Mozart
Concerto
564)(+176&2,(+6 Mvt.
1
Cadenza
/0+1!12)3,&4)
$()*&%+,-&
$)%%66&
8
$%&'
.
$%&'
!"
$%&'
!#
$%&'
Mozart
Concerto
124
Mvt.
2,
Cadenza
1
453#"'.65%1("'5 Mvt.
2,
Cadenza
2
,-'./0.1#2(%3#./
!"#$%&'()%
!#&&55%
+
!&%*
563#"'.76%1("'6 Mvt.
2,
Cadenza
3
,-'./0.1#2(%3#.4
!"#$%&'()%
!#&&66%
+
!&%*
A.2.
Charles
Koster
125
8-710.49-%5/0.23.4'4516/%71
,-$./0
#1$$--%
(
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+
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126
%-
&'()
*,
&'()
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*+
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/"01&$)2",3%&$" '($)*)%+,-.,-% Mozart
Concerto
Mvt.
1
Eingang
!"#$%&
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3"20&$-4")/%&$" Mozart
Concerto
+,$-.-/01%)20 Mvt.
2
Cadenza
!"#$%&
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Concerto
'($)*)%+,-.,-% Mvt.
3
Eingang
!"#$%&
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127
A.3.
Kim
Krutz
34+0(*.54%/2(*4 ,-*.!./012%+0
'()*+
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6
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128
A.4.
Erik
Ludwig
=1<%/#'>10-./#1 *;#'3'-%&.0<%
8"&9$: +$#,
7%22110 +$#, ?
720, *.01'*1221 6
720, %--.(./%0&1
+$#,
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720,
35
720,
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720,
129
A.5.
Miles
Maner
2*8%3#&9*16'3#* (5#,&.&6%7'18%
2 %1'3 %&#'()* +$#,
/%00**1
:
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4
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8
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+
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130
A.6.
Carol
McNabb
6+;&$!'<+5,($!+ ):!'1',&.(5;&
6 ,7&88 &'!()*+
3&44++5 $#!% =
345% $#!% .+-,(
&,,(-%
9
345%
/
12
345%
/ /
!"!!# 10
345%
0 0
131
A.7.
Laurie
Hatcher
Merz
,8/6.#398*5-.#8 12#343567-*/6
, -./
(6))88*
%
()*+
0
()*+
&
()*+
%
%
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()*+
132
A.8.
Rebecca
Noreen
8.#($&62(!!../69./)*$&. 45&606)(7*/#(
-.$**/
2(!!../ ())*+'
$%&'
!"#
3
2!/' ())*+' 01
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133
A.9.
Scott
Oakes
A0@+&#)4+((005)B05%'� =>#)2)%+?'5@+
:+;'(
4+((005 1
-,,'/&0
<
4(5. %&'(%.
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89
4(5.
26
4(5. %&'(%)-%%', %&'(%)*+,,
21
4(5.
!"##$ 23
4(5.
134
3.01.
Will
Peebles
135
A.11.
Janet
Polk
2%1-3!*4-55%%0*6%0,/3!% ()!*+*,-./01-
$%&'
4-55%%0
!"!!#
7
4508
136
A.12.
Scott
Pool
;1:7<#5'7((11)5=1)69<#1 34#5-56789):7
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5.66''1 % 8
%
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138
A.13.
Peter
Simpson
139
APPENDIX
B:
OTHER
CONTRIBUTIONS
B.1.
Daryl
Durran
012$#()31%4/#(1 &'()*)+,%-.%-/
!"##
%$5$6611%
234('#,53)61'#3 *+#,-,.$)/0)/1
&"''() !"##$
7(8833) %
%
B.2.
David
Sogg
140
141
B.3.
Sarah
Wildey
Mvt.
1
Cadenza
'.((//)
-
'()*
,
'()*
$+
'()*
%$'()*
!"!!#
$&
'()*
Mvt.
2
Cadenza
%*&&++'
)
%&'( !"!!# $
%&'(
APPENDIX
C:
CONTACT
INFORMATION
FOR
BASSOONISTS
Steven
Braunstein
Email:
[email protected]
Daryl
Durran
Email:
[email protected]
Charles
Koster
Email:
[email protected]
Kim
Krutz
Email:
[email protected]
Erik
Ludwig
Email:
[email protected]
Miles
Maner
Email:
[email protected]
Carol
NcNabb
Email:
[email protected]
Laurie
Hatcher
Merz
Email:
[email protected]
Frank
Morelli
Website:
www.morellibassoon.com
Email:
[email protected]
Rebecca
Noreen
Email:
[email protected]
Scott
Oakes
142
Website:
www.scottoakes.com
Email:
[email protected]
Phone
number:
828‐227‐3258
Email:
[email protected]
Will
Peebles
Janet
Polk
Email:
[email protected]
Scott
Pool
Website:
www.scottpoolbassoon.com
Email:
[email protected]
Peter
Simpson
Phone
number:
859‐257‐4485
Website:
http://www.uky.edu/~pcsimp01/Bassoon_Studio/index.php
Email:
[email protected],
or
[email protected]
David
Sogg
Email:
[email protected]
William
Winstead
Email:
[email protected]
143
144
APPENDIX
D:
PERMISSION
FORM
LETTERS
SENT
TO
BASSOONISTS
Example
Letter:
Form
letter
sent
to
bassoon
instructors
at
NASM
accredited
schools:
Dear
Bassoonist:
I
am
currently
a
graduate
student
at
the
University
of
Iowa
in
the
final
year
of
my
doctoral
degree
in
bassoon
performance.
As
part
of
my
degree
requirements
I
must
write
a
final
document,
which
I
am
choosing
to
write
about
the
Mozart
Bassoon
Concerto.
As
Mozart
did
not
write
any
cadenzas
to
accompany
this
concerto,
I
would
like
to
collect
cadenzas
to
compare
against
historic
performance
practice
(both
against
historical
treatises,
Quantz
and
Leopold
Mozart
among
other,
and
against
the
capabilities
of
the
bassoon
during
Mozart’s
time)
and
against
other
woodwind
cadenzas
that
Mozart
had
written
for
other
wind
instruments
in
his
early
career.
This
is
by
no
means
to
be
a
value
judgment
on
the
composition
of
the
cadenza,
but
rather
a
way
for
bassoonists
not
as
well
versed
in
historical
practice
to
see
where
cadenzas
adhere
to
or
stray
away
from
Classical
practice.
I
am
in
the
process
of
contacting
bassoonists
who
either
teach
at
NASM
accredited
schools
(found
on
the
NASM
website:
http://nasm.arts‐ accredit.org/index.jsp?page=List_Accredited_Members)
or
are
members
of
orchestras
that
are
recognized
by
either
ICSOM
(http://www.icsom.org/orchestras.html)
or
ROPA
(http://ropaweb.org/about/member/).
If
you
would
be
willing
to
share
any
cadenzas
you
may
have
written
for
the
concerto,
I
would
be
most
grateful
and
would
love
to
include
you
in
my
document.
Preferably,
I
would
like
for
the
cadenzas
to
be
included
in
the
document
in
an
index
in
the
back
for
easy
reference,
but
if
you
would
not
like
this
option,
I
would
still
like
to
use
your
cadenza
and
be
able
to
supply
pertinent
contact
information
for
interested
bassoonists
to
contact
you
in
order
to
acquire
your
original
cadenza.
If
you
agree
to
submit
your
cadenza
and
would
like
to
provide
a
brief
bio
to
be
included
please
feel
free
to
send
this
as
well,
but
it
is
not
necessary.
Along
with
this,
if
you
have
a
commercial
recording
available,
I
would
like
to
include
information
on
this
as
well;
LOC
call
numbers
and/or
where
it
may
be
purchased.
If
you
have
a
copy
that
is
not
a
commercial
recording
and
would
like
it
to
be
available
to
those
interested,
I
would
once
again
request
that
you
supply
a
means
of
contact
for
interested
bassoonists.
145
Example
Letter:
Form
letter
sent
to
ICSOM
and
ROPA
orchestras
Dear
Personnel
Manager:
I
am
trying
to
contact
bassoonists
belonging
to
either
ISCOM
or
ROPA
orchestras
to
see
if
they
would
be
willing
to
share
some
information
for
my
final
document
of
my
Doctorate
of
Musical
Arts
in
Bassoon
Performance
and
Pedagogy
Degree.
Could
you
kindly
forward
this
email
to
all
bassoonists
belonging
to
your
group?
I
would
greatly
appreciate
your
help.
Sarah
A.
Wildey
Dear
Bassoonist:
I
am
currently
a
graduate
student
at
the
University
of
Iowa
in
the
final
year
of
my
doctoral
degree
in
bassoon
performance.
As
part
of
my
degree
requirements
I
must
write
a
final
document,
which
I
am
choosing
to
write
about
the
Mozart
Bassoon
Concerto.
As
Mozart
did
not
write
any
cadenzas
to
accompany
this
concerto,
I
would
like
to
collect
cadenzas
to
compare
against
historic
performance
practice
(both
against
historical
treatises,
Quantz
and
Leopold
Mozart
among
other,
and
against
the
capabilities
of
the
bassoon
during
Mozart’s
time)
and
against
other
woodwind
cadenzas
that
Mozart
had
written
for
other
wind
instruments
in
his
early
career.
This
is
by
no
means
to
be
a
value
judgment
on
the
composition
of
the
cadenza,
but
rather
a
way
for
bassoonists
not
as
well
versed
in
historical
practice
to
see
where
cadenzas
adhere
to
or
stray
away
from
Classical
practice.
I
am
in
the
process
of
contacting
bassoonists
who
either
teach
at
NASM
accredited
schools
(found
on
the
NASM
website:
http://nasm.arts‐ accredit.org/index.jsp?page=List_Accredited_Members)
or
are
members
of
orchestras
that
are
recognized
by
either
ICSOM
(http://www.icsom.org/orchestras.html)
or
ROPA
(http://ropaweb.org/about/member/).
If
you
would
be
willing
to
share
any
cadenzas
you
may
have
written
for
the
concerto,
I
would
be
most
grateful
and
would
love
to
include
you
in
my
document.
Preferably,
I
would
like
for
the
cadenzas
to
be
included
in
the
document
in
an
index
in
the
back
for
easy
reference,
but
if
you
would
not
like
this
option,
I
would
still
like
to
use
your
cadenza
and
be
able
to
supply
pertinent
contact
information
for
interested
bassoonists
to
contact
you
in
order
to
acquire
your
original
cadenza.
If
you
agree
to
submit
your
cadenza
and
would
like
to
provide
a
brief
bio
to
be
included
please
feel
free
to
send
this
as
well,
but
it
is
not
necessary.
146
Along
with
this,
if
you
have
a
commercial
recording
available,
I
would
like
to
include
information
on
this
as
well;
LOC
call
numbers
and/or
where
it
may
be
purchased.
If
you
have
a
copy
that
is
not
a
commercial
recording
and
would
like
it
to
be
available
to
those
interested,
I
would
once
again
request
that
you
supply
a
means
of
contact
for
interested
bassoonists.
147
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