The goal of this dissertation is not only to introduce the unique cadenza by Alkan but also to offer an argument from the performer’s point of view, for why Alkan’s cadenza should be considered when there exists a cadenza by Beethoven himself, not to mention those by a number of other composers, both contemporaries of Beethoven and later. Information in reference to the brief history of the cadenza and the pianoforte in the time of Mozart and Beethoven is presented in Chapter 2. A brief bibliography about Alkan is presented in Chapter 3. Chapter 4 describes not only the cadenza in the era of Alkan, but also a comparison which is presented between Beethoven and Alkan's cadenzas. Examples of the keyboard range, dynamic contrast, use of pedal and alternating notes or octaves, and creative quote are presented in Chapter 4. In conclusion, the revival of Alkan's cadenza is mentioned, and the author's hope to promote the Alkan's cadenza is presented in Chapter 5.

This thesis is an analytical study of various cadenzas written for the first movement of Mozart’s Piano Concerto No.20 in D minor, K.466. As one of the six of his own concertos for which Mozart did not provide an original cadenza, the D minor concerto poses an important challenge to the performer: should she compose or improvise her own cadenza, or should she select one written by someone else? Many composer/pianists active during the nineteenth and twentieth centuries penned cadenzas to this concerto for their own use, and this thesis explores those by August Eberhard Müller, Emanuel Aloys Förster, Ludwig van Beethoven, Johann Nepomuk Hummel, Charles-Valentin Alkan, Clara Schumann, Johannes Brahms, Ferruccio Busoni, Bedrich Smetana and Paul Badura-Skoda. In addition to these written-out cadenzas, it also discusses improvised cadenzas in the recordings by Robert Levin and Chick Corea. Each composer/pianist’s unique compositional style is illuminated through the study of each cadenza, and consideration of these styles allows multiple views on a single concerto. A discussion of the meaning and history of cadenzas precedes the analytical study, and in conclusion, the author contributes her own cadenza.

This thesis begins with the origin and development of cadenza. Then the structure of W.A.Mozart¡¦s cadenza is discussed. Mozart¡¦s Piano Concerto K.V.453 first movement is used as an example to explain the ritornello form and the cadenza structure. Finally, those of other composers, such as Johannes Brahms (1833-97), Ferruccio Busoni (1866-1924), Ernst von Dohnányi (1877-1961) and Edwin Fischer (1886-1960), their cadenzas for K.V.453 first movement will also be analyzed and compared. Most of Mozart¡¦s cadenzas can be analyses as three-part form: The first part starts either themes from the concerto movement or virtuoso runs which appeared in the movement before or newly invented. The second part usually over a sustained bass note or chord continually develops sequences of an important theme or motive from the concerto movement. This will leads into the third part with a number of virtuoso runs, passages in thirds, etc., until the close of the cadenza which usually ends with a long trill. During the 19th and 20th centuries, performers performed Mozart Piano Concerto, seldom adopted the cadenza of Mozart's. Rather, they would replace Mozart's cadenza with those written by themselves. Those cadenzas according to the treatises and Mozart¡¦s own cadenzas usually did not have the so-called ¡§Mozart's style¡¨. Because the authenticity movement of performing early music in the late 20th, when a performer decides to perform Mozart Piano Concerto, it becomes very important for him to figure out how to choose or create the proper cadenza for himself to perform. Yet, the change of time with different personality and style will influence the result of creating and performing a cadenza. Maybe this is one the main reason that make the cadenza so very and interesting always.

(Geo-)Daten integrieren, analysieren und visualisieren - Wissen erschließen und in Entscheidungsprozesse integrieren – dafür steht Disy seit knapp 20 Jahren!

(Geo-)Daten integrieren, analysieren und visualisieren - Wissen erschließen und in Entscheidungsprozesse integrieren – dafür steht Disy seit knapp 20 Jahren!

A presente pesquisa apresenta uma proposta de treinamento para a improvisação de uma cadenza na peça “The Days Fly By” de Frederick Rzewski. A improvisação é um aspecto que se manifesta de várias maneiras no trabalho e na trajetória deste compositor, sendo ele próprio pianista reconhecido por seus improvisos de cadenzas em concertos tradicionais. Seu processo de composição está intimamente relacionado ao da improvisação. É comum em suas composições a inclusão de uma seção em aberto para ser improvisada pelo intérprete. Utilizo os conceitos de referente, base de conhecimento de Jeff Pressing e ponto de partida de Bruno Nettl associados a um modelo de aprendizagem da improvisação proposto por Barry J. Kenny & Martin Gellrich. Esta pesquisa apresenta proposta de exercícios de improvisação fundamentados nos elementos detectados em uma análise da peça. / This research presents a training proposal for the improvisation of a cadenza in Frederich Rzewski!s"the Days Fly By". Improvisation is an aspect that, in several forms, appears in the work and trajectory of this composer. Himself a pianist, he is well known for his improvisations of cadenzas in traditional concerts. He has been a jazz musician and his process of composition is intimately related to the improvisation. It is usual to find in his compositions the inclusion of an open section to be improvised by the performer. I utilize Jeff Pressing!s concepts of referent, knowledge base and Bruno Netti!s point of departure associated to a training model of improvisation proposed by Barry J. Kenny and Martin Gellich. This research presents a proposal for exercises of improvisation grounded in revealed elements on an analysis of the piece.

A presente pesquisa apresenta uma proposta de treinamento para a improvisação de uma cadenza na peça “The Days Fly By” de Frederick Rzewski. A improvisação é um aspecto que se manifesta de várias maneiras no trabalho e na trajetória deste compositor, sendo ele próprio pianista reconhecido por seus improvisos de cadenzas em concertos tradicionais. Seu processo de composição está intimamente relacionado ao da improvisação. É comum em suas composições a inclusão de uma seção em aberto para ser improvisada pelo intérprete. Utilizo os conceitos de referente, base de conhecimento de Jeff Pressing e ponto de partida de Bruno Nettl associados a um modelo de aprendizagem da improvisação proposto por Barry J. Kenny & Martin Gellrich. Esta pesquisa apresenta proposta de exercícios de improvisação fundamentados nos elementos detectados em uma análise da peça. / This research presents a training proposal for the improvisation of a cadenza in Frederich Rzewski!s"the Days Fly By". Improvisation is an aspect that, in several forms, appears in the work and trajectory of this composer. Himself a pianist, he is well known for his improvisations of cadenzas in traditional concerts. He has been a jazz musician and his process of composition is intimately related to the improvisation. It is usual to find in his compositions the inclusion of an open section to be improvised by the performer. I utilize Jeff Pressing!s concepts of referent, knowledge base and Bruno Netti!s point of departure associated to a training model of improvisation proposed by Barry J. Kenny and Martin Gellich. This research presents a proposal for exercises of improvisation grounded in revealed elements on an analysis of the piece.

A presente pesquisa apresenta uma proposta de treinamento para a improvisação de uma cadenza na peça “The Days Fly By” de Frederick Rzewski. A improvisação é um aspecto que se manifesta de várias maneiras no trabalho e na trajetória deste compositor, sendo ele próprio pianista reconhecido por seus improvisos de cadenzas em concertos tradicionais. Seu processo de composição está intimamente relacionado ao da improvisação. É comum em suas composições a inclusão de uma seção em aberto para ser improvisada pelo intérprete. Utilizo os conceitos de referente, base de conhecimento de Jeff Pressing e ponto de partida de Bruno Nettl associados a um modelo de aprendizagem da improvisação proposto por Barry J. Kenny & Martin Gellrich. Esta pesquisa apresenta proposta de exercícios de improvisação fundamentados nos elementos detectados em uma análise da peça. / This research presents a training proposal for the improvisation of a cadenza in Frederich Rzewski!s"the Days Fly By". Improvisation is an aspect that, in several forms, appears in the work and trajectory of this composer. Himself a pianist, he is well known for his improvisations of cadenzas in traditional concerts. He has been a jazz musician and his process of composition is intimately related to the improvisation. It is usual to find in his compositions the inclusion of an open section to be improvised by the performer. I utilize Jeff Pressing!s concepts of referent, knowledge base and Bruno Netti!s point of departure associated to a training model of improvisation proposed by Barry J. Kenny and Martin Gellich. This research presents a proposal for exercises of improvisation grounded in revealed elements on an analysis of the piece.

Whether provided by a composer, written out by a performer or completely improvised, the cadenza became a vehicle for performers' creativity, lyricism and technical prowess in the eighteenth and nineteenth centuries. The debate about whether to notate or improvise cadenzas, a question as old as the cadenza itself, continues today. Saxophonists have not been involved in this debate, since the instrument is a product of the mid-nineteenth century and was in its infancy just as the practice of improvising cadenzas was fading. This study documents an unprecedented, recently-recorded, improvised cadenza in one of the most significant twentieth-century saxophone works: Jacques Ibert's Concertino da Camera for Alto Saxophone and Eleven Instruments (1935). Saxophonist Branford Marsalis's neo-cadenza for Ibert's composition presents an aggregate of the twenty-first-century performer improvising a cadenza to a twentieth-century work, in a tradition that was common centuries ago. The document begins with an inquiry into improvised cadenzas, and proceeds to an examination of the performance history of the cadenza for the Concertino da Camera. Twenty professionally-recorded versions of the cadenza are presented in order to understand the performance history of the cadenza, and to place the Marsalis cadenza into context. This research culminates in a transcription and analysis of the cadenza as improvised and recorded by Marsalis. Remarks from a personal interview with Marsalis are also included.

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