Thinking of Writing Your Own Cadenza?

Anabel Avendaño - A cadenza is deeply rooted in the improvisatory spirit that has always been part of music-making. It offers a perfect opportunity to play freely, display the performer’s artistry, and heighten the momentum of a piece.

The term cadenza comes from the Latin clausula (“conclusion”), itself derived from cadere (“to fall”). In some languages, cadenza refers to harmonic progressions, while in others it specifically denotes an ornamental solo passage.

Concept	English	German	Spanish	Italian	French

Solo passage	Cadenza	(Solo) Kadenz	Cadencia solista / Cadenza	Cadenza	Cadenza / Cadence solo
Harmonic closure	Cadence	Kadenz	Cadencia	Cadenza	Cadence

Historical Context

In earlier centuries, cadenzas were often improvised rather than written out. During the Baroque and early Classical periods, singers and instrumentalists were expected to embellish melodies spontaneously, showcasing their technical skill and imagination. Cadenzas became a way to give freedom to the interpreters without compromising the whole work with too specific demands.

Some composers, such as Claudio Monteverdi, even provided both unornamented and ornamented versions of their works to demonstrate how embellishment could be approached. (Example: Monteverdi’s “L’Orfeo,” Act III, p.56 — Recording)

By the Classical period, the cadenza became an essential element of the concerto. When the fermata appeared before the final cadence, it was an open invitation for the soloist to improvise.

However, during the Romantic era, written cadenzas became more common. Composers such as Beethoven, Brahms, and Liszt began writing out their own, reflecting a broader cultural shift away from improvisation toward a focus on precise interpretation.

Why Did Improvisation Decline?

From the late 18th century onward, several factors reshaped Western classical music:

Changing patronage systems: As court patronage declined and public concerts became more common, musicians relied less on improvisatory creativity and more on reproducible compositions.
Rise of the conservatory system: Institutions such as the Paris Conservatoire (founded in 1795) emphasized written notation and standardized performance practices, ensuring that music could be faithfully transmitted even to students with limited music background.
Composer authority: The growing idea of the composer as the ultimate creative voice reduced the performer’s freedom to alter or improvise.

Together, these trends led to an increasing emphasis on interpretation rather than creation in performance.

Writing Your Own Cadenza Today

Composing your own cadenza is not only a creative challenge but also a way to deepen your understanding of the piece and connect more personally with it.
Here are some guidelines to help you get started:

1. Harmonic Context

The cadenza typically begins after the second inversion of the tonic (I⁶⁴), while the
orchestra holds the dominant (V).
A common cadential formula is:

I⁶ – ii⁶ – I⁶⁴ – V⁷ – I

2. Thematic Material

Draw your motifs from themes in the exposition. Maintain rhythmic coherence with
the movement, even while exploring contrasts and surprises.

3. Modulation and Harmony

Stay close to the main key and its relatives; excessive modulation can weaken the sense of unity.

4. Virtuosity

Use scales, arpeggios, and wide leaps to create excitement and momentum.

5. Experiment and Refine

Improvise several versions, record yourself, and then notate the best ideas. Over time,
you’ll shape a cadenza that feels both spontaneous and coherent.

Creating your own cadenza restores a vital element of musical creativity that was central to performance for centuries. It’s a rewarding way to rediscover the balance between freedom and structure between composer and performer.

I am myself in the process of creating my own Cadenza for Stamitz viola Concerto, feel free to share and discuss your process through instagram music4viola DM’s!!

References:

Elisabeth Matesky wrote on 03.11.2025 at 09:31

From my experience I can truthfully state having composed and quickly in my own Head my own little Cadenza to LvB's Holy Violin Concerto and in not too long a period of time in my Lounge in Wimbledon, UK. Working on the Beethoven fabled violin concerto and having performed it in Poland On Tour with the Pederewsksi Filharmonie founded by Ignace Pederewski, The Grant Pianist & later becoming Prime Minister of Poland, it seemed Natural to do this. I did not know all Rules, but only Heard after much time studying and itching to perform this Holy Work "when ready" as RX'd by my Principal Teacher-Father, RM, I was 'ready' to play what I was hearing on 'auto pilot' in my head and did so thinking it not too bad and very nervous to Not violate any Thematic material of this very special Slow interchange between the 2nd & 3rd onto Allegro Last Mvt. It seemed to be okay with my inner instincts so not finding any manuscript paper one wrote it out on believe this, Lieu Paper only available! I told No one but did tell the day after my private mentor, Nathan Milstein whom I mentioned it to on a "D Major Day" at our twice weekly "Tutorial's" in Violin & Milstein Advanced Bowing techniques at his Chester Square London, SW1 home, cum Studio! Once mentioned, the very inquisitive Milstein asked numerous questions about Why & How I came upon the Cadenza and evidently difficult to fit into the small musical seque to the 3rd Mvt. He was so curious NM invited me to play it right there and then which altho' nervous, I did so & had only the lieu paper with me!! All went most well due to having "heard it all" in my head and after quite a few years studying this Holy Work and exploring its content for a long time. Upon its completion of a First Performance and for The Master of The Bow and Violin Artistry, Mr. Milstein, I was knocked over by NM's Highest Compliments who told me "Elisabeth, dear, You Must perform this in your next engagement as violin soloist with orchestra in The Beethoven Violin Concerto!!" I was truly knocked over never ever expecting any compliment and rather nervous Mr. Milstein might ask me to leave being a bit pertinent in saying one had amateur composed a little Cadenza to the LvB Violin Concerto! To the contrary, NM told me he was endorsing my Cadenza for public performance and added with an NM twinkle in his eye, "And please get some Manuscript Paper to write it out fully, dear Elisabeth!!" I was almost in God's Heaven with Joy! I learned that to - in effect to "Compose" one's own Cadenza, took a lot of work knowing the Entire Violin Concerto w/Orchestra Score so well that nothing at all could cause any strife or missed entrances or any sort of strained distortion of Beethoven's Masterwork due to one's inner knowledge and Love for this Noble Composition which IMHO, Beethoven wrote for His God and All Mankind ... All the Rules and I respect much of the RX's here for many wishing to Compose, were bypassed due to honourably years of inner knowing of the Full Score and also at the Piano which is paramount to all string players/Cousins to truly interpret & minus any distortions in any Cadenza one might write to not interfere with the Genius of LvB!!! This is IMHO, the Most Important Ingredient in a 'Salad' of those creating an Extra Statement following either the 1st Mov't or the in-between Mvt to the 3rd Mvt Allegro with a happy Fox Trot tempi or a certain relevance to the 'Prayer' Mvt then its progression to a Finale of Joy with lite delight in a tempo Happy for All Soloist/Orchestra and must mention, Conductor on the Podium to Honour Beethoven not our own various long held Interpretations of Recordings of varied Soloists and/or Orchestras over Decades but to take the Best in our own imaginations yet to also include all "Father's" of Cadenza's notably Fritz Kreisler's Godly Cadenza's throughout this gloried Concerto for Violin w/Orchestra!!! There are, of course the Heifetz (my 1st Epic Mentor) and Milstein with several and Oistrakh plus I would think Oistrakh Cadenza's and impromptu changes of all due individual Inspiration at the time of performance or recording ongoing!!! I honour Rules yet did like the addition of caution to Not interfere with the Thematic & Harmonic material of Ludwig van Beethoven!!!! And an "Amen" to leave off with more to come if any reading this might wish to ask any sort of questions via contact with myself on FB! In a little bow of Thank You, I wish all playing or studying the Beethoven Violin Concerto every Blessing which comes from just being Close to the Father of Holy Violin Compositions not to mention all Concerti for varied Instruments & chamber ensembles ... Reverence for LvB knows No Bounds amongst experienced musicians so blessed to have the ingredients of Techniques and musical respect/judgement when offering LvB Violin Concerto with Orch in Public and I love the idea of offering this In a House of Holy Worship ... Thank You for opportunity to say a bit on this Subject ~ E. Matesky, now 3.11.2025 and late so Good Nite to All ~ US Violinist/google or look me up in The Strad or through many years of performing throughout the World and also loving teaching all I can from JH and NM ... FB: https://www.facebook.com/elisabeth.anne.775?fref=nf {TWH Photo: POTUS Carter/French PM Barre; Across Violinist, E. Matesky green gown after Finale EM Carter Invited Violin French Evening Recital honouring French PM Barre visit and Signing of Concorde Agreements of Air Routes between US and France, Sept 16, 1977.}

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