8/12/2019 Cadenzas Mozart Libre

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hen preparing the Concerto in C Major for Oboe and Orchestra by W.A. Mozart, obo-ists are presented with the task of provid-ing cadenzas and Eingänge at appropriate

places. These two traditions of performance practiceare both played in an improvisatory style, yet differin style and function. Cadenzas commonly occurover a second inversion tonic chord toward the endof a movement and are structural. Eingänge (Ger:entrances) may occur anywhere in a movementespecially before the return of a rondo theme over adominant chord and are ornamental. Cadenzas

commonly end with a trill leading to the finalorchestra tutti. Eingänge lead into a solo statementof the theme. Amadeus Mozart himself distinguishedbetween the two as evidenced by a letter to hisfather, dated February 15, 1783. Each movement ofthe Mozart oboe concerto includes an opportunityfor a cadenza and the last movement includes oneEingang at measure 123.

Here are 9 published examples of cadenzas andEingänge. Annotations indicate: special features, therange of each publication (middle C between bassand treble staffs = c’), number of pages of eachpublication, printed affect/mood of each movement(if present), and the length of the suggested passagefor each movement.

1. Baudo, Serge. Trois Cadences pour le concerto pour Hautbois K. No. 285 d=314 de W.A. Mozart, Paris:Leduc, 1967.

Range: c’ to g”’. 5 pages. I. Avec une grandeliberté, one-and-a-half pages (unmetered). II. 14measures. III. Avec fantasie, no Eingang, 19 measureson page 4; page 5 unmetered.

2. Bruttger, Thomas, Concerto in C Major for Oboeand Orchestra KV 314 (285d), ed. F. Giegling. Kassel:Bärenreiter, 1986.

Cadenzas and Eingang are printed in the pianoand not in the oboe part. Range: c’ to d”’. 32 pages. I.Allegro aperto, 6 measures. II. Adagio non troppo, 7measures. III. Rondo, Allegretto, Eingang: 3measures, cadenza: 11 measures.

3. Corina, John. “The Cadenza Problem inClassical Concerto Movements.” The Journal of the International Double Reed Society , #3 (1975): 18-23.

This journal article approaches cadenzaconstruction using models from Mozart pianoconcertos. The author offers his cadenza for the firstmovement only. Range: c’ to f”’. 6 pages includingtext and examples. I. 19 measures.

4. de Lancie, John. Mozart Concerto for Oboe and Orchestra: Three Cadenzas. Oceanside: Boosey andHawkes, 1966.

Range: b’ to e”’. 2 pages. I. 27 measures. II. 11measures III. no Eingang, cadenza: 37 measures.

5. Mack, John. Cadenzas for the Oboe Concerto inC. K. 314 of W.A. Mozart , Spokane: B & DPublications, 1995.

Range: d’ to g”’. 3 pages. I. Allegro aperto, 18 meas-ures. II. Adagio non troppo, 13 measures. III. Rondo,Allegretto. Eingang: 6 measures, cadenza: 27measures.

6. Meylan, Raymond. Kadenzen und Verzierung- svorschläge zur konzertanen Oboenmusik des 18.

 Jahrhundert . Adliswil-Zurich: Eulenburg, 1970.This collection offers cadenzas for 11 concertosby Handel, Albinoni, Vivaldi, Telemann, Haydn, andMozart. Range: b’ to g”’. 12 pages. I. Allegro aperto,23 measures II. Adagio non troppo, one lineunmetered. III. no Eingang, cadenza: 30 measures.

7. Rochberg, George. Three Cadenzas for Mozart’sConcerto for Oboe. K. 314. Bryn Mawr: TheodorPresser Co., 1989.

The first page includes the heading, “dedicated tomy friend Joseph Robinson.” Estimated totalduration c. 6 minutes. Range: d-flat’ to e”’. 7 pages. I.liberamente …, 61 measures. II. poco sostenuto … 36measures. III. in tempo … Eingang: 12 measures,cadenza: 93 measures.

8. Sciarrino, Salvatore. Cadenze per i Concerti K.313, K. 315 per flauto, K. 314 (285D) per oboe di W.A. Mozart . Milano: Ricordi 1989.

Ricordi offers a collection of cadenzas for Mozartflute and oboe concertos. Range: c’ to d”’. 7 pages. I.14 measures with two unmetered lines and a variantfor two measures. II. 20 measures III. Eingang: oneunmetered line, cadenza: 25 measures with oneunmetered line.

9. Wuorinen, Charles. Three Cadenzas for theConcerto in C for Oboe by Wolfgang Amadeus Mozart.New York: McGinnis & Mark, 1990.

Range: c’ to g”’. 3 pages. I. 34 measures. II. 15measures. III. 65 measures. The last14 bars outlinestructural harmonies and include a note that “fromhere to the end the player should improvise his ownornamentation.”

It is recommended that oboists take Mr.Wuorinen’s suggestion further and write their owncadenzas for each movement, perhaps using one ormore of these models as a point of departure. A reference to assist the crafting of cadenzas is TheClassical Woodwind Cadenza: A Workbook byDavid Lasocki and Betty Bank Mather (New York:McGinnins & Marx, 1978).

 IDRS JOURNAL56

Cadenzas and Eingänge for the Mozart Oboe Concerto, K. 314:

An Annotated Bibliography

By Dwight ManningAthens, Georgia 

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