The Cadenza.
The cadenza may be said to range from the group of notes taken ad lib., to the brilliant virtuosic cadenza introduced, or added to concerto compositions.
The first form is generally used as a connecting link between one section of a composition and another, and although the time is marked ad lib., the student should always strive to correctly phrase these little solo passages in accordance with the character of the movement or composition, so that the desired effect may be given.
The latter and "big" form of cadenza, is generally given to allow the performer an opportunity to show his skill, although Schumann did not favour this idea; the cadenza to his 'cello concerto being merely a few bars of recitative leading into the brilliant coda (finale), in other compositions he adhered to the same idea, the cadenza being thoroughly and wholly "Schumann," without any attempt to serve as a means of display. In compositions where the cadenza is not written out, the player is expected to supply one; this should be constructed from motives taken from the work, the skill of the player being shown in the manner in which these motives are treated. As the composition of a cadenza will necessarily be of a free character, the introduction of brilliant arpeggios, double-stops and rapid scale passages all skilfully woven around and connecting the motives introduced, may be taken as the basis on which to work.