Page 314 - Weiss, Jernej, ur./ed. 2025. Glasbena interpretacija: med umetniškim in znanstvenim┊Music Interpretation: Between the Artistic and the Scientific. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 8

glasbena interpretacija ... | music interpretation ...
proach presupposes that the resource (corpus) will be openly available to
other researchers interested in such interdisciplinary efforts, with open ac-
cess being one of the main tenets of digital humanities.
Keywords: musicological studies, musicological discourse,
meta-analysis

Urban Stanič
Taking into account historical context while composing cadenzas for Mozart‘s piano
concertos
In the 18 century, the vast majority of composers were also performers.
th
They performed their own compositions and the compositions of comtem-
poraries. It was usual for performers to play their written or improvised ca-
denzas in concerti composed by other composers. W. A. Mozart wrote ca-
denzas for most of his concerti, which was not usual in his time. There are
no preserved cadenzas for six of his late concerti. If one writes a cadenza,
one can adhere to the style of Mozart‘s preserved cadenzas and the char-
acter of the movement for which one is writing the cadenza, as Eva and
Paul Badura-Skoda suggest. One can also use sources from Mozart‘s time,
such as the Klavierschule by Daniel Gottlob Türk. He writes that the ca-
denya should hold the effect of the piece and amplify it. A cadenza should
not be too long and should not »stray into musical country where the com-
poser has not been in the ocurse of the piece«. Mozart‘s modulations only
transiently use the new tonality, unlike Beethoven. He avoids introducing
themes one after another without any clear division and making the end-
ing of the cadenza identical with the ending of the final solo. Eva and Paul
Badura-Skoda divide every cadenza into three parts: the opening, the mid-
dle and the closing section. The opening section can be thematic or virtu-
oso. Continuous development, or Fortspinnung, is typical of middle parts.
The closing sections are the most free, but they often use certain harmon-
ic schemes. Mozart‘s cadenzas vary in the way of processing of material
and building. The author‘s cadenzas for the K. 414 concerto are structural-
ly similar to Mozart‘s ones. The cadenza for the K. 491 concerto contains an
additional shorter cadenza, which consists of an opening and middle part.
Keywords: W. A. Mozart, piano concerti, writing cadenzas, Mozart‘s
style, comparison of cadenzas

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