Historical Performance Practice in Cadenzas For Mozarts Concerto

University of Iowa
Iowa Research Online

Theses and Dissertations
2012
Historical performance practice in cadenzas for

Mozart's concerto for bassoon, K. 191 (186e)
Sarah Anne Wildey
University of Iowa
Copyright 2012 Sarah Anne Wildey

This dissertation is available at Iowa Research Online: http://ir.uiowa.edu/etd/3404
Recommended Citation
Wildey, Sarah Anne. "Historical performance practice in cadenzas for Mozart's concerto for bassoon, K. 191 (186e)." DMA (Doctor of
Musical Arts) thesis, University of Iowa, 2012.
http://ir.uiowa.edu/etd/3404.
Follow this and additional works at: http://ir.uiowa.edu/etd

Part of the Music Commons
HISTORICALPERFORMANCEPRACTICEINCADENZASFORMOZARTSCONCERTO
FORBASSOON,K.191(186e)
by
SarahAnneWildey
AnessaysubmittedinpartialfulfillmentoftherequirementsfortheDoctorof
MusicalArtsdegreeintheGraduateCollegeofTheUniversityofIowa
July2012
EssaySupervisor:ProfessorBenjaminCoelho
Copyrightby
SARAHANNEWILDEY
2012
AllRightsReserved
GraduateCollege
TheUniversityofIowa
IowaCity,Iowa
CERTIFICATEOFAPPROVAL
__________________________________
D.M.A.ESSAY
_______________
ThisistocertifythattheD.M.A.essayof
SarahAnneWildey
hasbeenapprovedbytheExaminingCommitteefortheessayrequirementforthe
DoctorofMusicalArtsdegreeattheJuly2012graduation.
EssayCommittee: ____________________________________________
BenjaminCoelho,EssaySupervisor
____________________________________________
NicoleEsposito
____________________________________________
ChristineGetz
____________________________________________
WilliamLaRueJones
____________________________________________
AndrewParker
Toallthebassoonistsinmylife.
ii
Mygreatgrandfatherusedtosaytohiswife,mygreatgrandmother,whointurn
toldherdaughter,mygrandmother,whorepeatedittoherdaughter,mymother,
whousedtoremindherdaughter,myownsister,thattotalkwellandeloquently
wasaverygreatart,butthatanequallygreatonewastoknowtherightmoment
tostop.
WolfgangAmadeusMozart,TheLettersofMozartandHisFamily
iii
ACKNOWLEDGMENTS
Therearesomanypeopletothankfortheirparticipationinthecreationand
completionofthisessaythatitishardtoknowwheretobegin.Firstandforemost,I
wouldliketothankallthebassoonistswhosogenerouslydonatedtheircadenzas,
withoutwhichthisessaywouldnotbepossible.ThankyoutoSteveBraunsteinof
the San Francisco Symphony Orchestra, Daryl Durran of the Penn State School of
Music,CharlesKosteroftheUniversityofCalifornia,RiversideDepartmentofMusic,
Kim Krutz of the Washburn University Department of Music, Erik Ludwig of the
Phoenix Symphony, Miles Maner of the Kansas City Symphony Orchestra, Carol
McNabb of the University of Texas at Brownsville Department of Music, Laurie
HatcherMerzoftheSt.CloudStateUniversityDepartmentofMusic,FrankMorelliof
the Juilliard School, Yale School of Music, Manhattan School of Music, and SUNY
Stony Brook, Rebecca Noreen of the Hartford Symphony Orchestra, Eastern
Connecticut Symphony, Rhode Island Philharmonic, and Connecticut College, Hartt
School Community Division, Scott Oakes of the Wichita State University School of
Music,WillPeeblesoftheWesternCarolinaUniversitySchoolofMusic,JanetE.Polk
of the University of New Hampshire Department of Music and the Dartmouth
College Department of Music, Scott Pool of the University of Texas, Arlington
DepartmentofMusic,PeterSimpsonoftheUniversityofKentuckySchoolofMusic,
David Sogg of the Pittsburgh Symphony Orchestra and William Winstead of the
Cincinnati CollegeConservatory of Music and the Cincinnati Symphony Orchestra.
Yourcontributionstothefinalpieceofmydoctoraldegreearegreatlyappreciated,
andforthatIameternallythankful.
iv
Throughoutmyeducationalcareer,Ihavehadtheprivilegeandpleasureof
so many teachers who have supported and nurtured me into the musician and
scholar I am today. I cannot express enough gratitude for the time and efforts
invested by Kimberly Buchar Kelley, William Ludwig, and Benjamin Coelho.
Withoutthem,thisessaywouldnotexisttoday.
I wouldalso like toacknowledge andgreatly thankmy Defense Committee,
Dr.WilliamLaRueJones,Dr.ChristineGetz,Dr.AndrewParker,ProfessorBenjamin
Coelho,andProfessorNicoleEsposito.Theamountoftimeandeffortyouputinto
mydefenseandyourcritiques,suggestions,andeditorialcommentshavemadethis
essay better than I thought possible. I am appreciative beyond words for all you
havedonetomakemyworkstandout,andtomakemeabetterscholar.
My parents, William and Tina Wildey, I cannot thank enough. From
encouraging me to start music back in fourth grade, to their continued support as

mystudiesandperformanceopportunitiestookmetomoreandmoreplaces,they
werealwaysthereforme.Thankyou.
Andtomybetterhalf,JohnWilliamRichmond.Itseemsanythingispossible
withyoursupportandlove,andyouhavealwaysbeentherethroughthelaughter,
tears, and occasional bassoonrelated drama. I am so lucky to have someone as
strongasyouwithwhomtosharemylifeandlove.
Lastly,butjustasimportant,toyouthereader.Thankyoufortakingtimeto
lookatmyfinaleffortasastudentatTheUniversityofIowa.Ihopeyouenjoythe
laborofmythreeyears,andyouenjoyitasmuchasIenjoyedwritingit.
TABLEOFCONTENTS
LISTOFTABLES.....ix
LISTOFEXAMPLES.......x
CHAPTER
1.INTRODUCTION1
2.HISTORICALBACKGROUND..6
1.1.ResearchSourcesandMethodology.3
1.2.Limitations5
2.1.HistoricalTreatises.....6
2.1.1.JohannJoachimQuantz..7
2.1.2.DanielGottlobTrk...10
2.1.3.CarlPhilippEmanuel.Bach.....12
2.1.4.LeopoldMozart....13
2.1.5.GiambattistaMancini15
2.1.6.JohannAdamHiller...17
2.1.7.JohannFriedrichAgricola..19
2.2.ModernTreatises....21
2.2.1.LeonardG.Ratner......21
2.2.2.DavidLasocki&BettyBangMather22
2.3.Conclusion...26
2.4.TheEingang...27
2.5.CapabilitiesoftheClassicalBassoon......29
2.6.AnalysisofPianoCadenzas17721781..............................34
2.6.1.ConcertoinF,K.24235
2.6.2.ConcertoinBflat,K.238...38
2.6.3.ConcertoinC,K.246.41
2.6.4.ConcertoinEflat,K.271.45
2.6.5.ConcertoinEflat,K.36548
2.6.6.Conclusion...51
3.EXAMINATIONANDANALYSISOFCADENZAS...54
3.1.StevenBraunstein....55
3.1.1.Biography...55
3.1.2.Analysis.......56
3.2CharlesKoster..62
3.2.1.Biography.62
3.2.2.Analysis...63
vi
3.3.KimKrutz.66
3.3.2.Analysis...67
3.4.ErikLudwig69
3.4.2.Analysis...69
3.5.MilesManer72
3.5.2.Analysis...72
3.6.CarolMcNabb74
3.6.2.Analysis...75
3.7.LaurieHatcherMerz.76
3.7.2.Analysis...77
3.8.FrankMorelli.78
3.8.2.Analysis...79
3.9.RebeccaNoreen...83
3.9.1.Biography..83
3.9.2.Analysis.........84
3.10.ScottOakes..86
3.10.1.Biography86
3.10.2.Analysis....87
3.11.WillPeebles.89
3.11.1.Biography..89
3.11.2.Analysis..90
3.12.JanetPolk..91
3.12.1.Biography91
3.12.2.Analysis....92
3.13.ScottPool..94
3.13.1.Biography94
3.13.2.Analysis.95
3.14.PeterSimpson98
3.14.1.Biography98
3.14.2.Analysis.99
3.15.WilliamWinstead103
3.15.1.Biography103
3.15.2.Analysis104
3.16.Conclusion...109
4.OTHERCONTRIBUTIONS111
4.1.DarylDurran...111
4.1.1.Biography.111
4.1.2.Analysis.112
vii
4.2.DavidSogg112
4.2.1.Biography.....112
4.2.2.Analysis..113
4.3.DanielMatsukawa...115
4.3.1.Biography.115
4.3.2.Discussion.115
4.4.ContributionsoftheAuthor..116
5.NEEDFORFURTHERSTUDYANDCONCLUSION..120
APPENDIX
A.CADENZASANDEINGNGE...123
A.1.StevenBraunstein..123
A.2.CharlesKoster...125
A.3.KimKrutz.127
A.4.ErikLudwig.128
A.5.MilesManer.129
A.6.CarolMcNabb.130
A.7.LaurieHatcherMerz..131
A.8.RebeccaNoreen132
A.9.ScottOakes......133
A.10.WillPeebles..134
A.11.JanetPolk.135
A.12.ScottPool...136
A.13.PeterSimpson.138
B.OTHERCONTRIBUTIONS...........139
B.1.DarylDurran..139
B.2.DavidSogg...140
B.3.SarahWildey..141
C.CONTACTINFORMATIONFORBASSOONISTS.....142
D.PERMISSIONFORMLETTERSSENTTOBASSOONISTS.144
BIBLIOGRAPHY..147
viii
LISTOFTABLES
TABLE:
2.1.Elementsofcadenzasforpianoconcertosstudied53
ix
EXAMPLE:
LISTOFEXAMPLES
2.1.Firstpianosoloinmm.5556ofK.242,secondmovement36
2.2.Mm.56ofcadenzaforK.242,secondmovement...36
2.3.EingangforK.242,m.59......37
2.4.Mm.5660ofK.238,secondmovement.Pervasiveuseoftripletfigure.39
2.5.Mm.12ofK.238,secondmovementcadenza.Returnoftripletfigure.39
2.6.Motivicmaterialfromm.50ofsecondmovementandm.6ofcadenza..40
2.7.Melodyofcadenza,m.1,andmelodyfromm.5743
2.8.K.271movement1cadenza,m.446
2.9.Orchestralreductionofm.14ofintroductionlaterplayedinlefthandof
cadenza(Example2.6.8).46
2.10.Pianosoloatm.75,laterlooselyimitatedandembellishedintheright
handofthecadenza(Example2.6.8)............................................................................46
2.11.M.13ofcadenzaofsecondmovementofK.271..47
2.12.Mm.4041ofsolopiano.Elementsoftherighthandinm.40appearin
therighthandofthecadenza,elementsofthelefthandofm.41appearin
thelefthandofthecadenzaaswell..47
2.13.Mm.35ofcadenza,takinganideafrompreviouspassagesinthework49
2.14.Mm.5556.Passageusedforimitationinthecadenza..49
2.15.Mm.18ofthecadenzaforthelastmovementofK.365......50
2.16.Pianoreductionoforchestralintroduction,showingthesamemelody
usedinthecadenza.50
3.1Mm.67ofthecadenza....56
3.2.Mm.5052ofbassoonsolo,usedasbasisforcadenzainmm.912.......57
x
3.3.M.13ofbassoonsoloandm.7,bothutilizedinthecadenzathrough
transposition..59
3.4.Mainmelodicmaterialinm.7ofbassoonconcertothatCadenza3isbased
on..........61
3.5.Openingofthecadenza,inspiredbymm.3536ofthebassoonsolo.63
3.6.Thematicmaterialfrommm.4546thatismodifiedforuseinthecadenza.64
3.7.Mm.5152ofsolobassoon,usedasmaterialforcadenza64
3.8.UseofthelowDflat2trillinm.28ofMr.Kostersfirstmovementcadenza.65
3.9.M.7ofthebassoonsolo,themainbuildingblockforthesecond
movementcadenza.66
3.10.Bassoonsoloinmm.138139thatisrhythmicallyaugmentedin
cadenzam.5...67
3.11.Thisrhythmandfigurationinmm.1112ofthecadenzaisarhythmic
augmentationofmm.4546ofthebassoonsolo.68
3.12.TheopeningofMr.Ludwigsfirstmovementcadenza,basedonthe
openingmelodyofthebassoonsolo...70
3.13.M.50ofthebassoonsolo(right)andm.4ofthecadenza(left).Rhythms
usedtohomogenizetheuseoffamiliarmotiveswithnewmaterialinthe
cadenza..70
3.14.Mm.6163ofthebassoonsolo.Theinterplayofhighandlowvoicesis
emulatedinmm.1215ofMr.Ludwigscadenza.71
3.15.Mm.138142ofbassoonsolo,directlyquotedintheopeningmeasuresof
Mr.Manerscadenza..73
3.16.Mm.811ofthecadenza,usingmotivespulledfrommm.8081ofthe
BassoonConcerto....76
3.17.Mm.910ofthecadenza,utilizingmaterialinmm.3233ofthe
solo...77
3.18.Mm.Mm.4546andmm.112113ofthebassoonsolo.Thearpeggio
motiveistakenandusedintheEinganginm.97...79
xi
3.19.Mm.152153,pianoreductionoftheorchestralscore.Thesixteenth
notearpeggiosareusedformotiviccontentinthecadenza...80
3.20.M.143ofthebassoonsolo,rightbeforethecadenza.Thissixteenth
notepassageisthebasisforrehearsalEofthecadenza.....81
3.21.Mm.2122ofthethirdmovementbassoonsolo.Motiveforthe
beginningofthethirdmovementEingangistakenfromthismelody....82
3.22.M.141ofbassoonsolo,usedformaterialpresentinmm.912of
cadenza...........................84
3.23.ReworkedendingofMs.Noreensfirstmovementcadenzatoshow
propernotationthatwouldcorrectlyreintroducetheorchestra..85
3.24.Pianoreductionofmm.34oforchestralintroductiontosecond
movement.Thisisusedintheopeningofthecadenzawithslight
modification87
3.25.Motivefromm.13ofconcerto,usedforthematicmaterialin
cadenza..88
3.26.MaterialfromthecadenzathatMr.Oakespullsfromthethirtysecond
notethemeinm.9ofthebassoonsolo..88
3.27.Mm.1517occurinmodifiedformwithintheclosingmeasuresof
thecadenza..89
3.28.Thesixteenthnotesinm.3132ofthebassoonsoloareusedasbasis
form.68ofthecadenza.91
3.29.Theturn,acrucialelementinthebodyoftheworkhereatm.10,
isutilizedattheendofthecadenza.92
3.30.Theorchestraltuttileadintothebassooncadenzaprovidesthe
openingmaterialinMs.Polkscadenzaforthesecondmovement..93
3.31.Mm.910ofthecadenza,basedonmm.8081ofthebassoonsolo....95
3.32.Sixteenthnotepassageinm.82ofsolo,usedformotiveinmm.1314
ofcadenza.95
3.33.Mm.2022ofthecadenza,avariantofmm.5152ofthebassoon
solo...96
xii
3.34.OpeningmeasuresofMr.Poolssecondmovementcadenza.Thetwo
quarternoteswiththegracenoteembellishmentarearhythmic
augmentationoftheopeningbassoonsolomelodyforthesecond
movement....97
3.35.M.10ofthebassoonsolo.Thedottedeighthandsixteenth
ornamentedbythirtysecondnotegracenotesareusedas
amajormotiveinthecadenza.97
3.36.ThebeginningofMr.Simpsonscadenzaforthefirstmovementistaken
fromthemotiveinthebassoonsoloinmm.5154and120122,omitting
thetrilledquarternotes..99
3.37.Mm.8081and8585ofthebassoonsolo.Mr.Simpsontransforms
thismotivetocreateareminiscentmelodyinmm.59ofhisfirst
movementcadenza.....99
3.38.Mm.912ofthecadenza.Thisisaplayonthebassoonsolopassage
inmm.6363100
3.39.Mm.130140ofthebassoonsolo.Thestaccatoeighthnotes
followedbyaquarternotepassagesaretakenandutilizedinmm.14
15ofthecadenza..100
3.40TheopeningofMr.Simpsonssecondmovementcadenzastartswithan
exactquotefromtheopeningbassoonsoloinmm.78,leavingout
afewnotes,thenmovesontocompletelyoriginalmaterial...101
3.41.Mm.910ofthebassoonsolo.Mr.Simpsonutilizesboththethirty
secondnotesandtheornamentalthirtysecondnotes,addingsome
originallymaterial,tocreatetheendingofhissecondmovement
cadenza102
3.42.Mm.112113ofthebassoonsolo.Thearpeggiatedsixteenthnotesare
usedasthebasisfortheopeningofMr.Winsteadsfirstmovement
cadenza104
3.43.Mm.120122ofthebassoonsolo,usedasmaterialforalmosta
thirdofthefirstmovementcadenza.105
3.44.Mm.4849,6263,and8182.Thesethreeseparatemotivesare
combinedintoonetocreateanewmelodicideainthesecondhalfof
thecadenza...106
3.45.Thissixteenthnotepassageinm.86isutilizedinthethirdsystemof
thesecondpageofMr.Winsteadsfirstmovementcadenza.106
xiii
3.46.Mm.3132arecombinedwithm.24tobuildanewthematicarea
ofthesecondmovementcadenza....107
3.47.Thesamerhythmicmotiveasm.38ofthesecondmovementis
combinedwithanexactquoteofmm.6263ofthefirstmovement..108
4.1.ThelastbeatofMr.SoggsEingang,quotingthepassagefrommm.50
52ofthebassoonsolo,butleavingoutthetrilledquarternotes...114
4.2.Theopeningofthefirstmovementcadenza,whichpullsthematic
materialfrommm.4550andmm.112118ofthebassoonsolo.116
4.3.Thispassageofthebassoonsoloatm.13istransposedandused
atthebeginningofMs.Wildeyssecondmovementcadenza118
4.4.Mm.3133ofthebassoonsolo.Thispassage,omittingthethirty
secondnotes,isthethematicmaterialusedtoendthesecond
movementcadenza..118
xiv
CHAPTER1:INTRODUCTION
WolfgangAmadeusMozartsConcertoforBassoon,K.191haslongbeenan
important part of the Classical era bassoon repertory.1 Few composers of the
Classical period wrote for the bassoon as a solo instrument, and even fewer still
paireditwithanorchestralbacking.K.191notonlyisuniquewithinthebassoon
repertory,butalsostandsoutinthecompositionalcareerofMozartasbeinghisfirst
completedwindconcerto,composedattheageofeighteen.
TherehasbeenmuchspeculationasforwhomtheConcertowascomposed;
there has been no definitive proof of this, but what we do know is that the
autographscorewaslost,andthereisanextantsetofpartsfromaround1790.This
print,publishedbyJohannAndrfromthecityofOffenbachwaspartofacollection
belonging to Thaddus Freiherr von Drnitz, an amateur bassoonist who owned
seventyfourworksbyMozart.
The Concerto for Bassoon, K. 191 is the only surviving solo bassoon work
written by Mozart. There has been speculation that a total of four bassoon works
were written, with a considerable amount of speculation given to the
instrumentation of cello or bassoon for the Sonata in Bflat, K. 292, but this has
neverbeenproven.Allotherbassoonworks,iftheydidexist,arenowlosttous.
AswasthecustomintheBaroqueandClassicalperiod,composersoftendid
not write out cadenzas, allowing the performer to add their own improvisation.
Likewise, Mozart did not write cadenzas for K. 191, therefore a large part of the
1WhiletheKchelnumberforthisconcertihasbeenchangedto186e,itismore
commonlyrecognizedandstillreferredtoasK.191.Forthisreason,K.191willbe
thestandardizedreferenceforthebassoonconcerti.
performance itself is untouched by Mozarts hand. Depending on personal (or

teacher) preference, the performer may write an original cadenza for the
performance or use an existing cadenza written by a wellknown bassoonist or
composer.Ineithercase,thecadenzamayberemovedstylisticallyfromMozartand
almostalwaysremovedfromtheClassicalperiod.
WhiletherearemanyguidesonhowtowriteacadenzaintheClassicalstyle,
therearenonespecifictothebassoonanditscapabilities,strengths,orweaknesses
duringthisperiod.Alsolackingisaninformationalresourcethatcritiquescadenzas
onhowtheyadheretoorstrayfromClassicalperformancepracticeintermsofkey
areas commonly used or where motivic material was pulled from, and more
specifically to the idiomatic characteristics of the bassoon. An essay that analyzes
the abilities of the Classical era bassoon would be a useful guide in an era where
accurate performance practice is increasingly sought after, even expected, in live
performance.
Present research entails translations or explanations of treatises on
performancepractice,orinformationonhowtocomposeaworkoracadenzaina
style that adheres to Classical practice. There are no known resources that cater
performancepracticeoftheClassicaleraspecificallytothebassoon.Thisessaywill
takeexistingcadenzasfortheMozartbassoonconcerto,andexplainindetailwhere
thecadenzafollowsperformancepractice.Whenitdoesnot,alogicalexplanation
orreasonforwhyitdoesnot,suchasmakingconcessionsfortheincreasedrange
andflexibilityofthemodernbassoon,fortheoreticalpurposessuchastomodulate
toanewkey,etc.,willbegiven.
It is the goal of this essay to aid younger bassoonists, either advanced high
schoolorbeginningcollegestudents,witharesourcetocritiquecadenzasusedfor
theMozartBassoonConcerto.Sincemanystudentsatthislevelarenotwellversed
in historical performance practice, nor what makes a more or less Classically
authentic cadenza, this resource can be a helpful guide. While this essay cannot
covereveryextantcadenzaforK.191,itcanserveasaresourcetofurtherevaluate
achosencadenzaandallowthestudenttoevaluatehistoricalperformanceaccuracy.
This essay is not encouraging students to use only the most historically
accuratecadenzaspossible,butrathertobeawareofthecontentandcompositional
styleofthecadenzatoaidinitsevaluation.Someperformancesituationsmightcall
foramorehistoricallyaccuratecadenza,whileothersmayalloworevendesireone
in a more modern style. As with most stylistic performance nuances left to the
performer,orinthiscasethestudent,itisimportanttojustifyandbeabletoexplain
why a decision was made to perform a cadenza in a particular manner. If the
studenthaschosentofollowperformancepracticeortousethemodernabilitiesof
thebassoontodictatetheirchoiceofcadenza,thisessaycanhelpastudentjustify
theirdecisions.
1.1.ResearchSourcesandMethodology
Thisessaywillbedividedintoseveralsections,twoofthelargestcontaining
generalized information on the performance practice of cadenzas in the Classical

period, and another containing select cadenzas from wellknown bassoonists and
evaluatingtheiradherencetostylisticpracticewithinthecapabilitiesoftheClassical
erabassoon.
In the chapter containing generalized information, specifics on composition
andexecutionwillbedrawnfromseveralimportantresources,themostcrucialof
which are historical treatises written during the Classical era. Documents on the
Classical era written within the last century that detail information on cadenza
composition will also be consulted. The purpose of the general section will be to
explain common ornamentation within Classical cadenzas, derivation of motivic
material,andapproximatelength.Anotherelementscrutinizedinthissectionwill
bepianocadenzaswrittenbyMozarthimself,mostlythosefrom17721781toavoid
attributingtraitsofhisdevelopedcompositionalstyletohisearlyworks.Thestudy
ofMozartsearlycadenzawillbeacrucialaidindeterminingstylisticfeaturesofhis
cadenzawritingandseeinghowitmightapplytocadenzaswrittenforK.191.
The chapter examining bassoon cadenzas will be organized in alphabetical
orderbythecomposerofeachcadenza.Eachcadenzawillbeexaminedonitsown
merit and an assessment will be made of how it adheres to or strays away from
Classicalperiodpractice,howitrelatestotheabilitiesoftheClassicalerabassoon,
and how it might potentially fit into Mozarts compositional style. Cadenzas
collectedforresearchpurposesweredoneinasystematicfashiontoavoidanybias
in the collection process. This process involved emailing all bassoonists who are
currentlyorinICSOM(InternationalConferenceofSymphonyandOperaMusicians)
or ROPA (Regional Orchestra Players Association) orchestras, as well as bassoon
instructorsatNASM(NationalAssociationofSchoolsofMusic)accreditedcolleges
oruniversitiestorequesttheirparticipationintheessaybysharingtheircadenzas.
ThegenericformlettersentcanbeseeninAppendixD.
Lastly, it is also a goal to obtain information on known commercial
recordingsforasmanycadenzasaspossiblethatareutilizedinthisessay.Itisnot
the aim of this research to critique the individual performances of the given
cadenzas,butrathertofindavailablerecordingsthatwillaidindeliveringastylistic
interpretationofK.191byaprofessionalinthebassoonfield.
1.2.Limitations
It is obviously beyond the scope of this essay to provide analysis of every
known cadenza written for K.191. The focus will primarily be upon American
bassoonists,bothperformersandinstructors.Thescopeoftheessaywaslimitedto
persons within the United States as there would be no language barrier to inhibit
response, and email addresses to contact bassoonists is readily available through
theInternet.Also,itisimpossibletoknowexactlywhatMozartwouldhavepenned,
so it is important to note that while this essay is based on as many historical
resources as possible, it is still speculative in nature in terms of identifying the
characteristicsofatrulyauthenticcadenza.
Alsobeyondthescopeofthisresearchwillbetheexaminationofnationalor
regionalstyleandhowitappliestocadenzas.Whiletheremightbedistincttrends
amongtheFrench,German,andAmericanschoolsofplaying(especiallyinregards
tothebassoon),thistopicalonecouldbethesourceofanotherdocumentduetoits
breadth.
CHAPTER2:HISTORICALBACKGROUND
2.1.HistoricalTreatises
Performancepracticeisanissueinanyworkbeingperformedinthepresent
day. Phrasing and articulations were quite different from that of the previous
Baroqueperiod,andthatofthefollowingRomanticperiod,andtheseareelements
thatgivestheClassicaleraitsuniquesoundandplacewithinmusichistory.These
nuances of performance practice are just as crucial in the cadenzas of concerti as
theyarewithinthebodyofthework.
For the Classical era, many aspects of historical performance practice are
indirect and speculative. While we do have period instruments, we do not have

recordingsfromtheperiodavailabletousofhowinstrumentssounded,norhowthe
music was phrased and styled. However, we do have available many extant
documents that refer to or explain how the music was to be performed and
executed.Itiswiththesedocumentsthatwecandoourbesttoreconstructwhatwe
hopeisthemosthistoricallyaccurateperformancepossible.
ManyhistoricaltreatiseswerewrittenduringorabouttheClassicalerathat
described how music was to be executed, and this section will examine those that
are referred to the most in modern research. Each treatise will be examined
individually to find what the specific author found important to Classical
performance,andaconclusionattheendofthischapterwillsimplifythethoughts
of several authors into the most commonly agreed upon elements of performance
practicethatshouldbeconsideredinplaying,compositing,orcritiquingacadenza.
2.1.1.JohannJoachimQuantz
Johann Joachim Quantz (16971773) began his musical training with his
uncle,JustusQuantz, in 1708. He later becameacelebrated flutist, composer, and

teacher who wrote many documents on performance practice during the Classical
era. On Playing the Flute is a valuable treatise as it was written late in the life of
QuantzandwasadocumentthatdescribedmusicastheBaroqueerawaschanging
to the Classical era. His writings were an influential source on C.P.E. Bach, Daniel
GottlobTrk,andmanyothercomposersfirmlyentrenchedintheClassicalera.
Intheopeningofhistreatise,Quantzwrote,SinceIamendeavoringtotrain
askilledandintelligentmusician,andnotjustamechanicalfluteplayer,Imusttry
notonlytoeducatehislips,tongue,andfingers,butmustalsotrytoformhistaste,
andsharpenhisdiscernment.2Quantzwasveryconcernedwithdevelopedahighly
proficientandmusicalmusician,notjustwiththespecificsofplayingthefluteinhis
treatise.Theamountofinformationcontainedaboutperformancepracticeisvast,
thereby making it an invaluable resource for any musician interested in
performancepractice.
Inthebeginningofhissectiononthecadenza,Quantzspecificallystatesthat
acadenzaissuitablyplacedonthepenultimatenoteofthebass,orthefifthofthe
keyareaofthepiece,andthatitisappropriatefordark,slowmovements,orquick
serious ones, not just for happy, light movements of a work.3 The main goal is to
2JoachimJohannQuantz,OnPlayingtheFlute,2nded,ed.EdwardR.Reilly[Boston:
NortheasternUniversityPress,2001],7.
3Ibid,179180.
surprisethelistenerbyhavingonemoreunexpectedturnofmelodyandeventsat
theendofthepiece;however,hewarnsthatiftherearetoomanycadenzasplaced
withinawork(i.e.aftereverysectionofadacapoaria),thelistenerbecomesbored
andisnolongersurprisedtohearone,butratherexpectsit.4
Whencomposingacadenza,knowledgeofsomecompositionaltechniqueis
ideal,butthemostimportantelementstounderstandandemulatearetheprincipal
sentimentofthetheme,andrepetitionorimitationofwhatQuantzcalls,themost
pleasingphraseswithinthework.5Thereismuchwrittenabouttheaffectofmusic,
andthisiswhatQuantzmeantwhenhereferredtotheprincipalsentiment.Asad,
dark cadenza would be very misplaced within a happy, allegro movement. The
mostpleasingphrasesreferstousingmainmelodicideas,oftenfromtheopening
statementorfromaprimemotiveofalatersectionthatcaneasilyberecalledbythe
listener.
According to Quantz, the cadenza contains two principal parts. The first is
repetitionofmaterialfromthebodyofthework,whichshouldbeshortandfresh,
giving it an improvised and spontaneous feel.6 The second rule he states is that
cadenzas should be short, meaning that not too many ideas should be introduced;
onlyoneortwoideasdrawnfromtheworkshouldbeutilizedatatime.7
4Ibid,180181.
5Ibid,181182.
6Ibid,182.
7Ibid,182.
Quantz had several rules he determined to be important for a tasteful
performance, many of which concerned rhythm and meter. Primarily, the

performer should not repeat the same rhythmic figure, including transpositions of
figures too many times in a row, but rather break them up with other rhythmic
figures to avoid monotony.8 Similar to this, there should not be a clear sense of
meteroraregulardivisionofnotes,butratheracontinualsenseofvariationtokeep
themusicfromsoundingcomposed,causingamoreimprovisatorysound.9
In terms of key center and modulations, Quantz emphasized that notes
beginningphrasesshouldnotbeheardtoooftenastheyleaveastrongimpression
ontheearofthelistenerandmightdominatetherestofthecadenza.10Eventhough
cadenzas are improvisatory, they must follow rules of good composition and
intervals and dissonant leaps leading to a modulation must be resolved properly.
Theyshouldnotwanderintoakeythatistooremotefromtheoriginaltonalcenter,
andmusthavearelationshipwiththeprincipalkeyofthepiece.11Alongercadenza
will usually modulate to the subdominant, while the longest ones can go to the
subdominant and the dominant. Minor key modulations should go to the
8Ibid,182183.
9Ibid,182.
10Ibid,183.
11Ibid,184.
10
subdominant through the major third, then to the dominant and return to the
principalkeyarea.Shortcadenzasshouldnotmodulateatall.12
Intermsofaffectandstyle,Quantzdescribesafewwaysinwhichtheaffect
canbereasonablyobserved.Inhappycadenzas,theuseofextendedleapsandbrisk
phrases are mixed with triples and trills. Sad or melancholy compositions should
mostlyusesmallerintervalsinterspersedwithdissonances,takingcarenottomix
thesetraitswiththoseofthehappierstylecadenza.13Lastly,Quantzdescribesthat
agoodcadenzaisnotcreatedmerelyfromplayingfastorfloridpassages,butrather
howwellittoyswithexpectationandpassions.14
Concerninglength,Quantzwasveryspecificwithexpectationsthatgoverned
thecomposition,andthiswashighlydependentuponwhichinstrumentwasplaying
the cadenza. String instruments could make cadenzas as long as they desired,
howeverheemphasizedbrevityoverlength.Vocalistsandwindplayersshouldonly
performonethatcouldbeaccuratelyandbeautifullyexecutedinonebreath.15
2.1.2.DanielGottlobTrk
Daniel Gottlob Trk (17501813) received his first music lessons from his
father, an instrumentalist in the service of Count Schnburg, and after his musical
studies at the Dresden Kreuzschule and the University of Leipzig, became a
12Ibid.
13Ibid.
14Ibid,186.
15Ibid,185.
11
renowned theorist and composer. His treatise, School of Clavier Playing, deals
primarily with his experience and knowledge of the Classical literature, primarily
keyboard, and drew many rules and standard practices from compositions of this
time.Around1799hebeganworkingonhislasttheoreticalwork,Violinschule,but
itwasnevercompletedbeforehisdeath.
WhileTrksSchoolofClavierPlaying,liketheQuantz,dealswithaparticular
instrument, it has much information about historic performance practice. A lot of

focusis placed upon what should or should notappearinacadenza.Trkargues
that the most common problem with cadenza writing is that it does not resemble
the piece in which it is being performed; there is not enough relation with taking
motives and themes from the main body of the work.16 Instead of being its own
separate entity, the cadenza should reinforce the liveliest and memorable parts of
the solo it embellishes, without sounding too difficult or contrived, clearly linking
backtothemovementinwhichitisplaced.17Whileitisimportantthatthecadenza
soundslikeapartofthelargerwork,itisalsoequallyimportanttohavevarietyto
give it unexpected turns. A cadenza is not an exact repetition of previously heard
music,butsomethingwitharelatedyetstillidentifiablydifferentsenseofflair.As
Trkeloquentlywrote,Acadenzadoesnothavetobeerudite,butnovelty,wit,an
16DanielGottlobTrk,SchoolofClavierPlaying,ed.RaymondH.Haggh(Lincoln:
UniversityofNebraskaPress,1982),298.
17Ibid,298299.
12
abundance of ideas and the like are so much more its indispensable
requirements.18
Intermsoflengthandtonalcenters,Trkwrotethatthecadenzashouldnot
bemadetoolong,especiallyiftheyareofamoresadnature;shortcadenzasshould
nevermodulate,andlongeronesmayonlymodulateonce.Alldissonancesmustbe
properly resolved, and motives should not be repeated in the same key too
frequently.19 Trk does not give specifications on length in terms of number of
breaths that should be taken, but he does state that the same tempo and meter
should not be maintained throughout the cadenza to make it seem improvisatory.
Unlike Quantz, who did not promote prepared cadenzas, Trk did not shy away
fromthem,butsaiditwasimportanttofollowtherulesofmeterandtempotomake
thecadenzasoundmorespontaneous.20
2.1.3.CarlPhilippEmanuelBach
CarlPhilippEmanuelBach(17141788)wasoneofthemoreprolificchildren
ofJohannSebastianBach.AlongwiththetreatisesbyQuantz,LeopoldMozart,and
J.F. Agricola, C.P.E. Bachs Essay on the True Art of Playing Keyboard Instruments is
consideredoneofthemostimportantwritingsontheClassicalera,especiallyashe
wassodeeplyrootedintheClassicalstyle.
C.P.E. Bach does not go into great length about the cadenza, which he
describes as the elaboration of the fermata in his treatise. He states they do not
18Ibid,300.
19Ibid.
20Ibid,301.
13
warrant much discussion as they are just prolonged embellishments, and prior to
his mention of the fermata he spends a chapter discussing ornamentation and
embellishments. His oneprimaryadvice is tostay true thecomposersexpressive
aim,meaningtobeconsistentwithstyleandaffect.21
2.1.4.LeopoldMozart
Leopold Mozart (17191787), father of Wolfgang Amadeus Mozart, was a
prolific composer and played a large role in W.A. Mozarts musical training, which
ultimatelyhadagreatinfluenceonhiscompositionalstyle.Duetothelargeimpact
LeopoldMozartstutelagehadonhisson,histreatisecannotbeoverlooked.
LeopoldMozartsTreatiseontheFundamentalPrinciplesofViolinPlayinghas
lessinformationrelevanttotheperformancepracticeofcadenzasthantheprevious
treatises, but it still contains a great deal of information which can help to build a
cadenzathatishistoricallyaccurate.
A large part of constructing a cadenza deals with embellishing previously
heard melodies. Leopold Mozart goes into great depth on a number of these
embellishments,andoneofthemisquiteimportantinthebodyofhissonsbassoon
concerto,theappoggiatura.Itisstatedthattheappoggiaturaiswithoutexception
connected to the main note it is ornamenting; in string instruments this would be
within one bow stroke, for wind instruments it would entail the use of a slur
21CarlPhilippEmanuelBach,EssayontheTrueArtofPlayingKeyboardInstruments,
ed.WilliamJ.Mitchell[NewYork:W.W.Norton&Company,1949],144.
14
marking.22 There are also very specific ways of playing appoggiaturas, either
equallyorunequallytothenoteitisornamenting,andthereareguidelinesfortheir
useaswell.
If the appoggiatura is placed before a quarter, eighth, or sixteenth note, it
shouldbegivenhalfthevalueofthenotetowhichitisattached,whileifitisplaced
beforeadottedrhythmorahalfnotebeginningabarof3/4,2/4,or4/4time,itis
heldthelengthoftimeindicatedbythenotatedappoggiaturaitself.23Thelast,and
perhapsmostconfusinguseoftheappoggiatura,iswhenitisheldlongerthanthe
note it ornaments. In 6/4 and 6/8 meters, when two notes of the same pitch are
tiedtogetherandareprecededbyanappoggiatura,thefirstnoteoftheslurredpair
gives up its value entirely to the appoggiatura.24 There are many other rules for
appoggiaturas that Leopold Mozart outlines, but these do not apply to the
appoggiaturasusedinW.A.MozartsBassoonConcerto.
LeopoldMozartdevotesanentirechaptertothetrillinhistreatise.Hestates
thatismustonlyconsistofahalfsteporwholestep,nevermoreandisdescribedas
alwaysstartingonthenoteabovetheindicatedtrillnote.25Themethodofstarting
and ending the trill can be varied. It can be played straight with no additional
ornamentation,oritmaystartwithanappoggiaturaorendwithanappoggiaturaas
22LeopoldMozat,ATreatiseontheFundamentalPrinciplesofViolinPlaying,tr.
EdithaKnocker[London:OxfordUniversityPress,1975],166.
23Ibid,167168.
24Ibid,168.
25Ibid,186.
15
well.26Thisisleftuptotheperformertodoinawaythatistastefulwiththegeneral
affectwithinthemovementtheornamentationiscontained.Whiletrillsarenotto
beperformedtooquicklyinordertoavoidwhatLeopoldMozartcallsunintelligible
and bleating, or a socalled Goats trill, they can vary in speed, usually starting
slower and increasing in the oscillation between notes as the trill nears its end.27
Like the information on the appoggiatura, the section on the trill is quite
comprehensiveandagreatresourcefortrillsthatmightnotbecontainedwithinthe
concertounderdiscussion.Tremolos,mordentsandothertypesofornamentation
arealsogivenalaterchapterintheMozarttreatise.
Ofinterestisasmallareawithinthediscussionofappoggiaturasthatdeals
with the Nachschlag (singular), or Nachschlgen (plural), an important element of

theW.A.Mozartbassoonconcerto.Itisdescribedasatypeofpassingappoggiatura,
always slurred and short by its nature, intended to ornament a principle note and
heightenslowerpieces.28
2.1.5.GiambattistaMancini
The ideal goal of instrumental music of the Classical period was to emulate
the human voice in lyricism and beauty as much as possible, therefore vocal
treatisescannotbeoverlookedduetotheirinfluenceoninstrumentalperformance.
One of the most important Classical vocal treatises was written by Giambattista
26Ibid.
27Ibid,189.
28Ibid,185.
16
Mancini(17141800),awellknowncastratoandteacher.Hiswritingswereamore
thorough and systematic discussion of those appearing in Opinioni de cantori
antichiemodernibyPierFrancescoTosi(16541732),anotherimportantcastrato
andteacher.
ThediscussionofcadenzaswithinMancinisPracticalReflectionsonFigured
Singingisquiteshort,encompassingonlyafewpagesofhistreatise,butitisfullof
valuableinformationthatwouldgreatlyaidbothsingersandwindplayers.Mancini
discusses three concrete rules regarding the composition of cadenzas. These
includehowtomakethecadenzabefreeandsecureinmodulation,toknowhowto
measure and use the breath while playing the cadenza, and how to make the
cadenzasoundfreeandoriginal.29Theruleofmodulationsimplymeanstofeelfree
to roam to keys other, but to do so securely within the guidelines of good
composition and theory. The measurement and use of the breath is a very
important aspect of the cadenza for Mancini, and he gives it a fair amount of
discussion.Thisdoesnotmeanthatonlyonebreathcanbeused,butratherthatthe
breathmustbetakeninawaythatdoesnotinterruptthemusicalideaortheflowof
thecadenza.Manciniconsidersitimportantthatifthecadenzaislengthy,enough
airbetakeninadiscretewaythatthetrillleadingintothefinalnoteisstrongandis
notof,thestateofbeingunabletoperfectthecadenzawithatrill,butalsounable
tomakethefinalnoteheard.30
29GiambattistaMancini,PracticalReflectionsonFiguredSinging,tr.Edward
Foreman[Champaign,Illinois:ProMusicaPress,1967],55.
30Ibid.
17
Creativityisequallyimportant,andMancinistronglysupportseducatingthe
student on how to make their own cadenzas, starting from short, simple ones to
more long and elaborate as their musicianship grows. He proposes that a motive
fromthemusicbetaken,andthenadaptedtothecadenzasneeds.Hewrites,He
whoknowsenoughtotakeamotiveorapassagefromthebodyoftheritornelloof
an aria, and blend it judiciously with the rest of his invention, will reap particular
applause.31
2.1.6.JohannAdamHiller
Johann Adam Hiller (17281904) was one of the most famous German
composers and writers on music. Being so firmly entrenched in the Leipzig music
sceneforthemajorityofhislife,Hillercameintocontactwithmanystylesofmusic
andwasveryvocalaboutwhatheheard.Hiswideexperiencewithmusicledhimto
his write his treatise, Vocal Performance and Ornamentation, generalizing his
thoughtsontheClassicalstyle.
Inthethirdsectionofhisdiscussionofcadenzasinhistreatise,Hillerquotes
Tosionhowdestructiveapoorlyconceivedcadenzacanbe:
Thecontemporarysingerisinclinedtomakefireworksofimprovised
passages at the end of the first part [of a da capo aria] and the
orchestra has to wait. At the end of the second part, he doubles the
load in his throat causing the orchestra to become bored. When the
half finally comes at the third cadence, the whole mine of divisions
loadedwithsomucheffortisblownup,andtheorchestrafeelsready
tocurseoutofimpatience.32
31Ibid.
32JohannAdamHiller,TratiseonVocalPerformanceandOrnamentation,tr.Suzanne
J.Beicken[Cambridge:CambridgeUniversityPress,2001],122.
18
This said he goes on to outline four rules that should be followed. First,
cadenzas should not be too frequent, they should not be too long, they should
appearasonlythelengthofthebreath,andtheyshouldenterontheI64chordwhile
thebassisonthefifthofthekey.33Secondly,thecontentmustbebaseduponthe
pervadingcharacterandchiefaffectoftheariaatalltimesandshouldnotintroduce
materialtooremoteorunrelatedtothebodyofthework.Thirdly,theplayershould
introduceasmuchunexpectedmaterialaspossible,butitmustalsohavesomeclear
connectionandnotbeonawhim.34Lastly,identicalfiguresshouldnotberepeated
too often, but triads and scales are good building blocks in a cadenza if properly
interspersedwithothermaterial.35
Hiller also gives a few suggestions on what to avoid. Cadenzas should not
alwaysbefastwithflourishesofnotes;sustainednotesaddbeautyandfastsections
mightnotbeappropriategiventhestyleandaffectofthemovement.36Strangeor
remoteintervalscanaddanelementofsurprise,buttheyshouldmakesensewithin
the key center or modulation, as they will otherwise cause more havoc than
good.37 Lastly, large leaps (those encompassing an octave or more) can be
33Ibid,123124.
34Ibid,123.
35Ibid,123124.
36Ibid,124.
37Ibid,127128.
19
appropriate,dependingontheaffectofthemovement,butonlyifplacedwithinthe
middleofthecadenzawherethereistypicallythemostunrestandmodulation.38
2.1.7.JohannFriedrichAgricola
J.F. Agricola (17201774) was a renowned musicographer, composer,
organist, singing master, and conductor. He was a student of Quantz, and also an
acquaintanceofC.P.E.Bach.HiswritingsontheClassicalstyleareinvaluableashe
takes the opinions of his teacher and friend, Quantz, and combines them with his
knowledgeofvocaltechniqueandstyle.
Agricolastreatise,IntroductiontotheArtofSinging,isuniqueinthatittakes
thealreadyestablishedworkofTosiandaddshisowncommentarytoexpandupon
it.Inthetreatise,itisstatedthatcadenzasareonlyappropriateonthefinalcadence
ofagivenmovement;theremightbemanycadencesorcauseforpauseinmusic,but
thelastistheonlytobeembellished.39Agricolaalsostatedthatthesingershould
nottakerefugeinyouroverlyextendeddivisions,orinotherwords,thecadenza
shouldnotbetoolengthy.40
In terms of harmonic motion, the trill ending the cadenza should not be
placedfromaboveonthethirdnoteabovethefinal,sincethetrillsresolutionwill
remainunresolvedduetothebassmotion.Rather,thetrillmustbepreparedfrom
thesixthabovethebasssothatthefifthtowhichitresolvestocanalreadybeheard
38Ibid,128.
39JohannFriedrichAgricola,IntroductiontotheArtofSinging,tr.JulianneC.Baird
[GreatBritain:CambridgeUniversityPress,1995],205.
40Ibid,206.
20
in the bass and create a sense of finality.41 Agricola also argues that the trill is
essential to end the cadenza. If it is left out, the listener is not prepared for the
ending, therefore resulting in an abrupt and somehow unsatisfying ending that
soundsliketheclosetoanyothersectionofthepiece.42Thefinalityofthetrillmust
also not be interrupted by a poorly placed appoggiatura. Rather, it needs to lead
into the final note, which also happens to be the note on which the bass enters,
heavilyimplantingthefeeloffinality.43Ornamentationleadingtothefinalcadence
is appropriate, if done lightly, so it avoids what was called gargling or becoming
obnoxious to the listener whose expectations were thwarted with too heavy a
showofvirtuosity.44
Agricola,statingthatthelackofacadenzaisfarbetterthanapoorlyexecuted
one,corroboratestheabovestatementsofTosiinregardstowhatconstitutesagood
or poor cadenza.45 Agricola then adds a few rules of his own to what Tosi has
established; these are: the cadenza should not be too great in length, it must be
related to the main affect of the piece, that similar figures should not be repeated
nortransposedtoooften,rhythmnotbetoostrict,andnottostraytoofarfromthe
homekey.Hethengoesontopointoutthatlivelycadenzasshouldhavelargeleaps,
41Ibid,207.
42Ibid,208.
43Ibid,209.
44Ibid.
45Ibid,210.
21
trills, and triplet runs, while sad compositions should be more slow and slurred,
mixingsomedissonantintervals.Alltypesshouldhavesomeunexpectedelements
to make them more beautiful, and all should only be done in one breath if not
accompaniedbyanothervoiceorinstrument.46
2.2.ModernTreatises
While treatises written in the Classical era by prominent musicians and
composersareinvaluabletoaresearchofthistype,thosewrittenafterthefacthave
justasmuchinformationtodivulge.MuchresearchhasbeendoneontheClassical
style through the examination of period works, some focusing specifically on one
composer,whileothersgointogreatdepthabouttheClassicaleraasawhole.For
this reason, treatises that generalize the compositional style of many Classical
composerswillbeexaminedtoseehowtheymightaidindiscoveringanauthentic
styleofcadenzacomposition.
2.2.1.LeonardG.Ratner
Leonard Ratner (19162012) is a wellknown American musicologist and
composerwhofocusedonClassicalandRomanticmusicinhisstudies.Inhisbook
on Classical music, Ratner quotes August Kollmann on many elements that have
beendeemedassynonymouswiththeClassicalcadenza.Hestatesthatthesetup
andexecutionisverystandard.Themaincompositionalcomponentistheleading
chord on the fifth of the final bass note that is suspended by a fourth and sixth
before the fifth and third, and then a pause introduced over a suspension, leading
intothebodyofthecadenza.Thesignaltoinstructtheorchestratoreenterandto
46Ibid,211.
22
signify the end of the cadenza is a trill leading to the final chord, causing a great
senseofsatisfactiontothelistener.47Healsostatesthatwhilecadenzasinallthree
movementsofaconcertomightbeappropriatetheybecomeboringandsometimes
disgusting if they are too similar within a single work; the more often cadenzas
theyareused,themoreoftenitisnecessarytocreatenewmaterial.48
Ratner goes on to describe a very consistent harmonic plan, which Mozart
usedinhisextantcadenzas.Theyarefirmlyanchoredonthedominantchord,both
begin and end the cadenza, thereby aiding in the clear sense of a start and finish
point.Agreatdealofthecadentialmaterialthatisinsertedbetweenthesedominant
chordsfeaturesstepwisebassmotion,thusallowingacleartonalpathtobeheard
bythelistener.49
Thecadenzashouldonlybeusedondominantchordsinwhichtheharmony
canhelpsetupadramaticreturntothetonic.Theuseoffamiliarmaterialfromthe
bodyoftheworkandkeepingconsistentwiththestyleofmusicwillhelpleadupto
thisdramaticreturn.50
2.2.2.DavidLasocki&BettyBangMather
David Lasocki wrote his doctoral dissertation in 1978 and was aided in his
work by Betty Bang Mather, Professor Emerita of Flute at the University of Iowa.
47LeonardG.Ratner,ClassicMusic:Expression,Form,andStyle[NewYork:Schirmer
Books,1980],305.
48Ibid.
49Ibid,306.
50Ibid,307.
23
Focusing on many treatises of the Classical era, both authors put a great deal of
work into discerning how to create a stylistically accurate cadenza for woodwind
concerti. Their generalized information on this stylistic period is an invaluable
sourceforcombiningseveralwellknowntreatisesintoonedocument.
While The Classical Woodwind Cadenza: A Workbook was intended to be an
aidinwritinganoriginalcadenza,itcontainsagreatdealofinformationthatcanbe
used to critique available cadenzas for the Mozart Bassoon Concerto. The book
openswithaquotefromQuantzontheexpectationsofagoodcadenza:
The object of the cadenza is simply to surprise the listener

unexpectedlyoncemoreattheendofthepiece,andtoleavebehinda
special impression in his heart [Cadenzas] greatest beauty lies in
that,assomethingunexpected,theyshouldastonishthelistenerina
freshandstrikingmannerand,atthesametime,impeltothehighest
pitch the agitation of the passions [emotional tones] that is sought
after.Youmustnotbelieve,however,thatitispossibletoaccomplish
this simply with a multitude of quick passages. The passions can be
excited much more effectively with a few simple intervals, skillfully
mingledwithdissonances,thanwithahostofmotleyfigures.51
Mostly, the cadenza was intended to show off a performers inventiveness,
expressiveness, sense of style, and sometimes when it was appropriate (and

considered far behind the other values listed previously), to show off range and
abilitytoplaylargeintervals,aswellasfastpassagework.
Ofthemostimportantaspects,fiveelementswereconsideredtobethemost
crucial,allofwhichconcernedthestartandtheendofthecadenza.Thefirstrule
51DavidLasockiandBettyBangMather,TheClassicalWoodwindCadenza:A
Workbook[NewYork:McGinnis&Marx,1978],15.
24
stated is it must start over the orchestras sixfour chord, and the soloist must
chooseanoteofthetonictriadtoplay.52Thefourotherrulesareinregardtothe
process of ending a cadenza. The easiest way to end is by trilling on the second
scaledegreeofthekeyovertheimplieddominantseventh,andtrillingtothesecond
scaledegreebywayofthethirdscaledegree.Thefinaltrillshouldendwithatwo
note close into the first scale degree, those two notes being the note below the
principal note of the trill (the first scale degree) and the principal note of the trill
(thesecondscaledegree)thisismorecommonlyreferredtoasaNachschlag.53
Lasocki and Mather give some specifics for the melodic figurations of the
cadenzas as well. Sections should imitate the body of the work, but these should
havesomevariationanddonothavetobecompleteideas;infact,mostcadenzasdo
nothavephrasesbutrathersectionsduetotheirincompletenature.54Therhythmic
materialmaybemadeupinfiguresoftwotoeighteighthnotesinlengthandappear
in either separate instances, repetition, or a sequence of melodic patterns. These
patternscanoccuroverseveralbeats,andscalechordandsequentialpatternsoften
move from one register to another.55 However, it is advised to not repeat any
materialtoofrequently,evenintransposition,toavoidboringtheearofthelistener.
52Ibid,16.
53Ibid.
54Ibid,23.
55Ibid.
25
Thereshouldbenoclearmeterortempoascadenzasaremeanttobefanciful
andarhythmicincontrasttotheprecisephrasingofClassicalmeterandstyle.While
the feel should not be structured, the most common way of structuring the chord
progressionswasfromtheI64totheV7totheIchord.Otherchordsthatcouldadd
interest include chords built on the seventh scale degree and substituted for the
dominant, and subdominant, supertonic, and submediant. Occasionally used are
secondary dominants and secondary leading tones, while mediant and parallel
major or minor tonic chords are infrequently used. Of the most commonly used
substitutechords,theraisedfourthscaledegreeandtheloweredseventhtoimply
thesecondarydominantwerefoundthroughoutcadenzascomposedintheClassical
era.56
The character should intensify the passion of the piece, building upon the
emotionthecomposerhassetupthroughoutthework.Quickmovementstypically
containedleaps,triplets,andtrillswhileslowmovementcadenzascontainedslower
harmonicmotion,moredissonances,andsmallerintervals.57Theselastruleswere
not intended to be followed exactly, but rather allowed for some exceptions.
Cadenzas could exhibit tendencies of another type or mood of cadenza (fast
movement cadenzas could have slow, lyric sections, and slow movement cadenzas
couldexhibitfastermotivesandrhythms),buttheseshouldonlybevisitedbriefly.
Lastly, the length of a cadenza should only encompass a few breaths. The
term breath should be considered a relative term here as some composers and
56Ibid,28.
57Ibid,39.
26
musicians only considered a breath one that was easily seen or heard; a quick
breathworkedinseamlesslydidnotcountasatruebreathinthemusic.58Bassoon,
oboe,andclarinetcadenzascanbelongerthanflutecadenzasduetotheabilityof
thebreathcontrolontheinstrument.59
2.3.Conclusion
The abovementioned treatises reveal a standard set of expectations for
cadenzas of the Classical era. The first, and most important, is that the cadenza
should be started on the dominant chord, and then proceed onward. The
appropriate affectand stylerelatedtothe body of theworkshouldbe adhered to,
and while there should be some motives and phrases from the work, unexpected
turnsaddaheightenedlevelofsophistication.Theseunexpectedturnsmust,atall
costs, be resolved properly, and must never lead too far from the home key area,
especiallyifthecadenzaisshort.Cadenzasarenotpurelyaboutvirtuosicdisplay;
they should not have excessive repetition of motives, rhythms, or themes, and
shouldbemoreimprovisedinstyle,lackingaclearsenseofmeter.Manyagreethat
for wind concerti, the cadenza should be the length of one breath, but the term
breathisrelativelynebulousamongstthesourcesquoted;itcanliterallybeonlyone
breath of air leading to the necessary final cadential trill, or it can mean only one
largebreath,withothershort,unnoticedcatchbreathsleadingtothecadentialtrill.
58Ibid,40.
59Forexamplesofcadenzasexhibitingthesetendencies,seetheBettyBangMather
andDavidLasockibook,FreeOrnamentationinWoodwindMusic17001755.
27
Whiletherearemanyotheraspectsofthecadenzathathavebeendiscussed,
the afore mentioned are the most commonly agreed upon and will be the basis of
critiqueinthelaterpartofthisessay.Regardlessofthenuancesofperformanceor
interpretation by the individual performer, the principles presented here can help
narrow down the parameters in finding historical accuracies or inaccuracies in
moderncomposedcadenzasforMozartsBassoonConcerto.
2.4.TheEingang60
There are many instances in a concerto in which the orchestra comes to a
halt over a fermata chord, allowing the soloist a small amount of freedom to
improvise a short melodic phrase, the Eingang. The Eingang should be
differentiatedfromthecadenzaasitissetupindifferentwaysandaretobetreated
differently.
Quantz describes the Eingang as the half cadence and it usually appears at
the middle or the end of typically slower works. He describes these flourishes as
being built upon a suspension of the seventh against the bass, and they should be
quitebriefandnotbeconfusedwithacadenza.61TheEingangmustonlyconsistof
principal notes found within the bass chord upon which it hovers, and it cannot
modulatetootherkeys.62
60ThetermEinganghashadmanyothernamesthroughoutmusichistory,butas
thisisthepreferredtermusedinBrenreiterUrtexteditions,thiswillbethe
designationforthisornamentationthroughoutthedocument.Eingngeisplural
whileEingangissingular.
61Quantz,193.
62Ibid,194.
28
Hiller describes the Eingang as a fermata over a caesura, and according to
him it can occur above harmonic and dissonant notes, and should be a small,
improvisedornament,orattheveryleastasmalltrillwithoutaNachschlag.63The
Eingangshouldnotbearbitraryornamentation,butitshouldalsotransitiontothe
next,newsectionthatintroducesanewmelody.64Hillergoesontostatethatthey
areveryoftenusedintransitionsinrondomovements.65
AccordingtoTosiandAgricola,fermataswereappropriateplacesforminor
ornamentationiftheyfollowedafewspecificguidelines.Thebassshouldbeonthe
fifthofthekeyareainasixfourpositionandleadtoarootpositionchord.66The
ornament should coincide with the main affect of the work, but it is not bound by
strictrhythmortempo.ThekeyareaoftheEingangmustbebasedontheharmony
ofthechordoverwhichithoversandnotmovetootherkeyareas.67
Trk also had a few words to say on the Eingang, which he termed the
embellished fermata. Hesaid it should be kept in the same style and affect as the
pieceinwhichitisperformed,anditshouldbebasedontheprescribedharmony.
The sixfour chord with a fermata is the basis for ornamentation, and no interval
shouldbeincludedintheembellishmentthatdoesnotbelongtotheharmony,with
63Hiller,129.
64Ibid,130.
65Ibid,131.
66Agricola,212213.
67Ibid,213.
29
the exception of passing tones; moreover it must completely avoid modulation.68

Trk describes this type of ornaments as short, and its purpose is to be an
improvisedtransitiontoanewsectionofmusicthatwouldsoundabruptorharsh
without a slight musical interjection. The main purpose is to help bring back the
homekeyareaandprincipalsubject.69AnareaTrkdescribedasoneofthemore
populartoreceiveanEingangiswithinthebodyofarondomovement.
Based on sources from historical treatises, we can make a few rules and
distinctions between the cadenza and the Eingang. The cadenza was typically
placedattheendofamovementwhereitincorporatedoldandnewmaterialinan
improvised style, and was free to modulate and explore new tonalities. The
Eingang,ontheotherhand,wasashortimprovisatorystatementusedtolinkanew
sectionofmusicbacktothehomekeyareaandmainidea,usuallybythemeansof
improvisedornamentationlimitedtothekeyareaofthesixfourchordoverwhichit
wasplaced,andwastypicallyseenwithinrondomovements.Thiswillbeacritical
distinctiontomakewhenlookingatthemovementsoftheMozartbassoonconcerto,
especiallythefinalrondomovement.
2.5.CapabilitiesoftheClassicalBassoon
WhenconsideringthehistoricalcapabilitiesoftheClassicalerabassoon,itis
important to realize that a great deal of what would determine sound quality and
pitch is purely speculative. Very few bassoons of the period survived intact, and
while the body might remain in good condition, the bocal and reed are certainly
68Trk,290291.
69Ibid,294.
30
lacking.Aswithmoderninstruments,thebocalandreedcanmakeagreatdealof
difference to the overall sound production, quality, and pitch, so all statements of
authentic sound and pitch must be taken with a grain of salt; without a complete
working system from the Classical era, we are left to our best conjectures. Even
whenamorecompleteClassicalbassoonappearstobeintact(includingabocaland
what appears to be a reed that would have functioned), bassoons were often put
through modifications during their lifetime to update them to new standards of
playing. Even today it is not rare to have extra keys or rollers added to make the
bassooneasierforperformance.
The reed of the Classical era was scraped in a different manner from what
bassoonistsnowplayon,anditwasalsosignificantlylarger,attimesmoreequalin
size to the modern day contrabassoon reed. As with any modern bassoon, the
workmanshipofthereedgreatlyaltershowthebassoonfacilitatesnotesandwhat
leaps,intervals,orslursaremoreeasilyfacilitated.Withoutsuchanintegralpartof
theinstrument,itmustbenotedthatmanystatementsonfeasibilityofperformance
arespeculative.However,withtheaidofotherhistoricalsources,wecandetermine
thelikelihoodoffacilityforcertainpassagesofmusic.
In his article, Early Bassoon Fingering Charts, Paul J. White compiles known
fingering charts for the bassoon up through the romantic era, as well as known
information on dulcian fingerings. While this does not allow us to completely
ascertainwhatleaps,intervals,orslurswouldbeeasyorproblematic,itdoesgiveus
anideaofwhattypeofrangewouldhavebeenpossible.Anotherimportantelement
that is distinguishable from extant fingering charts is the facility that might be
31
expected between certain notes. On early bassoons, it was often necessary to use
theembouchuretobendthenotetothecorrectpitch,andsomefingeringswouldbe
socomplexthatfacilitymightnotbeachievable.Itistheseelementsofrangeand
facilitythatwillbeexaminedtoshowthecapabilityoftheClassicalbassoonwhile
comparingittomoderncadenzas.
As White describes in his article, we are lucky enough to not just have the
written documentation of bassoon fingering charts, but also an accompaniment to

the fingering charts to describe how to read the chart; some fingering charts even
containedspecificnotesonhowtheembouchurecouldenhancetheaccuracyofthe
note.70Whitegivesacollationofseveralfingeringchartstoshowthemostcommon
notes in the range of the bassoon, which extends from Bflat1 to D5 (and in one
instance,afingeringchartthatgoesuptoF5,animpressivenotetomostbassoonists
ontheirmoderninstrument!).71
Ofthemostcommonlyproblematicnotes,thelowBnatural1isperhapsthe
mostdifficult.Therewasnotoneholeorkeyforthispitch,andmostchartsrequire
abassoonisttoplayasharpBflat1oraflatCnatural2;thereisnostandardfingering
forthisnoteasitwaslargelydependantuponthebassoonandthecapabilitiesofthe
bassoonist to either bring the pitch up or down through embouchure.72 However,
70PaulJ.White,EarlyBassoonFingeringChart,TheGalpinSocietyJournal43
[March1990]:69.
71AlloctavedesignationsaregivenbytheAmericanScientificPitchNotation(SPN)
system.Inthisdesignationsystem,middleC=C4.
72White,77.
32
duetothispitchbending,itisreasonabletoarguethatsuddenchangesbetweenaC2
andBnatural1wouldbeverydifficulttofluentlyexecute,especiallyifslurred.
Csharp/Dflat2isalsoquiteparticular.Thisrequiredeitherahalfholeofthe
C2tonehole(somethingquitedifficultasitrequiredspecificplacementoverthelow
D2 key as well as getting the exact right amount of the C tone hole covered), a
pinched C2 using a great deal of embouchure, or a very slacked D2 to achieve the
requiredpitch.73LikeBnatural1,theCsharp/Dflat2wouldbedifficulttoperform
quickly,especiallywhenslurred.
DuringtheClassicalera,theEflat2keywasfairlystandard,buttheFsharp2
keywasnot.ThemostcommonwayofplayingFsharp2wastoplayaG2butaddthe
E2thumbhole.74Fsharp2wasweakandoftencouldnotbepushedtohighdynamics
withoutthepitchloosingstability.
Bflat2 posed its own difficulties, as there was no standardized key for this
pitchatthispointintheClassicalera.Aforkedfingeringwasmostcommonlyused,
requiringthepointerandringfingerofthelefthandtocovertoneholesandusing
anyvarietyofthumbandpinkykeystohelpstabilizethepitch.75
Another problematic note that did not have a standardized key, but rather
difficultfingerings,wasCsharp3.Thisnotewasplayedwiththepointerandmiddle
fingersofthelefthandcoveringthetoneholes,aswellasthepointerfingerofthe
73Ibid,78.
74Ibid.
75Ibid,79.
33
righthand.ThenanynumbersofkeysinacombinationoftheAflat2,F2,orE2keys
ortoneholeswerecovered.
LikeBflat2,Eflat3wasanotethatrequiredaforkedfingering(asitstilldoes
today) and a combination of other fingers, utilizing any of the following: right
pointer finger, right ring finger, and occasionally right middle finger or the Aflat2
key.76
While flick or vent keys77 were beginning to be introduced during the
Classical era, the evolution of the bassoon was gradual and not all bassoons were
equippedwiththese.Someoftheupperoctavesnotes(i.e.Bflat3andCsharp4)had
thesamedifficultyofforkedfingerings,butnowatightenedembouchuretoproduce
the higher octave was needed. On bassoons without flick keys, fast octave leaps
wouldhavebeenmoredifficultduetoembouchurechangestheleapsnecessitated.
OctaveleapsbecameparticularlydifficultonE4,Eflat4,andF4.
From E4 through the top of the range of the Classical bassoon, there are no
standardized fingerings. Each chart in Whites article cites different fingerings,

therefore notes above E4 will have to be examined on a casebycase situation
duringthediscussionofeachcadenzatoseeifthefingeringswouldbepossible.
76Ibid.
77Flickorventkeysareaseriesofkeyscontrolledbythelefthandthumbthat
facilitatethenotesA4throughC5(sometimesD5).Thesekeyswereinitiallyusedto
executednotesintheupperregisterofthebassoon,butnowtheyareusedtohelpto
avoidabreakinthesoundofthenote,orwhatiscommonlyreferredtoasacrack.
2.6.AnalysisofPianoCadenzas17721781
34
Writtenin1774whenhewasjusteighteen,MozartsBassoonConcertofalls
withinthetransitionalperiodofhisearlytomidlifeworksthatwereinfluencedby
the Italian style78. Keeping in mind Mozarts age when he wrote his bassoon
concerto,cadenzasfrompianoconcertiwrittenduring17721781willbeexamined.
Mozarts compositional style changed as he aged, and by examining all cadenzas
fromhislifemanyattributesofhislatercompositionalyearsmaybemixedinand
leadtoacloudedvisionofhisearlystyle.
TheassertionthatMozartonlywrotecadenzasforhisstudentsincapableof
improvising their own is statement that cannot be verified. There is evidence

supportingthatMozartonlywrotethemforhimself;hekeptscorecopieswiththe
cadenzas written into them to himself, and carried around cadenzas for his piano
worksseparatefromtherestofthemusic.79Theonlycadenzathatcanbeprovento
bewrittenforastudentisK.246,seta,inwhichthewrittenoutpartwasusedfor
teachingpurposesduringhistravelsof17771778;eventhecadenzashewrotefor
hissisterNannerlwerecadenzashewouldhaveusedhimselfinperformance.80Itis
safe to speculate that Mozart wrote cadenzas in a style that did not take
78OxfordMusicOnline,s.v.(JohannChrysostom)WolfgangAmadeusMozart,
http://www.oxfordmusiconline.com.proxy.lib.uiowa.edu/subscriber/article/grove/
music/40258pg3?q=Wolfgang+Amadeus+Mozart+&search=quick&pos=1&_start=1
#S40258.3.8[accessedFebruary26,2012].
79ChristophWolff,CadenzasandStylesofImprovisationinMozartsPiano
Concertis,inPerspectivesonMozartPerformance,ed.R.LarryToddandPeter
Williams[Cambridge:CambridgeUniversityPress,1991],230.
80Ibid,231.
35
performance difficulties into account for a specific performer, but were rather an
exactvisionofhowhewantedhiscadenzastosoundandhowtheywouldrelateto
thebodyoftheworktheyornamented.
2.6.1.ConcertoinF,K.24281
Termed one of the Salzburg Concerti, K. 242 was written for Countess
Lodron,asisterofArchbishopColloredo,andhertwodaughters,LouiseandJosepha
(bothofwhomwerepossiblepupilsofMozart)inFebruaryof1776forthemother
and daughter trio to play together.82 The simplicity of one of the parts (that was
laterremovedbecauseitwasseenasnonessential)ledscholarstoassumethatone
of the pianists was not very advanced in their skill.83 Mozart himself later
rearranged this concerto to include only two piano parts during his early years in
Vienna, whereheplayed itwithhis pupilJosepha von Auernhammer.84 Thepiece
changed very little when it was modified for the two piano version, showing only
minorchangesintransitionalsections.85
The cadenza of the second movement is short, and it leaves room for little
modulation.Asstatedbytreatises,itisbegunonadominantchordinrootposition.
81WolfgangAmadeusMozart,ConcertiinFmajorforthreeortwoPianosand
Orchestra,PianoreductionbyDouglasWoodfullHarris[Kassel:Brenreiter,1991].
82C.M.Girdlestone,MozartsPianoConcertis[London:Cassell&CompanyLimited,
1978],88.
83ArthurHutchings,ACompaniontoMozartsPianoConcertis[Oxford:Oxford
UniversityPress,1989],54.
84MariusFlothuis,MozartsPianoConcertis[Amsterdam:Rodopi,1994];14.
85Ibid.
36
The cadenza appears to begin in F major, then modulates to Bflat major. Using
unexpectedchromaticpassingtones(mm.45ofthecadenza),Mozartheightensthe
intensityofthecadenza.Thisleadstoashortrecapitulationonbeatthreeofm.5of
thecadenza,whichrecallsapartialstatementofthemelodyintheorchestraatm.
11,andthefirstpianoinm.55,
&"'()
&"'()
!"#"$%
&"'()
Example2.1.Firstpianosoloinmm.5556ofK.242,secondmovement.
!"#$%
!"#$%
Example2.2.Mm.56ofcadenzaforK.242,secondmovement.
37
Aftertherecapitulationinm.5ofthecadenza,themusicleadstoatrillhighlighting
thesecondscaledegree(theCnaturalintherighthandofbothsolopianists)witha
Nachschlagtothetonicchordinm.63.
ThethirdmovementofK.242includestwoshortinstancesofEingnge.This
movementismarkedasarondo,atypeofmovementintheClassicalerathatisoften
augmentedusingEingang.ThefirstinstanceofEingngeoccursatm.59,andisonly
assigned to the first piano. The Eingang is begun on the fifth of the chord, and is
atypicalduetotheamountofaccidentalsusedinit.Whilethisisanaberrationfrom
thetonalschemeadvocatedbytheauthorsofthepreviouslydiscussedtreatises,the
Eingang does lead back to the tonic chord and to the melody that first introduced
themovementinm.1.
"'(#$
!
&
"#$%
Example2.3.EingangforK.242,m.59.
ThesecondpianoEinganginm.104isslightlylongerthantheprevious,but
it still follows the rules of the period. Begun on a dominant chord, it has a high
38
degree of chromatic passing tones, but leads solidly to the tonic chord and the
returnofthemelodyfromm.1ofthemovement.
Although taking some liberties in K. 424, Mozart stayed fairly close to the
prescribed usage of Eingnge and structure of cadenzas found in Classical era

treatises.HisEingngetendtohavemorenonchordnotesthanwhatthetreatises
recommend,buttheyallenteronadominantchordandresolvetoatonicchordthat
reintroduces a main theme or melody that has ended a secondary theme section.
The cadenza, while short, does bring back the home key of the piece after
modulating to material previously seen in the movement, and a cadential trill
ornamentedbyafinalNachschlagtoheraldthereturnoftheorchestraandtheend
ofthemovement.
2.6.2.ConcertoinBflat,K.23886
Written in January of 1776, K. 238 is another one of Mozarts Salzburg
Concerti,andwasonethatheplayedhimselfinMunich,Augsburg,andMannheim.87
ThisconcertostandsoutnotonlyforbeingtermedthemostdifficultofhisSalzburg
Concerti,butalsobecauseasitwaswrittenforMozarthimself,notforabenefactor,
student,orfriend.88Weareluckytostillhaveacopyofhiscadenzaforthisconcerto
86WolfgangAmadeusMozart,ConcertiinBflatmajor,PianoreductionbyDouglas
WoodfullHarris[Kassel:Brenreiter,1991].
87Girdlestone,88.
88Hutchings,54.
39
today that was preserved by his father, Leopold Mozart, but unfortunately no
Eingngeform.99and168inthethirdmovement.89
In the second movement, Andante un poco adagio, the use of the triplet is
pervasive throughout the cadenza, as it is in the body of the movement. The

cadenzabeginsonthefifthofthehomekey(Bflat),andslowlytransitionsbackto
thehomekeyofEflatthroughashortelevenmeasurecadenza.
"&'#$
"#$%
Example 2.4. Mm. 5660 of K. 238, second movement. Pervasive use of triplet
figure.
!"#$%
Example2.5.Mm.12ofK.238,secondmovementcadenza.Returnoftripletfigure.
89Flothuis,13.
40
ThiscadenzauniquelystayssolidlyinBflatthroughmostofitslength,reallyonly
recallingthehomekeyofEflatonthecadentialtrillontheFthatendsthecadenza.
Themotivicmaterialinm.6ofthecadenzaistakenlooselyfromm.50ofthebody
of the work, which uses the same rhythms and ornamentations, only changing the
pitchesofthelefthandtodifferentiateit.
"#$%&
!
!
Example2.6.Motivicmaterialfromm.50ofsecondmovementandm.6ofcadenza
The final movement of the concerto, Rondeau, also contains a cadenza
composed by Mozart. Like the second movement, the cadenza makes great use of
thepervasivetripletfigure,aswellasthelongtrillinmm.58ofthecadenzathatis
seeninthebodyoftheworkinmm.4752,andmm.200204.However,itdoesnot
directlyrecallanymotivesfromthework.
The final movement cadenza stays in F major for a shorter time than the
cadenzaofthesecondmovement,andbeginstomodulatebacktoBflatmajorinm.
41
10.ThiscadenzaisatypicalinthatitdoesnotuseacadentialtrillonCtoreturnitto
Bflatmajorandthereentranceoftheorchestra,butratheraseriesoftrillednotes,
beginning with C and moving upward to Enatural before using the traditional
Nachschlagandreturningtothemainthemeofthemovement.
Thecadenzaspresentedinthisparticularconcertovaryfromthediscussion
of the information contained in the aforementioned treatises. The reliance on

motivic material from the body of the work is quite minimal. While the second
movement cadenza resolves in the prescribed way, the third movement is an
aberrationasithasaseriesoftrillsthatmovesawayfromtheexpectedCcadential
trill, then to the Nachschag. While the ending of this cadenza is not completely in
accordance with what is described in treatises, both cadenzas do enter on the
properdominantchordandmodulatebacktothehomekey.
2.6.3.ConcertoinC,K.24690
The final of the socalled Salzburg Concerti, K. 246, was written in April of
1776 for either the Countess Ltzow91 or for Therese Pierron who played the
concerto in Mannheim. It has been said that the concerto was written in a more
simplistic style for someone who did not have the inventiveness Mozart required
withhisperformances.92ThisconcertostandsoutintheSalzburgperiodforhaving
90WolfgangAmadeusMozart,ConcertiinCMajor,PianoreductionbyMichaelTpel
[Kassel:Brenreiter,1991].
91Girdlestone,91.
92Flothuis,15.
42
no fewer than three cadenzas, written by Mozart, for both the first and second
movementthattheperformercanchoose.
The cadenza A of the first movement is unique in that it does not stray far
awayfromtheCmajortonality.Thelefthandisnotutilizedwhatsoever,makingthe
statementofanintentionallysimplisticcadenzawritingstylebelievable.Whilethe
styleisimitativeofthebodyofthework,callinguponthedominantrhythmofthe
sixteenth note runs, it does not in fact quote any distinct motive but sounds
reminiscent of the piece. The cadenza starts on a dominant chord and is
traditionallyendedbythecadentialtrillontheDwithaNachschlagleadingtothe
tonickey.
Cadenza B is quite similar to A as it is primarily made up of sixteenthnote
runs,andwhilethelefthandisutilized,itplaysmostlysinglenotesorchords.Like
cadenza A, Cadenza B does not quote a specific area of the body of the work but
sounds like an extension of it, and ends with a cadential trill ornamented by a
Nachschlagandreturningtothehomekey.
CadenzaCisfardifferentfromtheprevioustwointermsofscope,utilization
of both hands, and content. At thirtytwo measures in length, this cadenza is far
longerthantheprecedingones,aswellasmorecomplicated.Themainmelodyat
m. 1 of the cadenza can be seen as an elaborated version of the main melody the
pianointroducesinm.57.
43
!"#$%
Example2.7.Melodyofcadenza,m.1,andmelodyfromm.57.
Themelodyofthesecondsectionofthecadenza,markedAllegroatm.23,isrelated
tothethemeatm.81,buttransposed.
While cadenza C begins and ends in a traditional manner, it is also quite
unique. Mozart wrote a very measured cadenza with bar lines to give more
structure than he did in cadenzas A and B. He even goes so far as to put in the
tempoguidelinesofAdagioinm.21andAllegroinm.23.Thestructurednatureof
the cadenza gives more credibility to the claim that it was for a performer who
neededmoreinstructionorstruggledwithinventiveness.Itisuniqueinitslength
asitisbyfarthelongestcadenzaoftheSalzburgConcerti.
ThecadenzasforthesecondmovementofK.246,Andante,followsasimilar
pattern to those for the first movement, containing three different cadenzas of
varyingdifficultyandcontent.LikeCadenzaAinthefirstmovement,CadenzaAof
thesecondmovementstaysmostlyinFmajor,thekeyareaofthemovement,with
onlyafewchromaticpassingtones.Thelefthandisonlycalleduponminimallyin
this cadenza, linking it in style to its partner in the first movement. The cadenza
pullslooselyfromthematicmateriallocatedwithinthebodyofthemovement;the
thirtysecondnotesarereminiscentofthethirtysecondnotepassagesinmm.4950
44
andagaininmm.120121inthebodyofthework.Itendstraditionallywithatrill
onG,leadingtoanimpliedNachschlagandanFmajorchord.
TheBCadenzaofthesecondmovementisunmeasuredandappearslikean
extensionofnewmaterialtothebodyoftheworkratherthanrepeatingideasand
building upon them. The use of the sixteenth and thirtysecond note motives call
upon ideas already represented earlier in the movement, but it does not quote an
earlierpassageintheconcerto.Bothhandsaremuchmoreequalintheiruse,but
the right hand is primarily the voice leading modulations as almost all accidentals
arenotatedinthishand.CadenzaBendstraditionallywithatrillonG,animplied
Nachschlag,andafirmreentryintoFmajor.
The final cadenza of this movement, is similar to its partner in the first
movement as it is the most active, most equal between both hands, and relies the
most heavily upon materials from the body of the work. The thirtysecond note
patterns that open the cadenza are elaborations of a similar motive occurring in
mm. 116119. Like Cadenza B, this modulation is led primarily by the right hand,
which is also the most active, leading from C major back to F major through a
cadentialtrillwithaNachschlag,backtoarootpositionFmajorchord.
The third and final movement, Rondeau, contains an Eingang composed by
Mozart. It starts on the dominant chord, entering into a series of sixteenth notes
thatarenotparticularlylinkedtothebodyoftheworkotherthaninstyle.Aftera
series of trills and turns, another trill on G leads back into the main motive of the
movement, acting in the traditional way of a catapult from the B section of a
movementbackintotheAmovement.
45
K.271issaidtobetheconcertothatfreedMozartfromhismoretraditional
bonds that he felt when composing his earlier piano concerto for Countess
Londron.94 In January of 1777, a talented French pianist, Mademoiselle
Jeunehomme, passed through Salzburg and Mozart was requested to write a
concertoforher.Nowhavingavirtuosicpianisttowritefor,Mozarttookonanew
styletoshowoffthecomplexityandidiomaticpossibilitiesofthepiano;itwasbyfar
the most difficult piece of his career to this date and even surpassed most of the
demandshiscontemporarieswroteforthepiano.95
In terms of scope, both the movement and its cadenza are much greater in
lengththanthepreviouslydiscussedconcertiandtheircadenzas.Thebeginningof
thecadenzastartsinBflatmajor,introducesanewideanotheardwithinthebody
ofthework,thenmovestoasectioninm.4wherebothhandsarerecallingseparate
ideaspreviouslypresented.Therighthandrecallsandslightlyaltersthemelodyin
mm. 7581 of the concerto while the left hand is repeating the orchestral
introductionthatspansfrommm.821.
93WolfgangAmadeusMozart,ConcertoinEflatmajor,PianoreductionbyMA
Ruthardt[NewYorkCity:InternationalMusicCompany,1943].
94Girdlestone,94.
95Flothius,17.
46
!&'"#
!"#$
Example2.8.K.271movement1cadenza,m.4.
!"#$%
Example2.9.Orchestralreductionofm.14ofintroductionlaterplayedinlefthand
ofthecadenza(Example2.6.8).
"&'#$
"#$%
Example2.10.Pianosoloatm.75,laterlooselyimitatedandembellishedintheright
handofthecadenza(Example2.6.8).
47
The tranquillo section, m. 17 of the cadenza, also recalls elements of the
movement. The piano fills the role of both piano and orchestra with a slightly
altered melody that had previously occurred at mm. 9699 before ending the
cadenzawithacadentialtrillonanF,leadingtoarootpositionEflatmajorchord.
Thecadenzaofthesecondmovementismuchmorefreethanthatofthefirst,
andrelieslessheavilyuponmaterialsfrompreexistingmotivesandmaterials.The
beginningisverychromatic,leadingtoasenseofunstabletonality.Yetthekeyis
clearlyestablishedinm.13ofthecadenzawhenafamiliarthemeenters;theright
handplaysamelodyreminiscenttooneplayedinm.40,andthelefthandplaysa
similarpatterntothebasslineinm.41.
!"#$%
Example2.11.M.13ofcadenzaofsecondmovementofK.271.
!"#$%
Example2.12.Mm.4041ofsolopiano.Elementsoftherighthandinm.40appear
intherighthandofthecadenza,elementsofthelefthandofm.41appearintheleft
handofthecadenzaaswell.
48
Themelodystartingonthelastbeatofm.14ofthecadenzaisanembellished
and slightly altered version of material from m. 49 of the piano part. It leads to a
series of trills that concludes with a cadential trill on D, followed by a Nachschlag
intoaCminorrootchord.
ThelastmovementofK.271willnotbediscussed,asitisfardifferentfrom
that of the previous concerto, and is seemingly unrelated in style to the Bassoon
Concerto.Thismovementfeaturesseveraldisparatesections,theRondo,Menuetto,
and Presto, and its discussion will not add any insight into the type of Eingang or
cadenzastylethisdocumentisinvestigating.
K.365wascomposedeitherJanuary15thor16thof1779whenMozartwasat
Salzburg,orNovember4thor5thof1780,whenheleftforMunich.Itisnotclearfor
whom it was written, but many scholars tend to believe it was intended to be for
himselfandhissisterNannerl.97
The cadenza for the first movement of K. 365 is unique from the others
previously discussed as it encompasses a great deal more modulation than before

(see chart at end of section). From Eflat, it modulates to five different key areas
beforemakingitswaybacktoEflatmajoragaintoendthecadenza.
The motivic material is derived directly from the body of the work. The
opening of the cadenza (mm. 23) which is utilized frequently throughout,, is
96WolfgangAmadeusMozart,ConcertiinEflatMajor,PianoreductionbyMichael
Tpel[Kassel:Brenreiter,1991].
97Girdlestone,97.
49
derivedfromareassuchasmm.5556andotherinstanceswherethetwopianosare
playingrunningsixteenthnotestogether.
!"#$%
!"#$%
Example 2.13. Mm. 35 of cadenza, taking an idea from previous passages in the
work.
!"#$%
!"#$%
Example2.14.Mm.5556.Passageusedforimitationinthecadenza.
Mm. 1213 of the cadenza are transposed versions of material from mm. 163164
withanaddedelaborationthrownin(mm.1416ofthecadenza)precedingarepeat
ofmaterialinmm.1724whichmirrorsthatpreviouslyheardinmm.175182.
50
ThecadenzasprovidedforthethirdmovementareuniqueforMozartashe
normally did not include a cadenza within a Rondeau movement, but rather an
Eingang, occasionally more. In this case, the cadenza opens with the highly
recognizable main theme that the orchestra introduces within the first bar of the
movement.
!"#$%
!"#$%
Example2.15.Mm.18ofthecadenzaforthelastmovementofK.365.
!"#$%
!"#$%
Example2.16.Pianoreductionoforchestralintroduction,showingthesamemelody
usedinthecadenza.
51
This first theme, with some alterations of pitch, then transitions into m. 14
whereyetanothermelodyfromthemainbodyofthework,mm.207234isoverlaid
ontopofthemaintheme.Themainthemecontinues,infragmentedform,untila
themefromadifferentsectionisintroduced.Therighthandinthefirstpianopart
andbothhandsofthesecondpianoinm.22linktomm.285297oftheconcerto.
Thisthemeofswitchingbetweentwohandsorvoicescontinuesinthecadenza,with
some slight alterations, until m. 39 where both pianos are interplaying with long
swept passages of notes. This leads to a new section (but slightly resembling the
sixteenthnoteunisonsectioninthefirstmovement),followedbythecadentialtrill
withaNachschlagtoreturntothehomekeyofEflat.
2.6.6.Conclusion
IntheyearssurroundingthecompositionofMozartsbassoonconcerto,we
can see stylistic trends occurring within his piano concerti. These include sparse
use of modulations, with those used staying within a predictable, related
framework. Earlier on in his Salzburg years, Mozarts cadenzas were relatively
shortandthengrewtobequitelengthy,themostnotablebeingK.365,whichhada
cadenzaof46measuresinlength.Thecadenzasalmostalwaysendwithacadential
trill on the second degree of the scale, marked by a Nachschlag to lead into a root
position chord in the home key. The cadenzas almost always derived motivic
material (in varying amounts) from the movement in which they were
encompassed, either as literal quotes or as paraphrases, augmentations, or
diminutions.
52
As Mozarts style grew and developed, he tended to use fewer written
Eingngeinhismusic,butusuallytwocadenzas.K.246iscertainlyuniquewiththe
number of cadenzas, which were written for varying degrees of proficiency on
piano, and K. 242 only contains one composed by Mozart himself, but these
aberrationsaside,twocadenzasperconcertoseemstobehisstandardatthistime.
While not always true in Mozarts piano works discussed, cadenzas in final
rondo movements of concerti during Mozarts life was not common, as stated in
manyhistorictreatises.Whilethemajorityofbassoonistsdonottraditionallyusea
cadenzainthethirdmovementoftheBassoonConcerto,itisnotcompletelyoutside
thepracticegivenwhatisfoundinMozartspianoconcertiduringthistime,butit
shouldbenotedthattheirusewasnotcommonorexpected.
For quick ease of reference, the following table contains the most basic of
compositionalinformationcommontothefiveMozartpianoconcertidiscussed:
Table2.1.Elementsofcadenzasforpianoconcertistudied.
Concerto Movement
K.242
K.238
K.238
K.246
K.246
K.246
K.246
K.246
K.246
K.271
K.271
K.365
K.365
K.365
53
KeyArea Length
Motivic
Cadential
Derivation Trillwith
Nachschlag
8measures Yes
Yes
11measures Yes
Yes
II.Adagio
II.Andante
FBflat
BflatE
flat
III.Rondeau
FBflat
I.Allegro(a)
C
I.Allegro(b)
CGC
I.AllegroI
GC
II.Andante(a) F
II.Andante(b) CBflat
F
II.AndanteI
CF
I.Allegro
BflatB
flatminor
Eflat
II.Andantino Cmajor
Cminor
I.Allegro
EflatC
flatB
flatD
minorC
minor
Eflat
III.Rondeau
EflatA
flatE
flat
III.Rondeau* EflatA
flatE
flat
11measures
4measures
Unmeasured
32measures
4measures
Unmeasured
No
Yes
Yes
Yes
Yes
Yes
No
Yes
Yes
Yes
Yes
Yes
21measures Yes
32
Yes
Yes
Yes
26
Yes
Yes
26
Yes
Yes
46
Yes
Yes
45
Yes
Yes
* This cadenza is from an earlier version and is included in the appendix of the
Urtextedition.
CHAPTER3:EXAMINATIONANDANALYSISOFCADENZAS
54
Forthisstudy,fifteenbassoonistswhoareeithermembersofROPAorICSOM
orchestras or professors of bassoon at NASM accredited schools submitted their

originalcadenzastobeexaminedforadherencetoClassicalstyle,feasibilityonthe
Classical era bassoon, and compositional traits of Mozarts style from his piano
cadenzas in the years surrounding his Bassoon Concerto98. The cadenzas will be
studied individually to more easily make reference to a particular bassoonists
composition,andareasofadherenceordistancefromClassicalstylewillbenoted.
Novaluejudgmentwillbemadeontheindividualcadenza,aspersonalpreferenceis
highlyarbitraryandnoteasilyquantifiable.
While this study is intended to show Classical practice in the cadenzas
provided,itisimportanttonotethatnotallthebassoonistsconscientiouslywrotein
a way to strictly adhere to performance practice, nor to the capabilities of the
Classical era bassoon. Instead, they chose to write something that would
stylisticallyfitintotheMozartBassoonConcerto,butmightnotfitintothecriteriaof
Classicalperformancepractice.Thesebassoonistswantedtoputtheirownunique
imprint onto a very standard piece while utilizing the capabilities of the modern
bassoon,allthewhilestillrecallingelementsofthemovementinwhichthecadenza
was placed. It is important to know that because of this, the cadenzas will not
perfectlyadheretoClassicalperformancepractice.
Brief biographical information on each of the bassoonists will be provided
before the analysis of the cadenza, as well as known available recordings of the
98Allbassoonistsweresentagenericemail,whichmaybeviewedinAppendixD.
55
bassooniststudiedplayingtheMozartBassoonConcertowiththeirversionsofthe
cadenza.Informationonhowtocontactthebassoonistsindividuallyforpermission
tousecadenzasorforinformationonhowtoobtainrecordingswillbeincludedin
AppendixC.
When referring to the original manuscript, all references are to the solo
bassoon part, unless otherwise noted. To see the entire cadenza, please refer to
AppendixA.
3.1.StevenBraunstein
3.1.1.Biography
Steven Braunstein, a native of New York City, began playing bassoon in the
eighth grade and contrabassoon in his first year of college. His bassoon teachers
haveincludedBillDouglas,ArthurWeisberg,EliasCarmen,andWilliamPolisi.He
has studied contrabassoon with Burt Dial and Paul Camerata, and reeds with Lou
Skinner. He holds degrees from the California Institute of the Arts and the State
University of New York at Stony Brook. His performing career includes playing
contrabassoon for the Toronto Symphony, the Orquestra Communitat Valenciano,
andtheSanFranciscoSymphony,hiscurrentposition.Asasoloist,Mr.Braunstein
has premiered Michael Tilson Thomas Urban Legend for contrabassoon and
orchestra,apiececomposedforhim.Hisperformingcareeralsoincludesmultiple
summerfestivalengagements,coachingattheAppleHillCenterforChamberMusic
andperformingatAspen,SunValleyMusicFestival,ColoradoMusicFestival,andfor
tensummersattheGrandTetonsMusicFestival.
3.1.2.Analysis
56
Mr.BraunsteinbeginshiscadenzaforthefirstmovementofK.191withthe
samemelodicmaterialthebassoonintroducesinthefirsttwomeasuresofitssolo,
mm.3536.99Fromthereheshiftstoaseriesofeighthnotes,leadingtoafermataon
564)(+176&2,(+6
alowBflat1(mm.67).Hethenleadsintoarunningseriesofsixteenthnotesthatis
/0+1!12)3,&4)
$()*&%+,-&
basedonorchestralopening,withsomeembellishments.,asseeninexample3.1
$)%%66&
$%&'
Example3.1.Mm.67ofthecadenza.
.
$%&'
!"
Inthetreatisesdiscussed,repetitionmorethantwiceisconsideredinslight
$%&'
excess,sotheseriesoffourslurredgroupingsofsixteenthnotesinmm.67ofthe
$%&'
!#
cadenza
may be seen as breaking historical pratice. However, Mr. Braunstein uses
thisasaseemlesswayofmovinguptotheupperregisterofthebassooninaway
utilizedinthesolo,ratherthanintroducingasudden,largeleapthatmightseemout
ofcontext.
Thelastbeatofm.9throughtheendof12ofthecadenzamaybeseenasa
repetition and alteration of motives used in two areas of the concerto, mm. 5054
andmm.119124.
99WolfgangAmadeusMozart,ConcertoinBflatmajorforBassoonandOrchestra,
PianoreductionbyMartinSchelhaas,CadenzasandEingngebyJaneGower[Kassel:
Brenreiter,2003].
57
!"##$$%
Example3.2.Mm.5052ofbassoonsolo,usedasbasisforcadenzainmm.912.
This, like the previously discussed section, can be seen as breaking from
period practice in the number of repetitions, but it does follow the precedent of
quoting important motivic material from the body of the work. Mr. Braunstein
againusesthisrepetitionofmelodicmaterialtomovestepwiseupwardtotheG4in
m. 13 of the cadenza, rather than introducing a leap that would sound
uncharacteristicoftheconcerto.
Thecadenzaendswithatrillonthesecondscaledegreeofthekey,leadingto
a Nachschlag and ending on Bflat3 to introduce the return of the orchestra, all of
which is historically accurate and supported by the cadenzas of Mozarts piano
works.Muchofthematerialuponwhichthecadenzaisbasedisfromthebodyof
the work, and Mozart added new material in his cadenzas, as seen in the piano
works studied. This takes Mr. Braunsteins cadenza a bit further away from a
composition that could have been from Mozarts hand, but does adhere to what
treatisesadvocatebyusingmaterialfromthebodyofthework.
One aspect that does not adhere to performance practice is the lack of
modulationwithinthecadenza.Mosttreatisesadvocatemovingtodifferent,closely
58
related tonalities, especially in longer cadenzas. This cadenza could be seen as

having moderate length; therefore, the lack of modulation is not historically
accurate.Thataside,thecadenzaslackofmodulationisnotproblematic;stayingin
Bflatallowsthecadenzatosoundlikeanaturalpartofthemovement.
Many treatises described woodwind cadenzas being one breath in length,
and it has been shown how this is an ambiguous statement at best. Given the
individual performance capabilities of the bassoonist and how easily they can
facilitateunheardorunnoticedbreaths,thiscouldeasilybedoneinMr.Braunsteins
cadenza,especiallywiththefermatainm.5lendingitselftoaverynaturalbreath.
RegardingtheperformancepossibilitiesonthebassoonofMozartstime,Mr.
Braunsteins cadenza falls within a very acceptable range that most, if not all,
instrumentsoftheperiodcouldfacilitate.Thetrillsareanareaofuncertaintyasthe
instrument and the fingering needed to facilitate the transition between notes are
significant factors. Depending on the instrument and maker trills could have
varying levels of difficulty, but there are no fingering charts that offer insight into
whether or not certain trills had unique fingerings (much like on modern day
bassoon) or whether they were easy or impossible. The White article discussed
previouslymakesitappearthetrillsarepossible,butindividualcomplicationscould
occur.
Mr. Braunstein has written three cadenzas for the second movement, and
each shall be discussed separately. The first of the second movement cadenzas
utilizes two main elements of the bassoon solo, the melody in m. 13 (used at the
59
beginningofthecadenza)andthemelodyinm.7(usedafterthefirstfermata),both
intransposition.
"#
$%&&''(
Example 3.3. M. 13 of bassoon solo and m. 7, both utilized in the cadenza through
transposition.
Thiscadenzabrieflyflirtswiththegminortonality,asevidencedbytheuse
of Fsharp4 after the fermata on the Bflat2, a common modulation to the relative
minor. The use of chromaticism is not something that was seen in Mozarts style
during the time the Bassoon Concerto was written, and other than instances of
passingtonesitisnotstylisticallyinlinewithClassicalpractice.Thepurposeofthis
chromaticism was not to stay within specific stylistic guidelines, but to provide a
halfstepmotionpassingtonesforasmoothtransitionbacktothemiddleregister,
asopposedtoalargeleap.
Thischromaticismleadstoanambiguoustonalareathatdoesnotmodulate
aseasilybackintoFmajorasMozartscadenzawriting.Whilethetonalareasare
notwhatwouldbestandardinMozartscadenzas,thebriefrelianceonapreviously
heardmotive,leadingtonewareasisinlinewithhisstyle.
The range is consistent within the possibilities of the Classical era bassoon,
but the chromatic tones after the second fermata on the F2 presents one tricky
60
fingering passage on the low Csharp2. As described earlier, this particular note
needs either a difficult halfhole technique on the low C tone hole, or an extreme
embouchurefluctuationforthelowCnatural2orDnatural2.
Some discussion is warranted about the notational style in this cadenza.
Wherethefirstmovementcadenzawasverystraightforwardinrhythmandmeter
andclearlyledbacktotheorchestra,thesecondmovementcadenzasarenotquite
as clear based on the bar lines. The lack of meter markings or bar lines is
intentional, emphasizing a more improvisatory and freeflowing style that did not
haveastricttempo,asadvocatedbyClassicaltreatises.Thenotesaregroupedwith
beams in order to show the phrasing; notes beamed or slurred together were
intended to be phrased with one another and lead to or from other groupings of
notes.Thenotegroupingsdonotcompriseameter,especiallythenotesfollowing
thefermata.Rather,theywerenotintendedtohaveaproportionalrelationshipto
oneanother,buttobeheardinafreeflowingandimprovisationalstyle.Lastly,due
tothewaythecadenzaswerewritten,thelastnoteofeachofthesecondmovement
cadenzas should be written after a bar line where the meter and tempo of the
movementwouldisagainbeobserved,andatuttimarkingwouldbeplacedabove
thislastnotetohelpindicatethereturnoftheorchestra.
What is said about the first cadenza for the second movement directly
applies to the second cadenza that Mr. Braunstein has provided. It relies heavily
uponthesamemotivicmaterialdiscussedpreviously,withsomeminorchangesto
the middle section (substituting half notes for sixteenth notes and deleting a
fermata). The same problems of facility (Csharp2) are present in this cadenza as
61
well,andtheuseofchromaticismandtheorchestralreentryarenotsynonymous
withstandardpracticeoftheClassicalera,northatofMozartswritinginhisearly
period.Thissecondcadenzareliesabitmoreheavilyuponthebodyoftheworkfor
itsmotivicderivation,andmightbeseenasnotconsistentwiththeoriginalityfound
in Mozarts cadenzas. However, in modern terms, Mr. Braunsteins reliance on
motives from the body of the work helps to make this cadenza sound like an
extension of Mozarts music, and this was Mr. Baunsteins intent in using these
motivessoheavily.Ofallthecadenzaspresentedforthesecondmovement,thislast
and final one is perhaps the most stylistically authentic. Very different from the
othertwo,thiscadenzapullsfromonlyoneofthesourcesusedpreviously,themain
melodyinm.7thatopensthebassoonsolo.
"#$$%%&
Example3.4.Mainmelodicmaterialinm.7ofbassoonconcertoonwhichCadenza3
isbasedon.
Whilethiscadenzahasnomodulation,itisshortenoughthatitmightnotbe
considerednecessaryinClassicalperformancepractice.Thereisstillsomeofwhat
wouldbetermedexcessrepetitionintherhythmicpatterns(butonceagain,thisis
usedtomakeasmoothmelodictransitionfromtheupperregisterofthebassoonto
the lower register), the ending trill pattern and transition into the orchestra
reintroduction is much more smooth and could potentially have fit into Mozarts
62
style.Theminimaluseofmotivesfromthebodyoftheworkisalsoconsistentwith
Mozartspianocadenzawritingstyle.
The high C5 is not out of the range of the Classical era bassoon, but it is
pushing it to the high end of what could most commonly be played. The fluidity
between pitches in this particular cadenza is much more accommodating to the
Classical bassoon, with few problematic notes that could not be handled by a
competentbassoonist.
3.2.CharlesKoster
3.2.1.Biography
CharlesKoster,professorofbassoonattheUniversityofCalifornia,Riverside,
holds degrees in Bassoon and Music Theory from the University of Iowa. His
principalteachershaveincludedJohnMiller,ShermanWalt,RichardPlaster,Louis
Skinner, and Ronald Tyree. His extensive orchestral experience includes
performances with groups such as the Hollywood Bowl, Pasadena Symphony
Orchestra,PacificSymphonyOrchestra,andtheLosAngelesPhilharmonic.Healso
has experience with Baroque and Classical bassoons, having performed with the
American Bach Soloists, Philharmonia Baroque Orchestra, Magnificat, Tafelmusik,
TheCityMusick,andtheLosAngelesBaroqueOrchestra,amongothers.Kosterisan
associateeditorfortheJournaloftheInternationalDoubleReedSociety.Asanactive
member,hehascontributedseveralarticlesforpublicationonreedmaking,aswell
asthehistoryofthebassoon.
3.2.2.Analysis
63
Mr.Kostercontributedagreatdealoforiginalworktothisproject,including
a first movement cadenza and Eingang, a second movement cadenza, and a third
movementEingang.Thefirsttobediscussedwillbethefirstmovementcadenza.
The most striking feature of this cadenza on first glance is its length. At
thirtysixmeasures,thiscadenzaislongerthanthetypicalwoodwindcadenzaofthe
Classicalera,regardlessofwhetherthebreathsaretakendiscretely.Thereisalsoa
great deal of rhythmic and thematic repetition, with the majority of the thirtysix
measures being taken up by three distinct motives. This would be considered an
excessofrepetitionduringtheClassicalperiod.
In terms of current performance practice, Mr. Kosters reliance on the
motives serves the purpose of modulating to another key. While keeping the ear
stabilizedonafamiliarmotive(i.e.thesixteenthnotepassagefrommm.1421ofthe
cadenza), the key area is shifting around a highly familiar melody, allowing
somethingrecognizablewithsomethingnewduringthemodulationprocess.
Whiletherhythmicandthematicrepetitionmaybeseeninhistoricalterms
asexcessive,itistakenfromthebodyofthework,whichisverystandardpractice.
Thefirstthemeistakenfromtheopeningmotiveofthebassoonsoloinm.35ofthe
8-710.49-%5/0.-
concerto:
23.4'4516/%71
#1$$--%
Example3.5.Openingofthecadenza,inspiredbymm.3536ofthebassoonsolo.
(
#$%&
64
The next motive, which appears in m. 6 of the cadenza, is taken loosely from the
bassoonsoloatmm.4546:
!"##$$%
Example 3.6. Thematic material from mm. 4546 that is modified for use in the
cadenza.
Lastly, the following sixteenth note section is the basis for the largest part of the
cadenza:
!"##$$%
Example3.7.Mm.5152ofsolobassoon,usedasmaterialforcadenza.
The cadenza does modulate several times, but given its length this is not too
problematic. However, certain passages do not work well with the Classical era
bassoon, and this is perhaps where Mr. Kosters cadenza pulls the furthest away
fromperiodpractice.
65
Throughout the cadenza, there are several instances of Csharp2/Dflat2, a
notethathasbeendiscussedasdifficulttofacilitate.Inonecaseinparticular,m.28,
thereisatrillonDflat2.
%-
&'()
*,
Example 3.8. Use

of the low Dflat2 trill in m. 28 of Mr. Kosters first movement
&'()
cadenza.
*%
&'()
Thislikelywouldnothavebeenpossible,duetotheissueswithcoveringahalfhole
withthethumb,orfromembouchurechangestobendthepitch.Inmm.13,23,and
*+
&'()
33,notespushingthehighestrangeofthebassoonareshown(respectively,highC
5,
high C5 and Dflat5, and high C5 and D5). The fingerings for the highest notes are
quitedifficult,varyingfrommakertomaker,andaccordingtoWhitesarticle,very
few bassoons had the capacity to play the high D5. While the note might be
unrealisticintermsofhistoricpractice,itiseasilyachievedonthemodernbassoon,
andservesasapivotnotetothenmodulatebackintoBflatmajor.
In contrast, theEingang tothefirstmovementisstylistically accurate. Itis
short,stayswithinBflat,andleadstheorchestratothereturnoftheoriginaltheme.
ThesecondmovementcadenzaMr.Kosterprovidesismuchshorterthanthe
one for the first movement, and is also adheres much more to Classical style. He
takes some motivic derivation from the opening melody of the solo bassoon and
!"##$
66
thenaltersitintoacompletelynew,unexpectedmelodythatleadstoacadentialtrill
toendthemovementbybringingtheorchestrabackin.
"#$$%%&
Example 3.9. M. 7 of the bassoon solo, the main building block for the second
movementcadenza.
TheEingangforthethirdmovement,whilehavingsomechromaticisminit,
isnottoofarfetchedtonallyfromperiodpracticetobeimprobable,beingusedasa
chromaticpassingtoneratherthanamodulation.Itisshort,helpstoleadbackinto
thenextsection,andworkseasilyforfingeringsontheClassicalbassoon.
3.3.KimKrutz
3.3.1.Biography
ProfessorofbassoonatWashburnUniversity,KimKrutzhasenjoyedalong
history of bassoon performance. For twelve seasons she was the primary
contrabassoonist and bassoonist with the Kansas City Symphony, a group with
whomsheisstilloncall.ShehasalsohadtheprivilegeofplayingwiththeKansas
CityCivicOrchestra,theKansasCityCivicOperaOrchestra,theKansasCityChamber
Orchestra, Starlight Theater, and has substituted on contrabassoon with the St.
Louis Symphony. Other engagements have included the Sunflower Music Festival
67
Orchestra, the Kansas City Camerata, the Springfield Illinois and Springfield
MissouriSymphonies,andtheMissouriSymphonySociety.
InadditiontobeingasoloistinandaroundtheKansasCityarea,Ms.Krutzis
the bassoonist in the Mariah Winds Trio, a group with whichshe has had many
prestigious performances. Ms. Krutz has worked in masterclasses with Kenneth
Munday,MilanTurkovic,CharlesUllery,LorenGlickmanandRichardSvoboda,and
hasstudiedwithHowardHalgadahl,AlanHawkins,andMaritaAbner.Shereceived
her Bachelors of Music Education with a minor in Bassoon Performance from the
University of Kansas, and her Masters of Music in Bassoon Performance from the
UniversityofMissouriKansasCity.
3.3.2.Analysis
Likemanyofthecadenzaspreviouslystudied,KimKrutztakestheopening
solo melody of the bassoon and alters it to introduce the cadenza. The next
statement, the sixteenth notes in m.3, is a quote from the orchestral Bflat major
scalesleadingintotheopeningbassoonsolo.Followingthefirstfermata,Ms.Krutz
rhythmicallyaugmentsamelodyheardinmm.138139ofthesolo:
!"##$$%
Example 3.10. Bassoon solo in mm. 138139 that is rhythmically augmented in

cadenzam.5.
34+0(*.54%/2(*4
,-*.!./012%+0
68
This augmentation continues, quoting the same area of the bassoon solo, until the
#0$$44%
cadenza reaches m. 9. M. 9 features augmentation, but this time it is transposed
withslightalterationsfrommm.4546ofthesolo.
6
#$%&
!!
#$%&
Example3.11.Thisrhythmandfigurationinmm.1112ofthecadenzaisarhythmic
augmentationofMm.4546ofbassoonsolo.
!"
#$%&
Thecadenzamakesgooduseofmotivesfromthebodyoftheconcerto,butit
becomes somewhat repetitive according to Classical practice; the upward
arpeggiated eighth notes in mm.812, and the slight change to downward
arpeggiatedeighthnotesinmm.1316occurtoooftenwithoutbreak.Foramodern
performer,thisrhythmicrepetitionisawayofusingfamiliarrhythmicandmelodic
materialsfromthebodyoftheconcertotomovethroughtherangeofthebassoon
withoutsoundingtooremotefromthemovementinwhichitiscontained.
Thetonalcenterofthecadenzadoeshinttowardgminorinm.14,butitisa
veryshortmodulation,ifitcanbeconsideredone.Whileitismoderateinlength,
the multiple fermatas would enable a performer to take a breath that might not
interrupt the flow of the music, making it sound continuous as period practice
advocates. This cadenza does not make use of original motives and composition,
relyingalmostcompletelyuponwhatwaswrittenearlierinthework,but,asstated
earlier,thisisawaythemodernperformercanrelatethecadenzatothemovement
69
from which it is drawn. However, such reliance on content from the body of the
movementisatypicalwiththatofMozartscadenzawriting,wherehebasedlittleon
whatwaspreviouslyheardandusedthebodyofthecadenzatoexpandhiswriting,
asseeninthepianoworks.
3.4.ErikLudwig
3.4.1.Biography
Erik Ludwig, currently the contrabassoonist with the Phoenix Symphony, a
position he has held since 1987. He has spent summers teaching at the Eastern
Music Festival in Greensboro, North Carolina for the past twentythree years, and
has been the professor of bassoon at Northern Arizona University for the past
twelve years. Before his time with the Phoenix Symphony, Mr. Ludwig was the
assistantprincipalbassoonwiththeOrquestraFilharmonicaofSantiago,Chile,and
in 1985 he joined the Pittsburghbased Con Spirito Woodwind Quintet. Mr.
Ludwigs teachers have included Otto Eifert, Sidney Rosenberg, and Leonard
Sharrow. He holds bachelors degrees from Indiana University in German and
politicalscience,andisamastersofmusiccandidateattheUniversityofCincinnati.
3.4.2.Analysis
The beginning of Erik Ludwigs cadenza for the first movement of K. 191
startswithafragmentedquoteoftheopeningmelodyoftheinitialsolobassoonline,
playingaroundwiththemelodyofmm.3537.
=1<%/#'>10-./#1
*;#'3'-%&.0<%
8"&9$
70
+$#,
7%22110

Example 3.12. The opening of Mr. Ludwigs first movement cadenza, based on the
openingmelodyofthebassoonsolo.
720,
*.01'*1221
Afterthefermatainm.4ofthecadenza,Mr.Ludwigutilizesanotherfamiliarmotive
6
+$#,
720,
from the body of the work, the trilled dotted eighth with two thirtysecond notes
%--.(./%0&1
used in mm. 50, 66, 87, 118, 119 and 145 of the solo. He uses+$#,
this rhythm,
%&'($)$#"
34
720,
interspersed, with running sixteenth notes, causing the melody to sound familiar,
yetdifferentatthesametime.
720,
35
!"#%&
!"#$
36
'())**+
720,
Example 3.13. M. 50 of the bassoon solo (right) and m. 4 of the cadenza (left).
Rhythmsusedtohomogenizetheuseoffamiliarmotiveswithnewmaterialinthe
cadenza.
Theuseoffamiliarmotivesalsocomesbackinm.1215ofthecadenza.The
interplay between a set of high and low tones to create the effect of two voices
singing at the same time and interrupting one another is used twice within the
concerto.
!"##$
71
!"##$$%
Example3.14.Mm.6163ofthebassoonsolo.Theinterplayofhighandlowvoices
isemulatedinmm.1215ofMr.Ludwigscadenza.
Mr. Ludwig uses a mix of old and new materials to create his cadenza, and
endsitwithatrillonthesecondscaledegreewithaNachschlagtothetonicofthe
home key to usher in the return of the orchestra. In this respect his conforms to
somethingMozartmighthavewrittenifhehadmadeacadenzaforK.191.Thereis
some overuse of rhythmic motives, such as the trilled eighth with thirtysecond
notes in mm.45, the interplay of high against low notes in mm. 1215, and the
sixteenthnotepassagesinmm.1718.However,Mr.Ludwiguseofthesemotivesto
propelhismodulationforwardwithoutcreatingsomethingthatdoesnotsoundlike
the body of the concerto. The thirtysecond note passage in mm. 45 leads to g
minor, and the sixteenth note passage in mm. 1718 is to reaffirm the solid entry
back into Bflat major before the cadential trill into the tutti passage at the end of
thecadenza.
The range of the bassoon falls well within what a Classical bassoon could
reasonablyplay.Therearetwoareasthatmightbeofconcern,thefirstbeingtheF
sharp2 to G2 trill in m. 5. The low Fsharp2 was an unstable note that might need
some embouchure adjustment or difficult fingerings, so this trill might not be
feasible on all instruments. The second problem area is potentially the low B
natural1 to low Bflat1 in m. 15. The low Bnatural1 did not exist as a key on the
72
Classical bassoon, and great changes in embouchure to facilitate the pitch were
needed.Ifitwereatonguednoteitmightnotbeasdifficultorasnoticeable,buta
pitch change during this slur might have made audible something more like a
modern pitch bend technique. However, in the context of modern composition, it
workswellasachromaticpassingtonetosettlebackonBflat1andthereturnofthe
homekey.
3.5.MilesManer
3.5.1.Biography
Miles Maner is one of the newest members of the Kansas City Symphony,
playingassociateprincipalbassoonandcontrabassoon.Hehasbeendistinguished
as the principal bassoonist of the Breckenridge Music Festival, and previously has
attended the Pacific Music Festival, the Tanglewood Music Center, the National
Repertory Orchestra, the International FestivalInstitute at Round Top, and the
TexasMusicFestival.Mr.ManerstudiedatRiceUniversitywithBenjaminKamins
andtheUniversityofTexaswithKristinWolfeJensen.
3.5.2.Analysis
The introduction to Miles Maners first movement cadenza directly quotes
five measures of the body of the work, before branching off into his own
composition. While many of the other cadenzas studied take their quotes from
earlier in the work, Mr. Maners quote is placed only seventeen measures after
wherethematerialwaspulledfromthework.
73
!"##$$%
Example 3.15. Mm. 138142 of bassoon solo, directly quoted in the opening
measuresofMr.Manerscadenza.
While there is no precedent stated in treatises or to be concluded within

Mozarts own cadenza writings, it is not frequent that material this close to the
cadenzaberepeatedwithinit.Mozartdidnotusedirectquoteswithoutalterations
during this time in his career, leading this composition to be a bit outside of his
stylistic realm, although this is a modern way of ensuring the cadenza sounds
relatedtothemovementwithinwhichitisplaced.Mm.143ofthesoloandm.6of
thecadenzaareidenticaltotheconcertoaswell,exceptMr.Manerhastransposedit
downanoctave.Itisafterthesemeasuresthathebeginshisoriginalcomposition.
ThecadenzafitswellwithintheClassicalbassoontechnicalpossibilitiesand
range,withtheexceptionofonenote.ThehighDflat5inm.9isonethatmightnot
beeasilyfacilitatedduetoembouchureandfingerchanges.Thisisbeginningtogo
abovetherangeofsomeinstrumentsofthetime.
Thesecondmovementcadenzastartsoffwithanotherdirectquotefromthe
bassoon solo, but this time it is much shorter, emulating only the opening three
beatsofthesololine.Fromherehebeginstoplaywiththetonality,introducingF
sharpsandEflats,leadingtoaGminorpitchcenter.FromhereaCsharpisadded,
and the Fsharp and Eflat are taken away, leading toward Dminor. The
modulationsarecompletedandthecadenzareturnstoFmajorinthefinalmeasure
74
ofthecadenza,withthetraditionaltrillleadingtotheNachschlagandthereturnof
thetonic.
Thereoccurringuseoftheopeningmotiveofthethemethroughthecadenza
issomethingthatisnotconcurrentwithperiodpractice.Themesweretobebriefly
visitedandthennewareasexplored,butthedotedquarterandthreeeighthnotes,
withthesecondeighthornamentedbyagracenote,appearsintwoinstancesinthe
cadenza.ThismightexcludeitfromtheystyleofMozart.Mr.Manersmainpurpose
of using the motive was to help propel his modulations; the Fsharp leading to g
minorisintroducedwiththeopeningmotive,andtheFsharpisalsotakenawayin
thismotivewhenthecadenzabeginstomodulateonceagain.
WithintheconfinesofthecapabilitiesoftheClassicalbassoon,thiscadenza
falls within a very accessible range. The large leaps in the second and third
measures might be difficult due to embouchure changes, but the free nature of
cadenzaswouldallowabassoonisttoworkaroundtheseproblemsandmakethem
musical.
3.6.CarolMcNabb
3.6.1.Biography
Dr. Carol McNabb Goodwin is an associate professor at University of Texas
Brownsville and Texas Southmost College, where she has taught since 1999. She
teachesdoublereeds,musictheoryandauralskills,servesastheoryandauralskills
coordinator,anddirectstheScorpioConsort,anearlymusicensemble.
Dr. McNabb Goodwin holds degrees in bassoon performance from the
UniversityofNorthTexas,theUniversityofLouisianaatMonroe,andtheUniversity
75
ofArizona.ShehasperformedforovertwentyyearsinorchestrassuchastheFort
Worth Symphony and Opera Orchestras, the Shreveport Symphony, the Tucson
Symphony,andattheArizonaMusicFestivalinScottsdale,Arizona.
She performs regularly with the Valley Symphony (Edinburg, Texas) and is
anactivechambermusician.ShehasperformedandlecturedatseveralTexasMusic
Educators Association conferences as well as at the South Central Region College
MusicSocietyConferences.
3.6.2.Analysis
Carol McNabbs cadenza for the first movement of the Mozart Bassoon
Concerto starts as many seen previously, with a quotation of the opening bassoon
solo motive, from where it moves onto original material. After the fermata in the
third measure, the pattern of two low eighth notes and two high eighth notes, the
twovoicesinconversation,isusedfromthebodyofthework,andisalsorepeated
inmm.1213.Thisparticularuseoftheeighthnotesistheonewayinwhichthis
cadenzaoverusesarhythmicpattern,accordingtoClassicaltreatises.However,Dr.
McNabbusesthismotivetoleadtotheFsharpinm.5,acatalystforthetransition
togminor.
Mm. 8 and 10 are a play on the motives heard after the exposition of the
concerto.Intheconcerto,thereisalargeupwardleapofanoctave,followedbya
cascadeoffoureighthnotes.Here,Dr.McNabbplayswiththeinterval,makingita
tenth,butthenfollowingthesamemotivicpatternasoccursinthemovement.
$#!%
345%
.+-,(
76
$#!%
&,,(-%
345%
Example3.16.Mm.811ofthecadenza,usingmotivespulledfrommm.8081ofthe
BassoonConcerto.
12
345%
/
10
!"!!#
This cadenza flirts with moments of Gminor and Gmajor tonality, but is
345%
primarilyfocusedonthehomekeyofBflatmajor.Theendingisnotcompletelyin
0
0
linewithperiodpractice,orwithMozartsstyleofcompositionduringthetimethe
Bassoon Concerto was written. Traditionally, the ending trill would be on the
second degree of the scale, which this cadenza does, but then a Nachschlag would
leadtothetonicandreentranceoftheorchestra.Inthiscase,Dr.McNabbutilizes
bothupperandlowerneighbortones,usingaBflat3andaD4,inamodernvariantof
aNachschlagturntoreturnbacktoBflatmajor.
While this cadenza does make good use of motivic transformation, the
overuse of the eighth note rhythm, as well as the nontraditional return to the
orchestralendingisnotcompletelyinlinewithClassicalpractice,norwhatMozart
exhibited in his writings, but are techniques that are seen in modern composition
thatimitatesClassicalstyle.
3.7.LaurieHatcherMerz
3.7.1.Biography
LaurieHatcherMerzbeganteachingbassoonatSt.CloudStatein2006and
has been a professor of bassoon at Augsburg College since 2002. She is presently
77
second bassoon in the Minnesota Opera Orchestra, and a busy freelance player in
the Twin Cities. She performs educational outreach programs with her wind trio,
The Second Winds, and substitutes in the Minnesota and St. Paul Chamber
Orchestras.In2003shewasawardedtheClassicLakeConferenceFineArtsAward
inteaching,performing,andcommunityservice.
3.7.2.Analysis
Thiscadenzaforthesecondmovementisquiteuniqueinthatitdoesnotpull
anymaterialfromthebodyofthemovementuntiltheveryend.Afterthefermatain
m.4,thematerialforthesixteenthnotesispulledlightlyfromtheorchestra,which
usesthissimilarmotivethroughoutthework.Asthissixteenthnotepassageoccurs
threetimesinarowandiscomprisedalmostentirelyofthesamerhythm,itfallsout
ofadherencetoperiodpractice.Ms.Merzprimaryuseofthismotiveistoshowoff
,8/6.#398*5-.#8
therangeofthebassoon.Itexpandstwooctavesinm.4tothreeoctavesinmm.67,
12#343567-*/6
, -./
whilestillusingafamiliarmotiveoftheconcertotomakethesevirtuosicdisplaysof
rangefitstylisticallyintothecadenza.
(6))88*
Forthemotiveinmm.910,Ms.Merzpullsfromthebodyoftheworktogive
inspirationandform.Itisarhythmicaugmentationandtonaltranspositionofideas
%
()*+
thatoccurredinmm.3233,withsomeslightalterationsandinterjections.
0
()*+
&
()*+
%
Example3.17.Mm.910ofthecadenza,utilizingmaterialinmm.3233ofthesolo.
!"#$
''
()*+
78
TherangeoftheClassicalbassoonispushedtoitshighestcommonlimitsby
using the high C5 in m. 10, and the high D5 in m. 11 might not be attainable on all
periodinstruments.InsteadofthetraditionalNachschlagtoreturntothehomekey
after the cadential trill, Ms. Merz instead uses a pattern of thirtysecond notes to
createaturnintothefinalF.Thisisnotcompletelyinlinewithwhatthetreatises
advocated, nor how Mozart traditionally ended his cadenzas, but can be seen as a
modernwayofornamentingthereturntotheorchestraltutti.
3.8.FrankMorelli
3.8.1Biography
First introduced to bassoon through the public school music programs in
Massapequa,NewYork,FrankMorellihasgrowntohaveanillustriouscareerasa
bassoonist.HestudiedwithStephenMaxymattheManhattanandJuilliardSchools
of Music, and was the first bassoonist to be awarded a doctorate by the Juilliard
School.
Chosenasasuccessortohisteacher,StephenMaxym,Mr.Morelliiscurrently
the professor of bassoon at the Julliard School of Music, the Yale School of Music,
andStateUniversityofNewYorkatStonyBrook.
Mr.Morellihaspublishedmanyworksforbassoonandwoodwinds,including
his Eingnge and Cadenzas, which are published through TrevCo Music
(www.trevcomusic.com), and therefore not included in the appendix. His
performanceoftheMozartBassoonConcertocanbeheardontheOrpheusChamber
Orchestrarecording,availablethroughDeutscheGrammophon.
3.8.2.Analysis
79
Mr.Morelli providesEingngeforthefirst andthirdmovements, as wellas
cadenzas for the first and second movements of the Mozart Bassoon Concerto, K.
191.Forallreferencestohiscadenzas,pleasebuyhispublicationavailablethrough
TrevCoMusic,andlistentotherecordingavailablethroughDeutscheGrammophon.
ThefirstmovementEingangisbasedonmotivicelementsheardinmm.45
46andmm.112113oftheconcerto,thearpeggiatedsixteenthnotes:
#$
%&''(()
!!"
Example 3.18. Mm. 4556 and mm. 112113 of the bassoon solo. The arpeggio
motiveistakenandusedintheEinganginm.97.
While there are no resources to document whetherunaltered quotations of

materialisstylisticallyaccurateorappropriate,itcanbenotedthatMr.Morellisis
atypicalcomparedtothosealreadystudied.ThepianoconcertibyMozartthathave
been previously discussed do not rely heavily on exact quotations, so we may say
thatthisisnotconsistentwithwhatMozartmayhavewrittenatthisperiodinhis
compositional life. However, the Eingang does stay solidly in the key area and
avoidsallmodulations,somethingtreatisesstressed.
Theopeningmotiveofthefirstmovementcadenzaisasimplifiedversionof
whatoccursintheopeningbassoonsolo;mm.3537aretakenandputintoasimple
descendingeighthnotearpeggiotogivetheearafamiliarstartingpoint.Fromhere,
80
Mr. Morelli quotes descending sixteenth note arpeggio passages that occur
throughouttheworkintheorchestralaccompaniment,thelastinstanceinthetutti
inm.152ofthework,rightbeforethebassooncadenza.
!"#$%
Example3.19.Mm.152153,pianoreductionoftheorchestralscore.Thesixteenth
notearpeggiosareusedformotiviccontentinthecadenza.
These sixteenth note passages are repeated several times in a row, and
would be in disagreement with Classical performance practice, however, in this
cadenzatheyareusedtoleadintoamodulation.
AtrehearsalB,Mr.Morellibringsbacktheopeningbassoonsolotheme,but
this time in c minor. He modulates further in rehearsal D to bflat minor, where

another theme from the bassoon solo is introduced, a play on the sixteenth note
passages that occur in mm. 5054 and mm. 119124. Like the sixteenth note
passage discussed based on the orchestral motives, this motive in bflat minor
extends eighteen measures, something that would not have been considered
appropriate in Classical style due to the excessive repetition of a motive without
break. The main purpose of this passage of repeating sixteenth notes is to propel
thecadenzabacktoalessremotetonalcenter,butkeepingafamiliarmotivesothe
musicdoesnotsoundtoofarremovedfromthemovementoftheconcerto.
81
ThefinalpassageatrehearsalEisbasedononeofthelastmelodiesplayed
bythesolobassoonbeforethecadenzainm.146:
!"##$$%
Example3.20.M.143ofthebassoonsolo,rightbeforethecadenza.Thissixteenth
notepassageisthebasisrehearsalEofthecadenza.
The cadenza ends with a traditional trill on the second scale degree with a
Nachschlagtothetonicandreentranceoftheorchestra.Whiletheremightbeabit
toomuchrelianceonmotivicmaterialfromthebodyoftheconcerto,aswellastoo
much repetition of these motives (used as to make smooth tonal transitions), the
styleofmodulatingandthekeyareasreachedissomethingMozartthatcouldhave
reasonablypenned.
This cadenza would be easily facilitated on the Classical bassoon, with one
possible area of exception. In the measures leading up to rehearsal D, low Dflat2

occurstwice,whichwasusedtohelpsetupthebflatminorkeyarea.Asthisisa
difficult note needing a complicated half hole fingering or a great deal of
embouchure change, this could be hard to accurately execute, especially the slur
fromlowC2.
The second movement cadenza opens with a new theme, a previously
unheard sixteenth note melody, and mixes in fragmented and rhythmically

augmentedquotesfromtheopeningbassoonsolomotive.Ratherthanasixteenth
82
gracenoteembellishingtwoeightnotesslurredtogether,Mr.Morellichangesittoa
sixteenth grace note embellishing two slurred quarter notes, keeping the quoted
pitches the same as in the body of the concerto. The grace note motive is called
uponseveraltimes,butitisspreadamongstotherrhythmicandmelodicpassages
so it is not heard too frequently in succession. Other than this small quote, the
cadenzaishighlyoriginal.
This cadenza, based on its shortness and its minimal reliance on motives
fromthebodyofthemovementcouldbeseenasveryinlinewiththestyleofMozart
duringhisItalianyears.Thereisonlyonesmallpassagethatcouldpotentiallykeep
this cadenza from being highly historically accurate, and that is the slur from the
low Dflat2 to the low Bflat1, then rising to the Bnatural1 just prior to the second
fermata.Ashasbeenpreviouslystated,theembouchureandfingerchangesneeded
tofacilitatetheDflat2arequitecomplex,andthisisonlyheightenedwhenthenote
isslurredto.EventhoughlowBnatural1isusedasachromaticpassingtonetothe
fermataonC1,itposesthesameproblemsofembouchureastheDflat2,butinthis
caseitisatonguednoteandwouldbeeasiertofacilitatethanifitwereslurredto.
ThethirdmovementEingangisverysimilartothatofthefirstmovementin
thatitquotesfromthebodyoftheworkitiscontainedwithin.Thetripletrhythmis
takenfromearlyinthemovement,inthebassoonintroductorysolo.
"#$$%%&
!
!
Example 3.21. Mm. 2122 of the third movement bassoon solo. Motive for the
beginningofthethirdmovementEingangistakenfromthismelody.
83
Once again, there is no precedent stated that material from the body of the
workcannotbedirectlyquotedinanEingang,butitisnotusuallyseennorwasit
exhibitedinMozartsworksfromthetimethebassoonconcertowaswritten.The
one thing that might be said to be stylistically inaccurate is the fermata after the
triplet section. As Eingang were meant to be short, improvisatory flourishes to
bring back a melody, a fermata could potentially extend it past these specific
guidelines. Mr. Morelli used this fermata to set up a large leap of almost two
octaves, and by approaching the leap in such a manner it would be easier to
facilitateontheClassicalbassoonbyhavingamplepreparationtimebetweennotes.
3.9.RebeccaNoreen
3.9.1.Biography
Rebecca Noreen, bassoonist, was a winner of the Artist International
Competition in New York City with the Kammer Quintet which appeared in two
recitals in Carnegie Recital Hall. She graduated with a Masters in Music from
Manhattan School of Music and from Western Washington University where she
obtainedaBachelorsofArtandaBachelorsofMusic.Ms.Noreenperformswiththe
Hartford Symphony Orchestra, the Eastern Connecticut Symphony, and the Rhode
IslandPhilharmonic.SheisalsoaformermemberoftheNewHavenSymphonyand
theUnitedStatesCoastGuardBand.Sheperformswithmanychoralgroupsinthe
area such as the Stonington Choral Society, Con Brio, and the Mystic River Choral.
She also is principal bassoonist of the Hartford Festival Orchestra, which puts on
programs such as Guitar Under the Stars and Opera al Fresco at the Hartford
84
RiverfrontPlaza.HerchambermusicventuresincludethePrismTrioandtheLaurel
DoubleReedEnsemble.
Ms. Noreen is an instructor of bassoon at Connecticut College, Hartt School
Community Division, and was instructor at the University of Rhode Island for
seventeen years. She also has attended the Waterloo Festival and played with
members of the New York Philharmonic Orchestra under the conductor Gerard
Schwartz. In Graz, Austria she performed in the Opera Orchestra of the American
Institute of Musical Studies. Her instructors include Stephen Maxym, Jane Taylor,
MarkEubanks,MatthewRuggiero,BruceGrainger,andGreggHenegar.
3.9.2.Analysis
Inherfirstmovementcadenza,RebeccaNoreenopenswithamotivethatis
familiar to many cadenza that have already been discussed, a play on the opening
motives of the bassoon solo exposition. From here she incorporates some new
ideas,usingarpeggiosthathavenotbeenheardinthebodyofthework,butsound
reminiscent of something that could have happened, something Mozart used
extensivelyinhispianocadenzas.Inmm.912,sheplayswithamotiveseenearly
in the work, the interplay of upper voices playing eighth notes mixed with lower
voices playing eighth notes, the bassoon theme that sounds like to voices
interruptingeachother.
!"##$$%
Example 3.22. M. 141 of bassoon solo, used for material present in mm. 912 of
cadenza.
85
This section of eighth notes is then followed by a long passage of sixteenth
notes,leadingintothecadentialtrill.Ms.Noreendoesnotenditwiththeexpected
Nachschlag,butratherintroducesaseriesofeighthnotesonthepitchC4,andthena
Nachschlaglike sixteenth note passage into the orchestral tutti. This is outside of
periodpracticeandwhatMozartwouldhavewritteninhiscadenzasatthisperiod
ofhiscareer.Ms.Noreensornamentationisanupperandlowerornamentationof
theC4priortotheorchestrareentrancetoendtheconcerto.
Duetothenotationofthecadenza,theendingofMs.Noreensworkappears
a bit ambiguous, leading the orchestra in on beat three of the measure. The tutti
shouldbeonthedownbeat,andwouldmakemoresenseifitappearedas:
$#!%
!"!!#
&'(())*
Example 3.23. Reworked ending of Ms. Noreens first movement cadenza to show
propernotationthatwouldcorrectlyreintroducetheorchestra.
Overall, the cadenza would have fit well on the Classical bassoon, with the
possible exception of the low Bnatural1 in m. 8. As stated by fingering charts of

bassoons from this time period, the need to change the pitch with embouchure
wouldhavemadeitdifficult,especiallywhenslurringandtryingnotcreateapitch
bendeffect.
3.10.ScottOakes
86
3.10.1.Biography
Scott Charles Oakes currently serves as assistant professor of bassoon at
Wichita State University, principal bassoon of the Wichita Symphony, and

bassoonist of the Lieurance Woodwind Quintet. Previously, Mr. Oakes held
positionsasprincipalbassoonwiththeQuadCitySymphony(Davenport,Iowa)and
RockfordSymphony(Illinois),andwasamemberofboththeIllinoisSymphonyand
Illinois Philharmonic. Additionally, Mr. Oakes has performed with numerous
orchestras in the Chicago area and the upper Midwest, including the Chicago
Chamber Orchestra, the Symphonies of Green Bay, Elgin Lake Forest, Northwest
Indiana, South Bend, New Millennium Orchestra of Chicago, and the Wisconsin
ChamberOrchestra,
Also an opera bassoonist, Mr. Oakes has played with the Wichita Grand
Opera,OperaIllinois,DesMoinesMetroOpera,ElginOpera,ChicagoCulturalCenter,
and LOpera Piccola of Chicago. Other engagements have included performances
with the Aspen Festival Orchestra and Chamber Symphony, Ravinia Festival,
Southern Illinois Music Festival, and the Great Performers of Illinois festival in
MilleniumPark,Chicago.
Mr.OakesholdsaMasterofMusicdegreefromtheDePaulUniversitySchool
of Music and a Bachelor of Music degree from the University of the Pacific
ConservatoryofMusic.HisprincipalteacherswereWilliamBuchmanoftheChicago
SymphonyandDr.DonaldDaGrade.
3.10.2.Analysis
87
The beginning of Scott Oakes second movement cadenza for the Mozart
BassoonConcertostartsoutwithastatementthatisfirstheardintheorchestrain
m.34.
"#$%&
Example 3.24. Piano reduction of mm. 34 of orchestral introduction to second

movement.Thisisusedintheopeningofthecadenzawithslightmodifications.
Thisuseoforchestralthemesthatarenotseeninthesolopartissomething
thatwasexhibitedbyMozartinsomeofhispianocadenzasatthistime,soitisvery
muchinlinewithhisstyleofcomposition.
Afterthetwobeatrestinthecadenza,thebassoonrepeatsitsmelodyfrom
itsopeningmotiveinm.7,andthenproceedstointroducenewmaterialthathasnot
beenseen in the movement orthe cadenza.Mr.Oakesstatedthisnewmaterialis
based on Mozarts first Violin Concerto. There is no precedent for quotations of
anotherworkwithinthecadenza,butsinceMozartdidnotdothisandtherewasa
highlevelofemphasisplaceduponoriginalityinthecompositionandexecutionofa
cadenza, this can reasonably be said to be outside the confines of Classical
performancepractice.Mr.Oakesstatesthatheusedthismaterialbecausethefirst
88
ViolinConcertoandtheBassoonConcertowerewritteninsuchcloseproximityto
eachother,andtheyareverysimilarinstyle.
ThethirtysecondandsixteenthnotepassageMr.Oakesusesinhiscadenza
A0@+&#)4+((005)B05%'&#0
arepulledfrommm.13and38ofthesecondmovement.Thisisagoodusageofthis
=>#)2)%+?'5@+
theme as it only appears twice, which is what many treatises stated to be the
maximumnumberoftimesmotivesandthemesshouldoccurinarow.
4+((005
!"##$$%
-,,'/&0
<
Example3.25.Motivefromm.13ofconcerto,usedforthematicmaterialincadenza.
4(5.
The material intheanacrusis tom.20 ofthe cadenza isalsopulledfrom amotive

7
occurringfromthebodyofthework,thebassoonsololineinmm.9and32.
4(5.
89
4(5.

Example3.26.MaterialfromthecadenzathatMr.Oakespullsfromthethirtysecond
notethemeinm.9ofthebassoonsolo.
26
4(5.Starting with the quarter notes after the last fermata of the cadenza, Mr. Oakes
%&'(%)-%%',
quotes,withsomealterationsofpitchandinterval,themelodyofmm.1517.
21
4(5.
!"##$$%
89
Example3.27.Mm.1517occurinmodifiedformwithintheclosingmeasuresofthe
cadenza.
Thelastquoteofthecadenzacomesfromtheendofthesecondmovementof
the concerto. The flourish of notes of the bassoon solo in m. 47, right before the
introduction of the cadenza, is exactly quoted in m. 27. The cadential trill is as
Mozart would have written it, but instead of a Nachschlag, Mr. Oakes has put in a
flourishofupperandlowerneighbortones.Thisisanornamentedvariationona
traditionalending.
This cadenza lies well within the confines of Classical bassoon ability. The
lowCsharp2sixteenthnotethatisslurredtotheG2atthebeginningofthecadenza
is the only problematic note that would be difficult on a period instrument. Mr.
Oakesusesthisasapassingtone,startingwiththefirstnoteofeachsixteenthnote
grouping,fromC2toCsharp2andfinallytoD2.
3.11.WillPeebles
3.11.1.Biography
Dr. Will Peebles teaches bassoon and serves as the director of the Western
CarolinaUniversitySchoolofMusic.Hehastaughtcoursesinmusictheory,history,
and world music, as well as established Westerns Low Tech Ensemble, which
performsonBalinese,Javanese,andSudanesegamelan.
Havingfocusedhisdoctoralworkonthehistoricaldevelopmentofbassoon
fingering systems, Dr. Peebles has collected many historical instruments over the
90
years including reproductions of Renaissance instruments such as the crumhorn

andracket,toantiquebassoonsfromtheearlynineteenthcentury.
Dr. Peebles maintains an active performing career, appearing in faculty
recitals on campus and in the area. He regularly plays with the Asheville (North
Carolina)SymphonyandoccasionallyperformswiththeCharlestonandGreenville
Symphonies (South Carolina), Jacksonville Symphony (Florida), Grand Rapids
Symphony (Michigan), August Symphony (Georgia), Charlotte and Western
Piedmont,BrevardandNorthCarolinaSymphonies(NorthCarolina).
Before coming to Western Carolina, Dr. Peebles taught music history at
Michigan State University, bassoon at Albion College, and played nine years in the
Grand Rapids Symphony. He also performed occasionally with orchestra around
Michigan,includingtheLansing,Kalamazoo,BattleCreek,Detroit,Jackson,andWest
ShortSymphonyOrchestras.
3.11.2.Analysis
Dr.WillPeeblesprovidesuswithacadenzaforthesecondmovementofthe
concerto,andstartsitoffbyquotingtheopeningmotiveofthebassoonsoloinm.7,
and then transposes it upward three times. This is one time more than is
recommend by treatises from the Classical period. His purpose for using this
motive three times is to raise the tension of the music, before releasing it when
movingtoanewmotiveinm.4.
His next motive, in m. 4, utilizes the same orchestral context as that of Mr.
Oakes,thetripletsixteenthnotesleadingintoaquarternote.FromhereDr.Peebles
quotes,withalterationsofpitch,mm.3132oftheconcerto.
!"##$$%
91
Example3.28.Thesixteenthnotesinm.3132ofthebassoonsoloareusedasbasis
form.68ofthecadenza.
Thethirtysecondnotepassageinm.89ofthecadenzaisstartedwithand
based on the motive of the thirtysecond notes in m. 32. From here we have
completelynewmaterialthathasnotyetbeenseeninthework.Dr.Peeblesuseof
chromaticism in this new section is not necessarily supported by either Mozarts
early compositional style, nor Classical treatises, but it does serve as an effective
waytogetbacktoFmajorwithoutadrawnoutseriesofmodulations.
Theturnsinm.12aretakenfromtheturninm.10andm.33oftheconcerto,
and propel the cadenza back to the reentrance of the orchestra. The traditional
Nachschlagisnotused,butratherawrittenoutturntoleadtheorchestraback.
!"##$$%
Example3.29.Theturn,acrucialelementinthebodyoftheworkhereatm.10,is
utilizedattheendofthecadenza.
3.12.JanetPolk
3.12.1.Biography
JanetPolkearnedherbachelorsdegreeattheUniversityofMassachusettsat
Amherst, and her mastersdegree attheUniversityof New Hampshire. Currently,
92
sheisprincipalbassoonofboththeVermontSymphonyOrchestraandthePortland
(Maine)SymphonyOrchestra.Herpreviousorchestralengagementshavebeenthe
Springfield (Mass.) Symphony, New Hampshire Symphony, New Hampshire Music
FestivalandIndianHillSymphonies,andtraveledtoHondurasthroughthePartners
ofAmericas.
As a member of the Block ensemble, Ms. Polk has won prizes in the
International Concert Artists Guild Competition and John Knowles Paine

competition,andhasperformedattheRoundTopFestivalinTexas.
In her solo career, Ms. Polk has performed with the Vermont Symphony,
Portland Symphony, Indian Hill Symphony, Dartmouth Symphony, UNH Orchestra,

Northampton (Mass.) Chamber Orchestra, and Furman University Concert Band,
andgivenrecitalsatmanyNewEnglandcollegesanduniversities.InMarch2001,
Janet premiered Vermont composer Gwyneth Walkers Concerto for Bassoon and
Strings,whichwascomposedespeciallyforher.HealsopremieredtheSonatafor
BassoonandPianobyChristopherKiesinJanuaryof2004.
In addition to her performing career, Ms. Polk teaches bassoon at the
UniversityofNewHampshireandDartmouthCollege.
3.12.2.Analysis
Ms.Polkprovidesashortcadenzaforthesecondmovement,onewhichcould
fallintothecategoryofneedingonlyonebreath,dependingonhowlongfermatas
wereheld,andwhetherornotthebassoonistwouldchoosetobreathearoundthose
cadenzas.Thematerialisverystraightforward,takingtheorchestralleadintothe
cadenzaandutilizingitfortheopeningcadenzasolo.
93
!"#$%
Example 3.30. The orchestral tutti lead in to the bassoon cadenza provides the
openingmaterialinMs.Polkscadenzaforthesecondmovement.
The material before the last fermata is a transposed quote from the
beginning of the bassoon solo. The cadenza ends will a trill on the second scale
degreeandaNachschlagtothetonicwheretheorchestrareturns,inaccordanceto
periodstyle.
This cadenza is quite short, and without modulation. Many of the treatises
examined advocated shortercadenzas forwoodwindconcerti, andalsostatedthat

shortercadenzasshouldnotmodulate,orpossiblyonlytoacloselyrelatedkeyand
thenbackagain.Bythispractice,Ms.Polkscadenzaisquitestylisticallyaccurate.
However,theamountofrelianceuponmotivesfromthebodyofthecadenzaisnot
somethingwitnessedinthepianoworksofMozartfromthistime,andmaybeseen
as straying from his compositional style. Ms. Polk stated she wrote this when she
was very young, attending the PopkinGlickman Bassoon Camp, and she wanted
somethingthatspecificallyquotedmanyfeaturesoftheworksoitwouldsoundlike
acadenzathatbelongedtothemovement.
In terms of application to the Classical era bassoon, Ms. Polk has written a
cadenza that fits the instrument very well. Both the range and notes within her
94
composition could be easily executed by any of the bassoons mentioned in the

Whitearticle.
3.13.ScottPool
3.13.1.Biography
Sincethefallof2009,ScottPoolhasbeentheassistantprofessorofbassoon
at the University of Texas at Arlington. In addition to the bassoon studio at UT

Arlington, Dr. Pool teaches courses in music theory and aural skills. Before his
tenure at UTA, he was the associate professor of bassoon at Valdosta State
University in Valdosta, Georgia from 20022009. He has also been the resident
bassoonistattheOrfeoInternationalMusicFestivalinVipiteno,Italysince2009.
Dr. Pool has performed concerts and recitals throughout the Americas and
Europe,andhasbeenfeaturedonNationalPublicRadio.Inhisperformancecareer,
Dr. Pool has served as the principal bassoon of the Valdosta Symphony Orchestra,
theAlbany(Georgia)SymphonyOrchestra,theSavannahSymphonyOrchestra,and
wasabassoonistwiththeCypressChamberPlayers.Heisanactivememberofthe
International Double Reed Society, with whom he has given numerous conference
performancesandpresentations.
Dr. Pool has performed with the Tucson Pops, the Tucson Symphony
Orchestra, the Orchestra Symphonica UANL of Monterrey, Mexico, and the

Oklahoma City Philharmonic. He has also been an active musical participant in
OklahomaCitysLyricTheaterandtheArizonaTheaterCompany.
Prior to completing the Doctor of Musical Arts degree at the University of
Arizona, Dr. Pool earned music degrees from the University of Oklahoma and the
95
UniversityofCentralOklahoma.HehasstudiedwithWillDietzofTucson,Arizona,
andCarlRathofOklahomaCity,Oklahoma.
3.13.2.Analysis
Like many of the other bassoonists studied have done, Scott Pool starts his
first movement cadenza by quoting the opening motives of the bassoon solo. He
repeatsthismotivetwotimes,interruptingeachwithaflourishofsixteenthnotes.
Thenextsection,inm.9,takesitmotiviccontentfrommm.8081andmm.8484of
the bassoon solo, with a small ornamented interruption between the two
occurrencesofthismelody.
!"##$$%
Example3.31.Mm.910ofthecadenza,basedonmm.8081ofthebassoonsolo.
Right after this variation melody, Dr. Pool takes a variation from the same
passage,thesixteenthnoteruninmm.82and86directlyfollowingthequarternote
andeighthnotemotive.
!"##$$%
Example3.32.Sixteenthnotepassageinm.82ofsolo,usedformotiveinmm.1314
ofcadenza.
--
'()*
96
-/
The cadenza then falls into a repeated sixteenth note pattern, leading up to the
'()*
fermatainm.18.Atm.19,Dr.Poolquotesmm.5054and120124ofthebassoon
soloandbasishiscadenzaonthisforthenextfivemeasures.
-.
'()*
%,
'()*
Example3.33.Mm.2022ofthecadenza,avariantofmm.5152ofthebassoonsolo.
%+
'()*
!"##$
Regardingperformancepractice,thiscadenzaiscreatedfromagreatdealof
%&
'()*motiviccontentofthesolo,andisrepeatedfarmorethanthetwotimescondoned
by Classical treatises, but in the modern context it is used as a catalyst for

modulationwhilestillretainingarhythmicmotiveoftheconcerto.Thiscadenzais
also quite long for what many composers thought appropriate for a woodwind
instrument; even with unnoticed breaths that do not interrupt the phrase, it is
longer than extant woodwind examples. The range is well within that of the
Classical era bassoon, and it does not pose any specific fingering issues when
movingbetweennotes.However,theendingisquiteuncommon,bothforClassical
practice and for Mozart, as there is no trill or Nachschlag leading to the tonic re
entranceoftheorchestra.
97
The second movement cadenza starts with an interrupted variation and
rhythmicaugmentationofthebassoonmelody.Thetwoquarternotesembellished
withagracenotearetakenfrommm.57ofthebassoonsolo.
3'2.4#+5.66''1+7'1-04#'
)*#+,+-./012.
5.66''1
%
%
Example3.34.OpeningmeasuresofMr.Poolssecondmovementcadenza.Thetwo
8 with the grace note embellishment are a rhythmic augmentation of
quarter notes
theopeningbassoonsolomelodyforthesecondmovement.
5619
Inmm.56ofthecadenza,theornamentationistakendirectlyfromthesololineas
well,andrepeated.Thismotiveisrepeatedthreetimes,leadingittobeoutsidethe
commonpracticeoftheClassicalera.
!"##$$%
Example 3.35. M. 10 of the bassoon solo. The dotted eighth and sixteenth
ornamented by thirtysecond note grace notes are used as a major motive in the
cadenza.
Fromheretotheendofthecadenza,Mr.Poolutilizesnewmaterialtobring
inthereturnoftheorchestra.Whilethereisstillagreatdealofrepetitionwithin
this cadenza, it ismore inline with performancepracticethanthe first movement
!"##$
98
cadenza.Itismuchshorter,mostcertainlywithinthespanofasinglebreath,and
thecadentialtrillwiththeNachschlagisexecutedinthestyleofMozartaswellas
other composers of the Classical era. This cadenza also fits well into the
performanceabilitiesoftheClassicalbassoonastherearenodifficultfingeringsor
pitchespushingthemostcommonrangeoftheinstrument.
3.14.PeterSimpson
3.14.1.Biography
Peter Simpson studied bassoon with Donald Rankin at the University of
RhodeIsland,DonaldBravoattheUniversityofNewHampshire,andRudolfKlepac
at the Hochschule Mozarteum in Salzburg, Austria. Mr. Simpson has been the
professor of bassoon at the University of Kentucky since 1976, as well as the
principalbassoonistwiththeLexingtonPhilharmonicsince1978.Hisperformance
career is quite extensive, including engagements with the New Hampshire Music
Festival, the Goldovsky Opera Institute, the Louisville Orchestra, the Peninsula
MusicFestival,theLakesideSymphony,andtheDesMoinesMetroOpera.
Mr.Simpsonhasalsospenttimearrangingwoodwindmusic.Hisworksare
publishedthroughInternationalOpus,ALRYPublications,andBocalMusic.Hehas
performedhisoriginalarrangementsatseveralInternationalDoubleReedSociety,
MNTA and NACWPI Conferences. Mr. Simpson has a DAT recording from 1990 of
his performance of the Mozart Bassoon Concerto with the cadenzas provided.
Pleasecontacthimformoreinformation.
3.14.2.Analysis
99
Peter Simpson begins the first movement cadenza by quoting a popular
passagefromthebassoonsolo,thepassageatmm.5154,anditspartnerpassageat
mm. 120124. This sixteenth note passage in mm. 14 of the cadenza is clearly
callinguponthisearlierpassageinthework,leavingoutthetrilledquarternotes.
Example 3.36. The beginning of Mr. Simpsons cadenza for the first movement is
takenfromthemotiveinthebassoonsoloinmm.5154and120122,omittingthe
trilledquarternotes.
Afterthefermatainm.5,Mr.Simpsontransformsapassagefrommm.8081
andmm.8485ofthesolotocreateapassagethatsoundsreminiscentofMozarts
writing,butitisnotadirectquote.
!#
!"
$%&&''(
Example3.37.Mm.8081and8485ofthebassoonsolo.Mr.Simpsontransforms
this motive to create a reminiscent melody in mm. 59 of his first movement
cadenza.
Directly following this, in mm. 1012 of the cadenza, Mr. Simpson composes a
familiar motive using elements from the body of the concerto. In mm. 6263 and
100
141142 we have a seen a conversational eighth note motive, sounding like two
voicessingingtogetherandinterruptingeachother.Thisisalteredinthecadenza
bychangingtheoctaves;ratherthaneachvoicesingingtwonotesbeforetheother
interrupts,thelowervoicehaslessmelodicmaterialinmm.1012.
Example3.38.Mm.912ofthecadenza.Thisisaplayonthebassoonsolopassage
inmm.6263.
The last quote Mr. Simpson uses is from the last solo section of the first
movement of the concerto. In mm. 1415 of the cadenza, he starts each measure
with two staccato eighth notes, followed by a quarter. This is a transposition of a
melody that occurs in mm. 138140 of the bassoon solo. He uses new material to
interruptthesequotes,andtofinishoffthecadenza.
!"##$$%
Example3.39.Mm.130140ofthebassoonsolo.Thestaccatoeighthsfollowedbya
quarternotepassagesaretakenandutilizedinmm.1415ofthecadenza.
Mr. Simpson ends the cadenza with the trill on the second scale degree,
stated as common practice in treatises and in Mozarts own compositions, but he
101
does not end it with the traditional Nachschlag. Instead he uses upper and lower
neighbor tones of the second scale degree in a modern version of cadential
ornamentationtoleadintothetonicandthereintroductionofthemelody.
Overall,Mr.Simpsonreliesquiteheavilyonmaterialthathasbeenpreviously
seenwithinthefirstmovementoftheconcerto,andthismaterialheuseswithquite
a bit of repetition. This is not standard with either Classical treatises or with
Mozartsstyleofcompositionfromthisearlypartofhiscareer,butdoesworkwell
withintheconfinesofcompositiontoalludebacktothebodyofthework.However,
the writing style does fall well within the abilities of the bassoon of this period,
posingfewawkwardfingermotionsbetweennotes,andstayingwithinarangethat
waseasilyaccessibletoplayers.
In his second movement cadenza, Mr. Simpson starts with an exact quote
fromtheopeningmotiveofthebassoonsolo.Heleavesthefirstnoteofthebassoon
solo out, and after the second eighth note rest he then leads into completely new
materialtoputhisownoriginalityintothecadenza.
Example3.40.TheopeningofMr.Simpsonssecondmovementcadenzastartswith
anexactquotefromtheopeningbassoonsoloinmm.78,leavingoutafewnotes,
thenmovesontocompletelyoriginalmaterial.
Inthem.4ofthecadenza(notatedasm.23inhisscore),hepullsafamiliar
motivefromthebeginningofthesoloaswell,thethirtysecondnotes.Heusesthese
102
inanexactquote,upuntilthelastfourthirtysecondnoteswherehecreateshisown
materialbasedonthisfamiliarmotive.Afteraseriesofsixteenthnoterests,hethen
takes another quote from the passage directly following the thirtysecond note
passagepreviousused,theturnbetweenthedottedeightnoteC4andsixteenthnote
D4.
!"##$$%
Example3.41.Mm.910ofthebassoonsolo.Mr.Simpsonutilizesboththethirty
second notes and the ornamental thirtysecond notes, adding some original
material,tocreatetheendingofhissecondmovementcadenza.
Mr. Simpson then ends the cadenza with a trill on the second scale degree,
leadingtotheNachschlagandthereturnoftheorchestraonthetonic.
Like his first movement cadenza, Mr. Simpson does use quite a bit of
quotation to fill up the cadenza. This goes against the originality of new motives
advocated by Classical treatises, as well as against what Mozart had written in his
pianocadenzasduringthistime,butdoesdoahighlyeffectivejobofsoundingasifit
belongstothemovement.
Similar again to his second movement, this cadenza stays very well within
the abilities of the Classical bassoon, staying in a comfortable range and avoiding
trickyfingeringpassages.Thiscadenzaalsohasthedistinctionofthepotentialtobe
played within the span of a breath, something highly encouraged for woodwind
cadenzas.
3.15.WilliamWinstead
103
3.15.1.Biography
William Winstead is principal bassoonist with the Cincinnati Symphony
Orchestra and professor of music at the Cincinnati CollegeConservatory of Music.

Mr.Winsteadbeganhismusicaltrainingasapianistandcomposerbeforetakingup
thestudyofseveralwindinstruments,includingtheoboeandthebassoon.
AgraduateoftheCurtisInstitute,Mr.Winsteadbuiltacareerfortwentyfive
years as a college professor, teaching bassoon, piano, theory, and composition at

West Virginia University, IndianaPurdue University, Florida State University, the
Oberlin Conservatory of Music and now finally at the Cincinnati College
ConservatoryofMusic.HejoinedtheCincinnatiSymphonyOrchestrain1987.
A former president of the International Double Reed Society, Mr. Winstead
has served as a member of the National Endowment for the Arts Music Advisory
Panel,andnowregularlyappearsattheSarasotaMusicFestivalandattheMarlboro
MusicFestival.
As a composer, he has had works premiered by the Philadelphia Orchestra
andthePittsburghSymphony.Hehasreceivednumerouscommissions,grants,and
awards, including an NEA grant in 1976 for a United States bicentennial work for
narrator and orchestra. In addition, he collaborated with Sol Schoenbach in
publishingthreevolumesofsolobassoonmusic.
Mr. Winsteads recording of the Mozart Bassoon Concerto, with his original
cadenzas, is not available for commercial sale through any major recording label.
However, those interested in hearing it should contact him directly to purchase a
104
copy.SheetmusicforhisoriginalcadenzaisavailableforpurchasethroughTrevCo
Music(www.trevcomusic.com),thereforetheywillnotbeincludedintheappendix.
3.15.2.Analysis
William Winstead has written Eingnge for both the first and third
movements of the Mozart Bassoon Concerto, as well as cadenzas for the first and
second movements. The first movement Eingang is short, in accordance with
Classicalperformancepractice,stayingwithinthekeyofBflatmajorandleadingto
thereentranceoftheorchestraandarestatementofapreviouslyheardtheme.Mr.
WinsteadusesthetraditionallowerneighbortoneornamentationoftheFpitches,
andthenaddsinaflourishofsixteenthnotesthatpickupspeed,eventuallysetting
thetempofortheorchestrashouldreturn.
Atacursoryglance,Mr.Winsteadsfirstmovementcadenzaisexceptionally
long.ItislongerthananyoftheMozartcadenzasstudied,anditiswellbeyonda
breath than period treatises advocate. Much of this length is due to repetitive
statementsmadeearlyinthecadenza.
The beginning of the cadenza is newly composed material that leads into a
sixteenth note arpeggio passage. These arpeggios are taken from a motive heard
twicewithinthebodyofthemovementinmm.4546and112113.
!"##$$%
Example 3.42. Mm. 112113 of the bassoon solo. The arpeggiated sixteenth notes
areusedasabasisfortheopeningofMr.Winsteadsfirstmovementcadenza.
105
After the arpeggio passage, the next section is based on the trilled quarter
note and sixteenth note passage that occurs at mm. 5054 and 119124 of the
bassoon solo. This trilled quarter note and sixteenth note passage is repeated for
fortytwo beats (occasionally leaving out the trilled quarter note). This section
makesupaverylargeportionofthecadenza,almostathirdofitsentirelength,and
due to its excess repetition, it can be said to not follow Classical practice. The
purpose of this prolonged section for Mr. Winstead is to lead his modulation and
bringaboutanewkeyarea.
!"##$$%
Example3.43.Mm.120122ofthebassoonsolo,usedasmaterialforalmostathird
ofthefirstmovementcadenza.
The next section of Mr. Winsteads first movement cadenza, starting on the
topofthesecondpage,utilizesmaterialfromthreesectionsofthebassoonsoloin
its creation. The first section is mm. 4849 and 115166 of the solo, utilizing a
quarternotefollowedbyaleaptoalowhalfnoteandanotherleaptoahighquarter
note.Thisisfollowedbyadiminutionoftheeighthnotepassagesoccurringatmm.
6263 and 141142. Finally, the motive used at mm. 8081 and 8485 is used to
closeoutthetheme.
#$
%!
106
!"
&'(())*
Example 3.44. Mm. 4849, 6263, and 8182. These three separate motives are
combinedintoonetocreateanewmelodicideainthesecondhalfofthecadenza.
The last quote relied upon occurs on the third system of the second page. The
tonguedsixteenthnotepassageisfromthebassoonsoloinmm.82and86.
!"##$$%
Example3.45.Thissixteenthnotepassageinm.86isutilizedinthethirdsystemof
thesecondpageofMr.Winsteadsfirstmovementcadenza.
After this point of quotation to the end of the cadenza, Mr. Winstead relies
mostly on original ideas, incorporating small rhythmic or motivic ideas from the
movement that last only one to two beats. The abundant use of themes from the
solobassoonpartissomethingthatwasnotstandardwithinthepracticeofcadenza
writingduringtheClassicalera,norinMozartsstyleinthispartofhiscareer.More
emphasis was placed on original motives stemming out from quoted melodies or
phrases, but it does provide a way of allowing the cadenza to sound like it is an
organicpartoftheconcerto.
Thecadenzaoverallwouldworkwellonaperiodinstrumentasitstayswell
withintherange,andthefingermotionbetweennoteswouldbepossible,withone
exception of the Anatural4 trill in the second to last measure. Fingerings for the
107
upper register of the Classical bassoon were quite complicated, and depending on
theinstrument,thismightnotbeeasilyfacilitated.However,withoutknowledgeof
special trill fingerings that might make this easier, it is hard to say with absolute
certaintythatthiswouldbeimpossible.
Theotheraspectofthisendingthatdoesnotadheretoperformancepractice
isthetrill,whichisplacedontheseventhscaledegree,ratherthanonthesecond.
WhileitdoeshaveaNachschlagleadingtothetonicandtheorchestralreturn,the
pitchCwouldbemorestylisticallyappropriatethanA.TheuseoftheAnaturaldoes
stillprovidealargeamountoftension,astheleadingtoneneedstoberesolvedto
thetonic,andstillprovidesanaccuratewayofresolvingthecadenzabackintothe
orchestraltutti.
The second movement cadenza starts out with original material that
comprisesapproximatelyathirdofitslength.Itisnotuntilthepickuptothefourth
system of the cadenza that familiar material is introduced. The sixteenth note
motivefrommm.3132iscombinedwitharhythmicpatternseeninmm.24and41.
!"
#$
%&''(()
Example3.46.Mm.3132arecombinedwithm.24tobuildanewthematicareaof
thesecondmovementcadenza.
Shortly after this, on the first system of the second page, Mr. Winstead
combinesamotivefrommm.13and38ofthesecondmovementwithadirectquote
108
from mm. 6263 of the first movement. There is no supporting literature to say
whether or not using motives from different movements was standard practice in
theClassicalera,butMozartscompositionofthetimedidnotsupportusingideas
fromdifferentmovementswithinthesamecadenza.
!"
#$
%&''(()
Example 3.47. The same rhythmic motive as m. 38 of the second movement is

combinedwithanexactquoteofmm.6263ofthefirstmovement.
To the end of this cadenza, Mr. Winstead uses original material, alluding to
themesheardwithinthesecondmovement,butnotspecificallyquotinganyofthem.
His ending, like the first movement cadenza, while it does have the Nachschlag
leadingtothetonic,usestheseventhscaledegree,theEnatural,totrillupon.This
isnotinlinewithstandardpracticethatwouldtrilluponthesecondscaledegree.
This cadenza would fit well into the performance abilities of the Classical
bassoon. The range is kept well within the abilities of the instrument (with the
exception of the ending ossia that extends up to a C5, a note that might be
problematiconsomebassoons).Therearenoareasthatposepotentialdifficulties
infingeringsorinembouchurechanges,either.
The last movement Eingang is very short, fitting well within the criteria
placeduponitbyClassicaltreatises.However,itisaseriesoffermatasonF4,F3,and
F2 respectively. The Eingang was intended to be a short improvised section that
109
aided in the return of an orchestra between sections, and traditionally were made
upofmovingnotes.WhileMr.WinsteadsEingangisnotspecificallynotedasbeing
outside the practice of Classical style, it is certainly not in line with what Mozart
pennedinhispianoEingnge.
3.16.Conclusion
Being so far removed from the Classical era, it is easy to understand how
manycadenzascomposedforK.191havemovedawayfromperiodpractice.Inthe
caseofallofthecadenzasexamined,therehavebeensomeelementsthathavenot
agreed with what would have typically been composed at the time. This is not
necessarilyaproblemoranerror,butratherwecanseehowoursenseofmusicand
style has been influenced by the current period of performance practice and has
impactedcompositionforcadenzasofanearlierstyleofmusic.
Itisimportanttonotethatmanybassoonists,includingtheoneswhoagreed
to participate in this study, did not intend to create a completely historically

accuratecadenza.Rather,theywantedtotakestylisticpracticesandcombinethem
with the ability of the modern bassoon that far surpasses its predecessors. It was
importanttomanyofthebassoonistsinthisessaythattheycombinesomethingold
withsomethingnew,tocreatetheirownuniqueClassicalerasoundfortheMozart
BassoonConcerto.
However, regardless of the intent of these cadenzas, we can see from the
purely academic side of this endeavor that period practice is something often
shaded or obscured. The intent of this essay was to show the performance
application of these cadenzas given strictly Classical guidelines, and how most
110
cadenzasdonotmeetthoseguidelines.Whilethisisnotanerrororsomethingtobe
shunned,itshowshowtrulyfarwehavemovedfromperformancepracticeandthat
wecanonlybegintospeculatewhatkindofcadenzaMozartmighthavewrittenfor
thiscentralworkofbassoonliterature.
Forthisstudy,manybassoonistsrespondedtotheemailinquiry,andwhile
CHAPTER4:OTHERCONTRIBUTIONS
111
theymaynothavehadcadenzastocontribute,theydonatedothermaterialsworth
discussion. In this chapter, the Eingnge of Daryl Durran and David Sogg will be
discussed, as well as discussion of Daniel Matsukawas live performances and the
authors own cadenzas. For references to the complete Eingnge, please refer to
AppendixB.
4.1.DarylDurran
4.1.1.Biography
Daryl Durran is currently a faculty member of the Pennsylvania State
University School of Music, a position that he has held since 1983, as well as a
memberofthePennsylvaniaQuintet.Priortohiscurrentposition,hewasprincipal
bassoonist of the Milwaukee Ballet Orchestra and the Waukesha Symphony
Orchestra, as had made frequent appearances with the Milwaukee Symphony
Orchestra.HehasalsotaughtattheNationalMusicCamp,Interlochen,Michigan,as
wellastheAmericanBandCollegeinAshland,Oregon.
His festival experience is extensive, including the Festival of Two Worlds
Orchestra in Spoleto, Italy and the Britt Festival Orchestra in Jacksonville, Oregon.
For nine seasons he was the principal bassoonist of the Music at Penns Woods
FestivalOrchestra.
BorninLosAngeles,Mr.DurranholdsdegreesfromtheUniversityofArizona
andtheUniversityofWisconsinMilwaukee.HeispartoftheInternationalDouble
ReedSociety,regularlyofferingpresentationsattheirannualconferences.
3.2.2.Analysis
112
Mr.DurrandoesnotprovideacadenzaforthefirstmovementofK.191,but
he does provide anEingang, whichtraditionallyis placedon the fermata inm. 97.

TruetotreatisesfromtheClassicalera,itisaveryshortsoloareaembellishingthe
fermata. With the exception of the Enatural4 passing tones embellishing the
variousF4pitchesatthebeginningoftheEingang,itstayssolidlywithinthekeyand
helpsleadbacktotherestatementofthemainmelodicmaterial.
Forthethirdmovement,anEingangisalsoprovided.Traditionallyplacedon
thelastbeatofm.106,thebassoonleadsintothemelodyfirstheardintheopening
measures of the orchestral introduction to the music. It is short, as required by
periodpractice,andstayscompletelywithinthekey.
BothoftheseEingngeappeartoworkwellontheClassicalerabassoon.The
finger motion between the notes does not pose any great difficultly, and it is very
wellseatedwithinthemostcommonrangeoftheinstrument.
4.2.DavidSogg
4.2.1.Biography
David Sogg joined the Pittsburgh Symphony Orchestra as CoPrincipal
bassoonin1989.BorninSanJose,California,hestartedstudyingbassoonwithSan
Francisco Opera bassoonist Jerry Dag. His college career included a degree in
German literature from Harvard College, and his major bassoon studies included
Sherman Walt of the Boston Symphony, Gnter Piesk of the Berlin Philharmonic,
and Norman Herzberg, with whom he studied for his Master of Music at the
113
University of Southern California. After receiving two summer fellowships at the

TanglewoodMusicCenter,hebeganhisprofessionalplayingcareer.
PriortohistimeatthePittsburghSymphonyOrchestra,Mr.Soggservedas
the principal bassoon of the St. Paul Chamber Orchestra, as well as the Omaha
Symphony and Chamber Orchestra. He has appeared numerous times with the
Berlin Philharmonic, Minnesota Orchestra, San Diego Symphony, and the Los
AngelesPhilharmonic.HewasafoundingmemberofthesummerBrightstarMusic
Festival in Charlotte, North Carolina, and has frequently performed with the
PittsburghChamberMusicProject.
Asaproponentofcontemporarymusicperformance,Mr.Sogghasperformed
works by American, Chinese, French, and Russian composers, including Andy

WarholSez,aworkwrittenforhimbyPaulMoravec.SusanKander,anoperaand
chamber music composer, also recently composed a work for him entitled, The
LunchCounter.
Mr. Sogg has performed recitals and concerts in Pittsburgh, San Jose,
Tallahassee,andSeattle,numerousInternationalDoubleReedSocietyConferences,
aswellasattheDuquesneUniversityMaryPappertSchoolofMusicwhereheisa
member of the performance faculty. Mr. Sogg has given master classes in Boston,
SanJose,ThePeoplesRepublicofChina,andhasattractedstudentsfromaroundthe
US,aswellasfromBulgariaandVenezuela.
4.2.2.Analysis
For the Mozart Bassoon Concerto, David Sogg has provided us with two
Eingnge, one for the first movement and one for the last movement. The first
114
movementEingangstartsoffinamannermanybassoonistsuse,byornamentingthe
noteF(invariousregisters)withitslowerneighbortone,changedtoanEnatural
fromtheEflatinthekeysignature.Fromhere,Mr.Soggaddsinafermata,andthen
introduces material previously heard in the cadenza, the trilled sixteenth note
section.
Example4.1.ThelastbeatsofMr.SoggsEingang,quotingthepassagefrommm.50
52ofthebassoonsolo,butleavingoutthetrilledquarternotes.
There is no precedent in treatises for whether or not quotations or

references to music heard prior in a movement and used in an Eingang was
standard practice during the Classical era; treatises describe that it should sound
improvised,beshort,andnotmodulate.Whilethereisnoinformationintreatises
onthiskindofmotivicuse,itcanbenotedintheMozartpianoEingngestudiedthat
thisisnotatechniquethatwasutilized.
Mr.SoggsthirdmovementEingangiscompletelyoriginal.Itisfivemeasures
in length, which is still short enough to not be considered an Eingang, but it is

pushing the upper limit of what was proposed in treatises. The originality of this
EingangisverymuchinlinewithMozartswritings.
TheseEingngeworkwellwithinthecapabilitiesoftheClassicalbassoon.In
both, the finger motionsbetweennoteswouldnotbedifficulttofacilitate,andthe

rangesitsverycomfortablywithintheexpectedcapabilitiesoftheinstrument.
4.3.DanielMatsukawa
115
4.3.1.Biography
Daniel Matsukawa has been the principal bassoon of The Philadelphia
Orchestrasince2000.Hebeganstudyingthebassoonattheageofthirteen,andthe
following year he won his first competition and was a featured soloist performing
theMozartBassoonConcertowithaprofessionalorchestrainNewYork.Hewasa
scholarship student of the precollege division of both the Juilliard School and the
ManhattanSchoolofMusic,studyingunderHaroldGoltzerandAlanFutterman.Mr.
Matsukawa studied at Juilliard for two years, then attended the Curtis Institute of
Music,wherehestudiedunderretiredPhiladelphiaOrchestraprincipalbassoonist
BernardGarfield.
4.3.2.Discussion
Mr.Matsukawarespondedtoemailinquiriesbystatinghehasperformedthe
MozartBassoonConcertonumeroustimes,andhashadthreeperformancesofthe
piece with the Philadelphia Orchestra where he improvised his own original
cadenzas.Duetocopyrightstatuteswiththeorchestra,hewasnotallowedtosend
acopyofhisrecording,norwastheauthorabletorentorpurchaserecordingsto
take an aural dictation of the cadenzas. However, since Mr. Matsukawa does
composehiscadenzasinaverystylisticallytruewaytotheClassicalperiod,using
improvisationalone,itwouldbeworthhearinghimperformlivetodeterminewhat
elements of the concerto he takes to weave his cadenzas, and how he puts the
cadenzastogether.
4.4.ContributionsoftheAuthor
116
Thefollowingcadenzaswerewrittenbytheauthorinherlateundergraduate
career,inwhatsheassumedtobeinthestyleofMozart.Withlittleknowledgeof
the depth of performance practice that went into the composition of a cadenza,
materialfromwithinthebodyoftheconcertowasveryheavilyrelieduponbecause
that was what Mozart sounded like to the author. This is a common
misconception among young bassoonists, and helps show how Classical
performance style can be easily confused with the style of a specific work of a
composer, not the period they lived in. Now that the author knows more about
historic performance practice, she still uses these cadenzas, even with the full
knowledgeofhowtheydonottrulyrepresenttheClassicalera.Rather,likemany
bassoonists who shared their work for this essay, the cadenza is fulfilling to the
authorasitevokesthemoodandsoundoftheMozartBassoonConcertoandsounds
homogenouswiththebodyofthework.
Thisfirstmovementcadenzawascomposedwiththeintentofusingasmuch
melodicandrhythmicmaterialfromtheconcertoaspossibletocreateastronglink
between the two. The opening material of the cadenza is a transposition of what
occursatbothmm.4550andmm.112118ofthesolobassoonpart:
'.((//)
'()*
Example 4.2. The opening of the first movement cadenza, which pulls thematic
materialfrommm.4550andmm.112118ofthebassoonsolo.
'()*
117
Fromherethecadenzaquotesthesixteenthnotesectionthatoccursinmm.5054
and mm. 120124. This sixteenth note passage is continued for longer than
historicaltreatisesdescribedasaccurateoftheClassicalera.Thislengthypassage,
lastingsixteenbeats,isusedasacatalysttomodulatedtoBflatminor.Aftersome
chromaticpassageworkthatemphasizesbothinstancesofFmajorandBflatmajor,
achromaticsixteenthnotepassageleadstoatrillonthepenultimatenoteandthe
second scale degree of Bflat major, and leads with a Nachschlage back to the
orchestraltutti.
This cadenza poses potential problems of facility in the upper register. C5
wasanotepushingtheupperrangeoftheClassicalerabassoon,anditmightnotbe
possibleonallbassoonsoftheperiod.Thechromaticismmightposeaproblemas
well, as the fingerings for Dflat and Gflat throughout the cadenza could require
complicatedforkedfingerings,orbeunstableandweak.
Whilethiscadenzawasintendedtobecomposedwithasenseofbrevity,the
length is longer than the prescribed breath Classical treatises emphasized, but the
fermataontheF2wouldprovideanaturalbreathingpoint.Therelianceofmaterial
fromthebodyoftheconcertocausesittostrayfromMozartscompositionalstyleas
heexhibitedmoreoriginalityofthemeswithinhiscadenzas.Thiscadenzaexhibits
someClassicaleracompositionaltraits,butdoesnotadherecompletelyduetothe
thematicandrhythmicrepetition,length,andlackoforiginalmaterial.
Thesecondmovementcadenzawascomposedinmuchthesamewayasthe
firstmovementcadenza,andhasthesameshortcomingswhenregardinghistorical
118
performance practice. The cadenza begins with a transposition of the melodic

materialfoundinm.13andm.38ofthebassoonsolo.
!"##$$%
Example4.3.Thispassageofthebassoonsoloatm.13istransposedandusedatthe
beginningofMs.Wildeyssecondmovementcadenza.
This motive is repeated three times consecutively, which does not follow Classical
performancepracticeincadenzas.Thisrepeatedmotiveleadsintoanarpeggiated
sixteenthnote passage, used in this cadenza to modulate the key, which is
immediatelyfollowedbyarestatementofFmajorusingafamiliarmotivefrommm.
3132ofthebassoonsolo.
After the fermata, the cadenza uses a sixteenthnote scale passage to once
againreaffirmthekeyareaasFmajor,andendswithaquoteofmaterialheardin
mm.3133ofthebassoonsolo:
!"##$$%
Example 4.4. Mm. 3133 of the bassoon solo. This passage, omitting the thirty
secondnotes,isthethematicmaterialusedtoendthesecondmovementcadenza.
119
Thecadenzaendsusingatrillontheseventhscaledegree,whichleadsNachschlag
tothetonicandtheorchestraltutti.Theuseoftheseventhscaledegreeinsteadof
thesecondissomethingthatdoesnotadheretoperformancepractice.
Like the first movement cadenza, the repetition of rhythmic and motivic
material causes this cadenza to stray away from Classical practice. The heavy
relianceonmaterialsfromthebassoonsoloalsoissomethingthatwouldnothave
been consistent with Mozarts writings for his cadenzas. While the range is much
more accessible to the Classicalera bassoon, there is one note in particular that
would have been difficult to execute, the Csharp2. As this note required either a
difficulthalfholefingeringontheC2 tonehole,orrequiredsignificantembouchure
changes to help bend the pitch from either C2 or D2, it could not have been easily
facilitated.
CHAPTER5:NEEDFORFURTHERSTUDYANDCONCLUSION
120
This essay was not intended as an end all for performance practice and
accuracypertainingtothebassoonnortheMozartbassoonconcerto.Asithasonly
studied the works of a handful of bassoonists, it is quite narrow in its scope, and
therearemanyperformanceelementsthatcouldnotbequantifiednorqualifiedand
putintowordsinanessay.
One of the limitations of this essay is the lack of knowledge of the original
styleandsoundoftheClassicalerabassoon.Therearenorecordings,nocomplete
working instruments with a functional reed, nor players from the Classical era to
instructusonhowtoholdthebassoon,howtousetheembouchure,orhowtoplay.
This is something that will probably never be solved, and is why performance
practice is always a hot topic of debate among early music performers. While
playing on historical instruments is becoming increasingly popular and common,
this essay was directed toward younger students who likely would not have
experienceonperiodinstrumentsorreplicas.
However,oneoftheareasofstudythatcouldbeconductedwouldbetoplay
these cadenzas on period instruments. Since the bassoon was in such a state of
evolution throughout the Classical era, this would necessitate trying several
different bassoons from several makers, possibly all the bassoons that have
fingering charts listed in the Paul J. White article. This would be an incredibly
lengthy task to undertake, but it could have rewarding results in the end. The
discrepancyplaceduponthespeculationofsomeinstrumentsbeingmoreablethan
121
otherscouldbeputtoanendandamoreconcretelistofpossibilitiesfortechnical
executionoftheClassicalbassooncouldbeconcluded.
Onlythreeofthebassoonistswhodonatedtheircadenzastothisprojecthave
recordingsavailable.Themannerofperformanceofacadenzaisjustascrucialas
themanneritwaswritten.ThereismuchemphasisplacedintheClassicalperiod
thatonlyonebreath,orwhatseemedtoonlybeonebreath,shouldbetakenwhen
executing a cadenza. Without individually performing these cadenzas, or hearing
someone play them, it is impossible to speculate how historically accurate the
performance is since individual nuance is impossible to notate. The manner in
which a person plays a cadenza can have a completely different impact on how
historicallyaccurateitsounds.Iftheplayerisliteralwiththetempo,rhythm,and
markings, it will not sound like the improvised solo area that treatises advocated.
The method of articulation and air support and speed can change many factors as
well. A database of recordings of the Mozart Bassoon Concerto categorized by
authenticity of performance and sound would be something beneficial to those
seekingaClassicalperformance,butitisfarbeyondthescopeofthispaper.
Itwasnottheintentofthisessaytodiscoverwhetherornottherehavebeen
newtrendsinbassoonplaying,possiblyleadingtoanAmericanstyleoramodern
performance practice. Especially in the Baroque period, the nationality of the
performer and whom they studied with could have a large impact on how they
played,eitherbyadifferentwayofthinkingaboutthelengthandexecutionofnotes
or the instrument itself, such as French performance practice and the French
bassoon.Thisessaywasintentionallynarrowinitsscope,selectingonlyAmerican
122
bassoonists using very specific criteria. A larger scope essay, delving deeper into
the studies and traditions of bassoonists of other nationalities might lead to some
interesting conclusions about national performance practice, or even a universal
styleofmodernperformancepractice.
Lastly,thisworkwasnotintendedtoteachabassoonisthowtowritetheir
own cadenza for the Mozart Bassoon Concerto, but rather how to critique the
contentsofonealreadywritten.Therearemanyfantasticessaysinexistenceabout
howtowritecadenzasthatarestylisticallyappropriatetotheClassicalperiod,and
thoseshouldbesoughtoutformoreindepthinformation.
The purpose of this essay is to be an instructional guide for younger
bassoonistsonevaluatingthehistoricalperformancepracticeaccuracyofcadenzas
writtenfortheMozartBassoonConcerto.Ifthestudentknowinglydoesnotfollow
performance practice and is questioned on their reasons why they chose not to
adhere to the Classical style, this can help ground their reasoning in the modern
capabilitiesofthebassoon,orthroughtheirknowledgeofmusictheory.Thereisno
rightorwronganswerwhenchoosingacadenza,butlikemostchoicesinmusic,itis
goodtohaveasoundbackgroundknowledgeandjustificationforanydecisionthat
isnotclearlystatedornotatedinthemusic.
APPENDIXA:CADENZASANDEINGNGE
123
A.1.StevenBraunstein
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125
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3.01.WillPeebles
135
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A.13.PeterSimpson
139
APPENDIXB:OTHERCONTRIBUTIONS
B.1.DarylDurran
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140
141
B.3.SarahWildey
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APPENDIXC:CONTACTINFORMATIONFORBASSOONISTS
StevenBraunstein
Email:slimcontra@aol.com
DarylDurran
Email:dwd3@psu.edu
CharlesKoster
Email:cjkoster@earthlink.net
KimKrutz
Email:kim@kcstrings.com
ErikLudwig
Email:hohodatkam@gmail.com
MilesManer
Email:milesmaner@gmail.com
CarolNcNabb
Email:Carol.McNabb@utb.edu
LaurieHatcherMerz
Email:merzfamily@comcast.net
FrankMorelli
Website:www.morellibassoon.com
Email:morbassoon@aol.com
RebeccaNoreen
Email:noreentowne@comcast.net
ScottOakes
142
Website:www.scottoakes.com
Email:scott.oakes@wichita.edu
Phonenumber:8282273258
Email:wpeebles@email.wcu.edu
WillPeebles
JanetPolk
Email:jpolk@cisunix.uhn.edu
ScottPool
Website:www.scottpoolbassoon.com
Email:cspool@uta.edu
PeterSimpson
Phonenumber:8592574485
Website:http://www.uky.edu/~pcsimp01/Bassoon_Studio/index.php
Email:pcsimp01@email.uky.edu,orpeter.simpson@yky.edu
DavidSogg
Email:sogg@duq.edu
WilliamWinstead
Email:winstewo@ucmail.uc.edu
143
144
APPENDIXD:PERMISSIONFORMLETTERSSENTTOBASSOONISTS
ExampleLetter:FormlettersenttobassooninstructorsatNASMaccredited
schools:
DearBassoonist:
IamcurrentlyagraduatestudentattheUniversityofIowainthefinalyearofmydoctoral
degreeinbassoonperformance.AspartofmydegreerequirementsImustwriteafinal
document,whichIamchoosingtowriteabouttheMozartBassoonConcerto.AsMozartdid
notwriteanycadenzastoaccompanythisconcerto,Iwouldliketocollectcadenzasto
compareagainsthistoricperformancepractice(bothagainsthistoricaltreatises,Quantzand
LeopoldMozartamongother,andagainstthecapabilitiesofthebassoonduringMozarts
time)andagainstotherwoodwindcadenzasthatMozarthadwrittenforotherwind
instrumentsinhisearlycareer.Thisisbynomeanstobeavaluejudgmentonthe
compositionofthecadenza,butratherawayforbassoonistsnotaswellversedinhistorical
practicetoseewherecadenzasadheretoorstrayawayfromClassicalpractice.
IamintheprocessofcontactingbassoonistswhoeitherteachatNASMaccreditedschools
(foundontheNASMwebsite:http://nasm.arts
accredit.org/index.jsp?page=List_Accredited_Members)oraremembersoforchestrasthat
arerecognizedbyeitherICSOM(http://www.icsom.org/orchestras.html)orROPA
(http://ropaweb.org/about/member/).Ifyouwouldbewillingtoshareanycadenzasyou
mayhavewrittenfortheconcerto,Iwouldbemostgratefulandwouldlovetoincludeyou
inmydocument.Preferably,Iwouldlikeforthecadenzastobeincludedinthedocumentin
anindexinthebackforeasyreference,butifyouwouldnotlikethisoption,Iwouldstill
liketouseyourcadenzaandbeabletosupplypertinentcontactinformationforinterested
bassooniststocontactyouinordertoacquireyouroriginalcadenza.Ifyouagreetosubmit
yourcadenzaandwouldliketoprovideabriefbiotobeincludedpleasefeelfreetosend
thisaswell,butitisnotnecessary.
Alongwiththis,ifyouhaveacommercialrecordingavailable,Iwouldliketoinclude
informationonthisaswell;LOCcallnumbersand/orwhereitmaybepurchased.Ifyou
haveacopythatisnotacommercialrecordingandwouldlikeittobeavailabletothose
interested,Iwouldonceagainrequestthatyousupplyameansofcontactforinterested
bassoonists.
145
ExampleLetter:FormlettersenttoICSOMandROPAorchestras
DearPersonnelManager:
IamtryingtocontactbassoonistsbelongingtoeitherISCOMorROPAorchestrastoseeif
theywouldbewillingtosharesomeinformationformyfinaldocumentofmyDoctorateof
MusicalArtsinBassoonPerformanceandPedagogyDegree.Couldyoukindlyforwardthis
emailtoallbassoonistsbelongingtoyourgroup?Iwouldgreatlyappreciateyourhelp.
SarahA.Wildey
DearBassoonist:
IamcurrentlyagraduatestudentattheUniversityofIowainthefinalyearofmydoctoral
degreeinbassoonperformance.AspartofmydegreerequirementsImustwriteafinal
document,whichIamchoosingtowriteabouttheMozartBassoonConcerto.AsMozartdid
notwriteanycadenzastoaccompanythisconcerto,Iwouldliketocollectcadenzasto
compareagainsthistoricperformancepractice(bothagainsthistoricaltreatises,Quantzand
LeopoldMozartamongother,andagainstthecapabilitiesofthebassoonduringMozarts
time)andagainstotherwoodwindcadenzasthatMozarthadwrittenforotherwind
instrumentsinhisearlycareer.Thisisbynomeanstobeavaluejudgmentonthe
compositionofthecadenza,butratherawayforbassoonistsnotaswellversedinhistorical
practicetoseewherecadenzasadheretoorstrayawayfromClassicalpractice.
IamintheprocessofcontactingbassoonistswhoeitherteachatNASMaccreditedschools
(foundontheNASMwebsite:http://nasm.arts
accredit.org/index.jsp?page=List_Accredited_Members)oraremembersoforchestrasthat
arerecognizedbyeitherICSOM(http://www.icsom.org/orchestras.html)orROPA
(http://ropaweb.org/about/member/).Ifyouwouldbewillingtoshareanycadenzasyou
mayhavewrittenfortheconcerto,Iwouldbemostgratefulandwouldlovetoincludeyou
inmydocument.Preferably,Iwouldlikeforthecadenzastobeincludedinthedocumentin
anindexinthebackforeasyreference,butifyouwouldnotlikethisoption,Iwouldstill
liketouseyourcadenzaandbeabletosupplypertinentcontactinformationforinterested
bassooniststocontactyouinordertoacquireyouroriginalcadenza.Ifyouagreetosubmit
yourcadenzaandwouldliketoprovideabriefbiotobeincludedpleasefeelfreetosend
thisaswell,butitisnotnecessary.
146
Alongwiththis,ifyouhaveacommercialrecordingavailable,Iwouldliketoinclude
informationonthisaswell;LOCcallnumbersand/orwhereitmaybepurchased.Ifyou
haveacopythatisnotacommercialrecordingandwouldlikeittobeavailabletothose
interested,Iwouldonceagainrequestthatyousupplyameansofcontactforinterested
bassoonists.
147
BIBLIOGRAPHY
Agricola,JohannFriedrich.IntroductiontotheArtofSinging.Tr.JulianneC.
Baird.GreatBritain:CambridgeUniversityPress,1995.
Bach,CarlPhilippEmanuel.EssayontheTrueArtofPlayingKeyboard
Instruments.Ed.WilliamJ.Mitchell.NewYork:W.W.Norton&Company,
1949.
Bartlett,LindseyM.AStudyoftheClassicalWoodwindCadenzaand
MethodologyfortheCompositionofCadenzasfortheMozartBassoon
ConcertoinBflatmajorK191(186e).Mastersthesis,BallStateUniversity,
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Historical Performance Practice in Cadenzas For Mozarts Concerto

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University of Iowa

Iowa Research Online

Historical performance practice in cadenzas for

Copyright 2012 Sarah Anne Wildey

Follow this and additional works at: http://ir.uiowa.edu/etd

I wouldalso like toacknowledge andgreatly thankmy Defense Committee,

My parents, William and Tina Wildey, I cannot thank enough. From

encouraging me to start music back in fourth grade, to their continued support as

performance itself is untouched by Mozarts hand. Depending on personal (or

Present research entails translations or explanations of treatises on

generalized information on the performance practice of cadenzas in the Classical

In the chapter containing generalized information, specifics on composition

The chapter examining bassoon cadenzas will be organized in alphabetical

Lastly, it is also a goal to obtain information on known commercial

It is obviously beyond the scope of this essay to provide analysis of every

indirect and speculative. While we do have period instruments, we do not have

uncle,JustusQuantz, in 1708. He later becameacelebrated flutist, composer, and

Quantz had several rules he determined to be important for a tasteful

performance, many of which concerned rhythm and meter. Primarily, the

In terms of key center and modulations, Quantz emphasized that notes

instrument, it has much information about historic performance practice. A lot of

Leopold Mozart (17191787), father of Wolfgang Amadeus Mozart, was a

A large part of constructing a cadenza deals with embellishing previously

If the appoggiatura is placed before a quarter, eighth, or sixteenth note, it

with the Nachschlag (singular), or Nachschlgen (plural), an important element of

J.F. Agricola (17201774) was a renowned musicographer, composer,

While treatises written in the Classical era by prominent musicians and

Leonard Ratner (19162012) is a wellknown American musicologist and

Ratner goes on to describe a very consistent harmonic plan, which Mozart

While The Classical Woodwind Cadenza: A Workbook was intended to be an

The object of the cadenza is simply to surprise the listener

Mostly, the cadenza was intended to show off a performers inventiveness,

expressiveness, sense of style, and sometimes when it was appropriate (and

The abovementioned treatises reveal a standard set of expectations for

There are many instances in a concerto in which the orchestra comes to a

Hiller describes the Eingang as a fermata over a caesura, and according to

the exception of passing tones; moreover it must completely avoid modulation.68

written documentation of bassoon fingering charts, but also an accompaniment to

While flick or vent keys77 were beginning to be introduced during the

standardized fingerings. Each chart in Whites article cites different fingerings,

improvising their own is statement that cannot be verified. There is evidence

prescribed usage of Eingnge and structure of cadenzas found in Classical era

Written in January of 1776, K. 238 is another one of Mozarts Salzburg

pervasive throughout the cadenza, as it is in the body of the movement. The

The final movement of the concerto, Rondeau, also contains a cadenza

of the information contained in the aforementioned treatises. The reliance on

Cadenza B is quite similar to A as it is primarily made up of sixteenthnote

While cadenza C begins and ends in a traditional manner, it is also quite

The third and final movement, Rondeau, contains an Eingang composed by

The tranquillo section, m. 17 of the cadenza, also recalls elements of the

previously discussed as it encompasses a great deal more modulation than before

opening of the cadenza (mm. 23) which is utilized frequently throughout,, is

As Mozarts style grew and developed, he tended to use fewer written

orchestras or professors of bassoon at NASM accredited schools submitted their

While this study is intended to show Classical practice in the cadenzas

Brief biographical information on each of the bassoonists will be provided

related tonalities, especially in longer cadenzas. This cadenza could be seen as

Many treatises described woodwind cadenzas being one breath in length,

Some discussion is warranted about the notational style in this cadenza.

In terms of current performance practice, Mr. Kosters reliance on the

Throughout the cadenza, there are several instances of Csharp2/Dflat2, a

Example 3.8. Use

In contrast, theEingang tothefirstmovementisstylistically accurate. Itis