A Performer’s Analysis of Franko’s

Cadenza to Mozart’s
Violin Concerto No.3 in G Major, K.216,
with Specific Reference to the Classic
Ideals Detailed in Türk’s Treatise

Alexander White

BMus (Hons) Monash University

Submitted in partial fulfilment of the requirements for the degree of

Master of Arts (Music Performance)

Sir Zelman Cowen School of Music,

Monash University

September 2015
© The author 2016. Except as provided in the Copyright Act 1968, this thesis may
not be reproduced in any form without the written permission of the author.
 Statement of Responsibility

I declare that this thesis contains no material that has previously been
submitted for a degree or diploma at any university and to the best of my
knowledge, this thesis contains no material that has previously been
published or written by another person, except in where due reference has
been made in the text of this thesis.

Signed:

Date:


II
 Abstract

This exegesis aims to establish a new set of criteria for the justifiable
selection of a cadenza to be performed with Wolfgang Amadeus Mozart’s
Violin Concerto No. 3 in G major, K. 216 (1775).

Having not composed cadenzas for any of his five Violin Concertos,
any performer of this work is required to select, improvise, or compose an
appropriate cadenza, not written by Mozart himself, to implement into their
performance. Having provided cadenzas for many of his piano concertos, this
research will analyse these extant cadenzas to establish Mozart’s composition
style. In conjunction with these analyses, and the available literature
surrounding Mozart and his cadenzas, a new set of criteria will be established.

Encompassing length, thematic treatment, integration, structure,

virtuosity, and tempo, this selection criteria will be purposed to substantiate
Sam Franko’s cadenza as a justifiable selection for its inclusion into the
performance of Mozart’s Violin Concerto No. 3. Establishing Franko’s cadenza
as a justifiable selection, the study will determine the methods by which the
performer can further enhance Franko’s composition, to better reflect the
determined criteria.


III
 Acknowledgements

Foremost, I would like to express my very great appreciation to Dr Joel

Crotty for his valuable and constructive suggestions during the planning and
development of this master’s thesis. His willingness to give his time, expertise
and support so generously has been very much appreciated.

I would like to express my deep gratitude to Roger Jonsson and Fintan

Murphy for their patient guidance, enthusiastic encouragement and expertise
in the preparation of my master’s recitals. Without them, these recitals would
not have been possible.

In addition, a thank you to Elizabeth Sellars for her many years of

expertise and encouragement. Her support and enthusiasm has been
invaluable to my education and ongoing musical career.

Finally, I would like to thank my family and friends, whose constant

support throughout my education has been invaluable.


IV
 Table of Contents

Statement of
Responsibility……………………………………………………………………..…II

Abstract………………………………………………………………………….…..III

Acknowledgements………………………….……………………………………..IV

Chapter One: Introduction…………………………………………………….……1

Chapter Two: A Brief History of the Cadenza and the Cadenza as Epitomised
by Mozart…………………………………………………………………………..…6

Chapter Three: Mozart Violin Concerto No. 3: Selection Criteria for the First
Movement Cadenza……………………………………………………..…….…..19

Chapter Four: Conclusion…………………………………………………………32

Bibliography……………………………………….………………………..………34

Musical Excerpts.…………………………………………………………..………36

Appendix A: Concerto and Excerpts Recital Program and DVD………..…….37

Appendix B: Recital Program and DVD………………………..………..………39


V
 Chapter One
Introduction
The Classical cadenza is a moment of virtuosic freedom in which the
performer is challenged to captivate the listener creatively and stylistically with
a brief display of instrumental brilliance. For any soloist the cadenza presents
a challenge. If the performer wishes the cadenza to be stylistically
appropriate, they must balance the display of virtuosity. In the performance of
Mozart’s five Violin Concertos 1 there is a subsequent musical and intellectual
challenge.

Mozart’s five Violin Concertos do not have any surviving cadenzas

penned by the composer.2 However, there is an extensive assemblage of
cadenzas written by a variety of performers and composers for inclusion in a
concerto performance.3 This requires the performer to select an appropriate
cadenza, not written by Mozart himself, to implement into the performance of
the work. Unlike his violin cadenzas, there are several extant cadenzas
composed by Mozart for his piano concertos. These cadenzas provide insight
into what the composer may have expected to be implemented into the
performance of his Violin Concertos.

This exegesis will examine the cadenzas for Mozart’s Piano Concerto
No. 14 in E flat major, K. 449 (1784), and Piano Concerto No. 23 in A major,
K. 488 (1786), and the literature surrounding the Classical cadenza, and seek

1 Mozart’s five Violin Concertos;

• Violin Concerto No. 1 in B-flat major, K. 207
• Violin Concerto No. 2 in D major, K. 211
• Violin Concerto No. 3 in G major, K. 216
• Violin Concerto No. 4 in D major, K. 218
• Violin Concerto No. 5 in A major, K. 219

2 Jackson, p. 255.

3 Some composers that have transcribed their Cadenzas for Mozart’s Violin Concerto No. 3 in G Major,
K. 216 include;
• Martin Wulfhort
• Eugène Ysaÿe
• Leopold Auer
• Sam Franko

1
to establish an informed criteria for the selection of an appropriate cadenza for
the performance of Mozart’s Violin Concerto No. 3 in G major, K. 216 (1775),
one of his most frequently performed and recorded works, a Classical
standard, often required for professional auditions and competitions. 4 Due to
the scope of this exegesis, the selection criteria will be used to justify the
selection of Sam Franko’s cadenza for the first movement of the concerto,
using the urtext Bärenreiter-Verlag Karl Vötterle piano reduction.

Literature Review
Mozart is one of the most widely performed and studied composers of
all time, and thus there has been extensive research into the performance
practice of his Violin Concertos.5 In order to gain a deeper understanding of
the form and performance practices of Mozartean cadenzas, in the absence
of violin cadenzas composed by Mozart, the literature surrounding the existing
cadenzas for Mozart’s piano concertos must be explored. This review will first
examine the literature surrounding the function of the cadenza, followed by
that pertaining to the study of Mozart’s piano cadenzas, and finally the
performance conventions and practices of Mozart’s Violin Concertos.

One of the most influential guides to performing cadenzas, often cited

by musicologists today,6 can be found in Daniel Gottlob Türk’s Clavierschule.
Türk's treatise7 extends beyond the realm of instrumental instruction,
providing insight into the form and function of the cadenza, resulting in a
concise set of rules for the selection of a cadenza to perform with the
Classical concerto. Highlighting the importance of balanced virtuosity, and the
cadenza’s connection to with movement, this treatise gives us invaluable

4 Todd, p. 88.

5 Keefe, p. 2.

6Türk, Daniel Gottlob, from Clavierschule, Leipzig and Halle, 1789, as translated and quoted by Levin,
R., ‘Performance Practice in the Music of Mozart’, in The Cambridge Companion to Mozart, ed. Simon
Keefe, Copyright Cambridge University Press, 2003 p. 236-7

7Türk, Daniel Gottlob. “School of Clavier Playing”, translated by Raymond H. Haggh. Lincoln: University
of Nebraska Press, 1982.

2
insight to the eighteenth century musical climate, with a distinct set of criteria
for the cadenza.

Investigating the origins of Mozart’s transcribed cadenza, Neal Zaslaw8

examines their possible uses during Mozart’s time. Zaslaw concludes that the
majority of the cadenzas were composed by Mozart for his students, as
Mozart “liked to provide models for his pupils to imitate or enlarge upon,”9 and
whilst it is unlikely that these cadenzas were performed by the composer
himself, it can be ascertained that they possess the form and function that
Mozart expected in a cadenza.

Eva and Paul Badura-Skoda10 analyse the structure of Mozart’s

transcribed piano cadenzas. Although their analyses are many decades old,
Eva and Paul Badura-Skodas’ findings are reflective of modern research
surrounding the structure of the Mozartean cadenza, and for this reason, still
a relevant resource. These analyses provide an insightful guide as to how
Mozart typically structured his cadenzas and employed the use of various
thematic and virtuosic materials. Whilst Eva and Paul Badura-Skodas
recommend against the improvisation and composition of cadenzas for
Mozart’s concertos, their analyses act as a valuable source to the selection of
a cadenza that is composed in a manner appropriate to Mozart. Similarly,
Victor K. Cheung 11 analyses the transcribed cadenzas of Mozart. Ascertaining
the structural form and harmonic progressions that typified the cadenzas,
Cheung alludes to Mozart’s aversion to the developing imbalance of virtuosity
and the function of the cadenza.

8 Zaslaw, Neal. “One More Time: Mozart and his Cadenzas” Harvard Publications, 2008.

9 Zaslaw, Neal, p. 4.

10Badura-Skoda, Eva and Paul. “Interpreting Mozart on the Keyboard”, tr. Leo Black. London: Barrie
and Rockliff, 1962.

Cheung, Vincent K., Mozart’s Transformation of the Cadenza in the First Movements of his Piano,
11

Copyright Vincent K. Cheung 1997, found at http://stuff.mit.edu/people/ckcheung/www/

MusicalWritings_files/MozartCadenza_web_19971031.pdf, last accessed 04.07.2015

3
 Exploring the downfalls of modern cadenza performance and
composition, Joseph P. Swain 12 expresses that modern performers possess
very little knowledge or understanding of the structure or purpose of the
cadenza in the Classical concerto beyond its elementary definition. Swain
explores the form and function of the Classical cadenza, so that the modern
performer should understand the relationship one should have with the
concerto movement.

Violin literature focuses primarily on the performance practice of

Mozart’s compositions. Robin Stowell 13 offers an insightful and objective
history of the violin and its role in the development of the cadenza.
Citing the violinists’ pursuit for new virtuosic heights, Stowell suggests that
this quest for virtuosic brilliance altered the purpose of the cadenza, removing
it from the secure tonal bounds of the concerto. R. Larry Todd and Peter
Williams offer an informed perspective on violin performance in relation to
stylistic markings and period performance, whilst referring to Türk’s treatise in
relation to the cadenza and its requirements.

The study of the literature available is essential to understanding the

Mozartean cadenza’s purpose and compositional formula. The research
presents many treatises for the selection of a cadenza that provide invaluable
models of the Classical cadenza, detailing function, form, and historical
setting. However, due to the scope of this paper, I will focus primarily upon
Türk’s treatise.

Methodology and Chapter Outlines

The cadenza and its development will be explored with reference to the
available literature, examining the cadenza’s function, and how the genre was
perceived at the time. The piano cadenzas will be analysed, in conjunction

12Swain, Joseph P. “Form and Function of the Classical Cadenza”. Journal of Musicology 6, No. 1.
1988.

13Stowell, Robin. “Violin Technique and Performance Practice in the Late Eighteenth and Early
Nineteenth Centuries.” Cambridge: Cambridge University Press, 1985.

4
with Türk's treatise, and Eva and Paul Badura-Skodas’ research, providing
insight into the compositional devices which characterise a Mozartean
Cadenza. From these findings, a new set of criteria for cadenza selection will
be established. From this criteria, Sam Franko’s cadenza will be analysed,
examining how it is reflective of the established criteria, and the methods by
which the performer can further enhance Franko’s writing.

Chapter Two of this paper will contain a discussion of the Classical

cadenza and its development, and a study of Mozart’s cadenzas for his Piano
Concertos K.449 and K.488.

Chapter Three will offer a brief description of Mozart’s Violin Concerto

No. 3 in G Major, K. 216 and its structure, and establish a set of criteria for the
selection of Sam Franko’s cadenza.

5
 Chapter Two
A Brief History of the Cadenza and the
Cadenza as Epitomised by Mozart
This chapter aims to explore the Classical cadenza genre, examining
how the genre was perceived at the time, and analyse Mozart’s cadenzas for
his Piano Concertos K. 449, and K. 488. In conjunction with Türk's treatise,
and Eva and Paul Badura-Skodas’ research, this analysis will be used to
provide insight into the compositional devices which characterise a Mozartean
Cadenza.

During the Classical Era, the role of the cadenza was essentially to
showcase the performers’ skills. As a passage of variable length placed near
the end of a concerto movement, the cadenza was purposed with providing a
flourish and an opportunity for the performer to display their own virtuosity
within the context of the piece. On a more structural level, the cadenza served
to “prolong the ending” of a piece “with embellishments in order to amplify the
effect of a closing cadence.”14 The Classical cadenza is typically played after
a fermata over a tonic 6-4 chord. Eva Badura-Skoda writes that by the mid-
eighteenth century the cadenza “was reckoned an indispensable part of the
equipment of any virtuoso who hoped to satisfy the listener’s expectations.”15
The resulting length and content of these cadenzas dissatisfied and angered
critics, who accused of a failure to balance virtuosity with musical quality,
appealing to public taste, in empty displays of execution and unmeaning
ornamentation at the expense of genuine musical feeling.16

Swain explores the dissatisfaction expressed regarding both the

content and the length of conventional cadenzas in relation to Türk.

14 Cheung, p. 1.

15 Badura-Skoda, Eva. “‘Cadenza’, The New Grove Dictionary of Music and Musicians – Vol. 3.” p. 1.

16 Stowell. “The Cambridge Companion on the Violin.” p. 52.

6
 “I would say nothing new, but only repeat often heard complaints, if I
spoke against the very great abuse of the embellished cadenzas. For
it is not seldom that a concerto seems to be played solely for the sake
of the cadenzas. The performer struggles not only to achieve pointless
length, but also introduces all sorts of ideas that have not the slightest
relation with the preceding composition, so that the good impression
which the piece has perhaps made upon the listener for the most part
has been ‘cadenza-ed away.’” 17

Consequently, by the mid-eighteenth century the cadenza, the primary

purpose of which was to present a virtuosic display, had developed into an
unnecessary inclusion near the end of an aria or a concerto movement,
unconnected to the material of the parent movement, contributing little to the
overall structure of the work. In response to audience demand, Türk’s treatise
was one of many that arose out of necessity to establish a more balanced and
compositionally justifiable framework for cadenzas.

This treatise deals primarily with his experience and knowledge of the
Classical literature, and draws many rules and practices from compositions of
the Classical Era. The treatise affords us invaluable and detailed insight in the
language of Mozart and his contemporaries, providing us a deep
understanding of the expectations of eighteenth century cadenzas. While
dealing with the particulars of the piano, the treatise provides us with key
principal points of a cadenza framework, detailing what should or should not
appear in a cadenza. Türk argues that the most common problem with
cadenza writing is that the cadenza does not appropriately resemble the main
body of work in which it occurs. Instead of being its own separate entity, the
cadenza should reinforce and embellish the themes and motives of the
composition, without sounding too difficult or contrived, clearly linking back to
the movement in which it is placed.18 While the cadenza should form a brief

17 Daniel Gottlob Türk, Clabierschule (1789), as quoted by Swain, p. 33.

18Levin. “Performance Practice in the Music of Mozart”, in The Cambridge Companion to Mozart, p.
236-237.

7
summary or concise arrangement of the larger work, it is also equally
important to offer variety. The cadenza should offer a virtuosic sense of flair,
consisting not of intentionally added difficulties, but ideas that are
scrupulously suited to the character of the main composition.19 As Türk states
“a cadenza does not have to be erudite, but novelty, wit, an abundance of
ideas and the like are so much more its indispensable requirements.”20

In relation to length and tonal centres, Türk writes that the cadenza
should not be made too long, especially if the composition is of a melancholic
nature.21 Modulations must only be used with much insight, and all
dissonances must be properly resolved, and motives should not be repeated
in the same key too frequently. 22 The same tempo or meter should not be
maintained throughout the cadenza, and each section must be skilfully linked.
Lastly, Türk states that in the case of prepared cadenzas, importance should
be placed on making it sound more spontaneous, performed as if it were
improvised.

The Mozartean Cadenza

Mozart composed approximately forty complete concertos, including
two for flute, one for clarinet, one for bassoon, three for horn, five for violin,
and twenty-one for keyboard instruments. There are also concerti for flute and
harp, for two pianos and for three pianos, a concertone for two violins, a
symphonie concerntante for violin and viola, and one for two flutes, two
oboes, and two horns. As previously discussed, Mozart did not provide
cadenzas for any of his five Violin Concertos. Fortunately, Mozart did provide
cadenzas for a number of his piano concertos.

19Levin. “Performance Practice in the Music of Mozart”, in The Cambridge Companion to Mozart, p.
236-237.

20 Türk, p. 300.

21 Ibid

22 Ibid

8
 This study will examine Mozart’s cadenzas for his Piano Concertos K.
449 and K. 488. Mozart’s Piano Concerto K. 449 in E flat major was one of six
concertos composed in 1784, and the cadenza demonstrates both Mozart’s
virtuosic and thematic treatment, reflective of many of his works, especially
those composed in the same year. Uniquely, Mozart’s Piano Concerto in A, K.
488, was written into the score in the autograph.23 The majority of surviving
cadenzas composed by Mozart were kept separately, often by students or
patrons he had sent them to, and only collated posthumously by his wife and
publishers.24 It is commonly believed that, due to its inclusion in the
autograph, the cadenza was conceived as a part of the movement, and
should therefore be left untampered.25 It is for above reasons that these
cadenzas are the subject of this study.

As a composer in the mid to late eighteenth century, the separation of

cadenza from movement, which grew with the genre’s popularity, was not
demonstrated in Mozart’s compositions.26 While adopting the convention of
placing a cadenza at the conclusion of a concerto’s movement, Mozart
transformed the cadenza into an integral part of the movement’s structure
instead of an unbalanced and often lengthy insertion. The following study of
Mozart’s cadenzas will further elaborate on the Mozartean style,
demonstrating how his works favour structural refinement and thematic
integration, over virtuosic extravagance. In conjunction with Türk’s treatise,
and Eva and Paul Badura-Skodas’ structural criteria (discussed below), these
cadenzas provide fundamental clues to the selection of an appropriate
cadenza to be performed with his third Violin Concerto. These clues, such as
structure, thematic treatment, and virtuosity, will be explored below.

With reference to the cadenzas for his Piano Concertos K. 449 and K.
488 it is evident that the vacant virtuosity of the early Classical cadenzas, as

23 Swain, p. 35.

24 Zaslaw, p. 2.

25 Neumann, p. 258.

26 Cheung, p 2.

9
discussed earlier in Chapter Two, did not fulfil Mozart. 27 Mozart’s piano
cadenzas demonstrate that the cadenza should offer perfect proportion to its
movement while not forgetting its two original functions, namely, to reinforce
the effect of the final cadence and to display the soloist’s virtuosic proficiency.

The transcribed cadenzas of Mozart’s piano concertos, unlike those of

many early Classical composers, quote thematic materials from the concerto’s
movements within each cadenza. Commonly, according to authors Eva and
Paul Badura-Skoda, his cadenzas are organised into three sections:

“an ‘opening’ (1), which begins either with one of the themes of the
concerto or with virtuoso passage-work… a middle section (II) which is
almost always a sequential development of some important theme or
motive from the concerto movement… This is the starting point for a
number of virtuoso runs, arpeggios, etc., which lead to a closing
section (III) of the cadenza, usually ending on a trill.” 28

Eva and Paul Badura-Skodas’ study of Mozart’s cadenzas

demonstrates how it is that he successfully integrates the cadenza into the
movement through the representation of its themes and their subsequent
virtuosic development.

As previously stated, a Classical cadenza is always played after a

fermata over a tonic 6-4 chord, this “interrupted cadential formula (invariably)
creates a dramatic gap.”29 To ensure continuity and the successful transition
from the orchestral tutti to the solo cadenza line, the solo must be able to
regenerate the tension created by the orchestral fermata in the beginning of
the cadenza. The study of Mozart’s transcribed piano cadenzas indicates
thematic and virtuosic treatment that allows for the seamless transition from
the orchestral tutti to the cadenza that prevents the cadenza from sounding

27 Cheung, p 2.

28 Badura-Skoda, Eva and Paul, p. 215-216.

29 Levin. “Instrumental Ornamentation, Improvisation and Cadenzas”, in Performance Practice: Music

after 1600, p. 280.

10
like an artificial addition. Eva and Paul Badura-Skoda describe this thematic
device as a “linking character”30 whereby either the thematic material from the
movement is imitated by the solo voice upon its cadenza entrance whether in
its original form or a treated variation, or through the inclusion of a virtuosic
passage (Figs. 1 and 2). Together with harmonic planning, this strategy
ensures that the cadenza remains an essential structural component of the
overall movement.31

Figure 1) Mozart Piano Concerto No.14 in E-flat major, K.449, Movement I, Cadenza
The final fermata and opening of the cadenza, demonstrates the linking character.
The arpeggiated phrase based on the tonic 6-4 is repeated on the dominant seventh
and diminished chord of the fourth scale degree.

30 Badura-Skoda, Eva and Paul, p. 215.

31Cheung, Vincent K., Mozart’s Transformation of the Cadenza in the First Movements of his Piano,
Copyright Vincent K. Cheung 1997, found at http://stuff.mit.edu/people/ckcheung/www/
MusicalWritings_files/MozartCadenza_web_19971031.pdf, last accessed 04.07.2015

11
 Figure 2) Mozart Piano Concerto No.23 in A major, K.488, Movement I, Cadenza
The first section of the cadenza demonstrates a virtuosic linking character beginning
with a scale passage which leads to a virtuosic arpeggiated figure in the tonic key.
Repeating twice, the figure modulates to the dominant key of E major, and then to
the diminished third of the scale.

The harmonic progression demonstrated in Figure 1, and the

modulations of the virtuosic statement shown in Figure 2 help to prolong the
tension resulting from the interrupted cadential fermata.

Mozart’s cadenza autographs demonstrate an additional linking

character, to that described by Eva and Paul Badura-Skoda, between the
cadenza’s opening and the commencement of the second section. The
additional linking character is a virtuosic passage, either a scale or arpeggio,
which often concludes on a fermata, leading to the first statement of the
second section (Figs. 3 and 4).

12
Figure 3) Mozart Piano Concerto No.14 in E-flat major, K.449, Movement I, Cadenza
Virtuosic passage work acts as linking character between the cadenza’s opening and
second section.

Figure 4) Mozart Piano Concerto No.23 in A major, K.488, Movement I, Cadenza

Virtuosic passage work ending on a fermata leads to the second section of the
cadenza.

13
 These linking passages lead into the middle section of the cadenza,
which in accordance to Türk’s treatise and Eva and Paul Badura-Skodas’
blueprint, features virtuosic and thematic development of the movement’s
thematic material (Figs. 5, 6 and 7).

Figure 5) Mozart Piano Concerto No.14 in E-flat major, K.449 Movement I, Cadenza
Reference to violin melody, which appears in the exposition of the concerto
movement.

Figure 6) Mozart Piano Concerto No.14 in E-flat major, K.449, Movement I,

bars 169 - 172
The original theme in the orchestral tutti.

14
 Figure 7) Mozart Piano Concerto No.23 in A major, K.488, Movement I, Cadenza
The melody at the opening of the second section of the cadenza, presented in the
relative minor, and then repeated in the parallel minor.

The second section continues with virtuosic passages that lead to the
final section of the cadenza (Figs. 8 and 9).

Figure 8) Mozart Piano Concerto No.14 in E-flat major, K.449, Movement I, Cadenza
A short passage demonstrating the virtuosic passagework found in the second
section of the cadenza.

15
 Figure 9) Mozart Piano Concerto No.23 in A major, K.488, Movement I, Cadenza
A series of virtuosic modulating broken chords. The base line is a common
progression, often preceding the final cadence of Mozart’s cadenzas.32

32 Mirka, p. 303

16
 The virtuosic displays found in Mozart’s cadenzas are precisely suited
to the main character of the composition and do not comprise of intentionally
added difficulties that do not favour the development and character of the
cadenza. These virtuosic passages lead to the closing section of the cadenza,
which usually concludes on a trill (Figs. 10 and 11).

Figure 10) Mozart Piano Concerto No.14 in E-flat major, K.449, Movement I,
Cadenza
Final passage work leading to a trill at the end of the cadenza.

Figure 11) Mozart Piano Concerto No.23 in A major, K.488, Movement I, Cadenza
The virtuosic runs leading to a trill over the cadenza’s final dominant chord.


17
 Although there is debate as to whether Mozart would have performed
such cadenzas himself, or if the cadenzas are simplified versions for pupils
and patrons,33 these examples provide a significant insight into the structure
and style that Mozart intended. In conjunction with Türk’s treatise, and Eva
and Paul Badura-Skodas’ structural outline, the analyses present a clear
depiction of the requirements of a cadenza in the Mozartean style. It is in this
that the following selection criteria can be established (discussed in Chapter
Three), allowing the performer to select a cadenza for the performance of
Mozart’s Violin Concerto no. 3 in G major, K. 216, from the existing catalogue
under informed recommendations.

33 Swain, p. 35.

18
 Chapter Three
Mozart Violin Concerto No. 3: Selection
Criteria for the First Movement Cadenza
In this chapter, criteria based on the treatise of Turk will be developed
in order to easily identify the classic structure of a Mozartian cadenza. From
the analyse of Mozart’s piano cadenzas in Chapter Two, in conjunction with
Türk's treatise, and Eva and Paul Badura-Skodas’ research, this informed
criteria will then be used to illustrate why Sam Franko’s cadenza for the
concerto is a justifiable selection to be performed with Mozart’s Violin
Concerto No. 3 in G major, K. 216. Establishing Franko’s cadenza as a
justifiable selection, this chapter will then determine the methods by which the
performer can further enhance Franko’s composition, to better reflect the
determined criteria. This chapter will commence with a brief history of the
concerto, and the structural outlines of its first movement: Allegro.

Composed on September 12, 1775, Mozart’s Violin Concerto No. 3 in

G major, K. 216, along with his other four concertos for violin, has held a
distinctive place in the performing and recording world.34 The concerto is often
called the “Strasbourg” due to the inclusion of a folk tune from Strasbourg,
France, in its third movement.35 The work was composed alongside his four
other Violin Concertos in Salzburg, Austria, while Mozart occupied the post of
concertmaster to the Prince-Archbishop. Mozart composed the majority of his
works for solo string instruments and orchestra during the years 1773-1779,
and the years 1773-1775 witnessed the composition of all five concertos for
violin and orchestra. This flourish of activity is partly attributed to his position
as concertmaster and his predilection for the violin during this time.36

34 Keefe, p. 2.

35 Steinberg, p. 324-325.

36Mahling, Christoph-Hellmut, “Preface” in Wolfgang Amadeus Mozart Concerto in G major for Violin
and Orchestra No. 3, KV 216. Bärenreiter-Verlag Karl Vötterle GmbH & Co. KG, Kassel. Germany,
2003.

19
 The first movement, Allegro, is in sonata form and begins with the
orchestra boldly presenting the opening theme in the key of G major. The
movement’s main theme, which closely resembles the Shepherd King’s first-
act aria from Mozart’s Opera, Il re pastore (The Shepherd King), K.208
(1775), is bright and optimistic, and forms a discussion between the solo violin
and the accompaniment when the violin presents an equally bold statement of
the theme. The conversational structure between soloist and orchestra,
demonstrating Mozart’s skills as an adept opera composer, is shown
throughout all three movements of the composition. Following the opening
statement by both the orchestra and violin, the key modulates to the dominant
D major. The optimistic character of the opening theme is mirrored as a
sequence of similarly charismatic themes emerge. The development section
sees the inclusion of a new lyrical melody that acts in contrast to the rhythmic
nature of the exposition and its themes. The development also includes a
modulation into the key of d minor, adding tension and harmonic colour, which
on return of the bright opening statement in the recapitulation and the tonic
key of G major, further illuminates the character of the main theme. An
orchestral fermata is inserted towards the conclusion of the first movement
where a cadenza should be performed.

Criteria For Selecting A Cadenza

The following criteria have been created based on the analysis of the
aforementioned piano cadenzas, the guidelines described in Türk’s treatise,
and Eva and Paul Badura-Skodas’ structural outline. This set allows the
performer to further direct the study of the cadenzas available for Mozart’s
Violin Concerto No. 3 in G major, K.216, and form a justifiable selection that is
reminiscent of the Mozartean compositional style.37 38 39 40

37 Badura-Skoda, Eva and Paul, p. 215-216

38Levin. ‘Performance Practice in the Music of Mozart’, in The Cambridge Companion to Mozart.” p.
236-237.

39 Türk, p. 300.

40 Cheung, p 16.

20
Length A cadenza should offer perfect proportion to its parent movement
and must be treated to be an essential structural component of the
overall movement rather than simply a prolonged virtuosic display.

Thematic Through the representation of its themes and their subsequent

Treatment virtuosic development, the cadenza must demonstrate a clear
relation to the preceding composition.

Integration The thematic treatment of the “linking character”, as defined by Eva

and Paul Badura-Skoda, that allows for a seamless transition
between the orchestral tutti fermata and the opening of the solo
cadenza, as demonstrated in Mozart’s extant piano cadenzas, must
be employed.

Structure The chosen cadenza should demonstrate the sections that

constitute a formal Classical Cadenza, as outlined by Eva and Paul
Badura-Skoda:
Thematic opening
Additional virtuosic linking character as illustrated in Mozart’s
extant piano cadenzas
Thematic and Virtuosic development
The closing section ending on a trill

Virtuosity The Cadenza must not consist of an excessive amount of

intentionally introduced difficulties, but rather consist of virtuosic
passages that capture the principal character of the movement,
whilst appearing effortless and spontaneous.

Tempo The same tempo and meter should not be maintained throughout
the cadenza, and each section must be skilfully linked.

21
 Case Study: Sam Franko’s Cadenza
This case study will focus on Sam Franko’s cadenza for Mozart’s Violin
Concerto No. 3 in G major, K.216, and analyse its merit, based on the
selection criteria developed in this chapter. A brief introduction to the
composer will be followed by an analysis of the length, thematic treatment,
integration, structure, virtuosity, and tempo, as well as methods by which the
performer can further enhance Franko’s writing.

American violinist, conductor and arranger, Sam Franko (January 20,

1857 – May 6, 1937) is one of many composers and violinists to have
composed cadenzas for inclusion with Mozart’s Violin Concerto No. 3 in G
major, K. 216. Franko studied the violin in Berlin, studying with Joseph
Joachim and Henri Vieuxtemps, among others. Upon his return to the United
States, Franko joined the Mendelssohn Quartet and later worked with the
Theodore Thomas Orchestra and the New York Philharmonic. In 1894 Franko
established the American Symphony, made up of entirely American
performers, giving many American premieres of orchestral works. Franko
arranged many seventeenth and eighteenth century pieces, and transcribed
numerous works for violin. His work during this period won him accolades
from the German press.41

Franko’s cadenza for the first movement of Mozart’s third Violin

Concerto is 39 bars in length, and, in accordance to the selection criteria,
offers perfect proportion to its movement. 42 The cadenza is formed through
melodic statements of the thematic material found in the parent movement,
which are then extended and augmented in numerous ways. Enhanced with
runs and arpeggiated figures, the metrical rhythmic structure produces a
highly spontaneous effect. It is the great breadth and variety of gestures, such
as arpeggios, runs, leaps and extended harmonies, not due to the
employment of added difficulties in which many cadenzas solely rely, that

41 Anon, p. 35

42 Cheung, p 16.

22
makes this a virtuosically balanced cadenza. While Franko does employ the
use of virtuosic devices, such as double stops, it is only in service of
extending the harmonic texture, further enhancing the thematic development
of his cadenza.

The cadenza begins with a brief harmonic sequence, enhancing and

further extending the effect of the orchestral fermata (Fig.12). The rhythm is
imitative of the orchestral accompaniment from the movement’s third theme
(Fig. 13). Beginning in the tonic key of G major, the sequence modulates to
the key of a minor, and pauses on a double stop fermata. In accordance with
the selection criteria as informed by Türk’s treatise, this heightened
dissonance is then resolved with a quick semi-quaver run that leads into the
bright thematic reiteration of the movement’s second theme, in the tonic key
of G major. The harmonic progression and clear landing on the tonic key of G
major in the cadenza’s opening, together with the use of rhythmic imitation,
allows for the seamless integration of a “linking character” as necessitated by
the cadential fermata over the tonic 6-4 chord, as detailed in the selection
criteria.

Figure 12) Mozart Violin Concerto No. 3 in G Major, K. 216, Movement I, Sam Franko
Cadenza
Demonstrating the cadenza’s opening thematic statement.


23
 Figure 13) Mozart Violin Concerto No. 3 in G Major, K. 216, Movement I,
bars 45 - 47
The original thematic material in the Orchestral tutti.

The linking character offers many opportunities for the soloist to further
enhance the musical material. The rhythmic simplicity of the sequence allows
the player to greatly affect and further enhance the harmonic structure. The
simple use of rubato throughout the passage and variable weighting of
different harmonic changes allows the player to further enhance the tension
resulting from the fermata not resolving to the tonic key of G major. This
technique enhances the sense of familiarity upon the return to the tonic key
and the arrival at the movement’s second theme.

Following the fermata, Franko includes a virtuosic run (Fig. 12). As

demonstrated in Mozart’s piano cadenzas and detailed in the selection
criteria, this run provides an additional linking character between the
cadenza’s opening and its second section, which can be further enhanced
through the players use of an accelerando.

In accordance to the selection criteria, the cadenza’s second section,

the thematic and virtuosic development, begins with a statement of the
concerto’s second melody. The melody, is first introduced by the oboes in the
opening orchestral tutti after the introduction of the first theme, and is
repeated multiple times throughout the movement by both the oboes and solo
violin. The theme in its most frequent occurrence comprises of two minims,
followed by three heavily articulated crotchets, with an appoggiatura on the
second in the tonic key (Fig. 14). Upon its appearance in Franko’s cadenza,
the theme is presented without the prominent articulation of its previous

24
occurrences. The theme is instead presented with a legato slur across the two
crotchets, in which the appoggiatura is also replaced by even quavers (Fig.
15). The melody is first presented by the violin as double stops in the key of G
major. The theme is then repeated in the new key of e minor, concluding on
an unresolved double stop, adding further harmonic interest and tension to
the thematic development.

Figure 14) Mozart Violin Concerto No. 3 in G Major, K. 216, Movement I, bars 194 -
195
Second theme played by the violin in the concerto movement.

Figure 15) Mozart Violin Concerto No. 3 in G Major, K. 216, Movement I, Sam
Franko Cadenza
Demonstrates the treatment of the second theme, and proceeding virtuosic run, at
the arrival of the cadenza’s thematic development.

To enhance Franko’s treatment of the theme, the performer must

further accentuate the differences of articulation and create different nuances
for each occurrence and key. Performing the two bar tonic phrase and the
proceeding run metronomically allows for an interpretation that is reminiscent
of the theme’s treatment throughout the movement. Presenting the melody in
the same gesture as it has been previously heard allows the performer to
develop the theme further, in a manner unique to its appearance in the
cadenza during its second reiteration. Upon the modulation of the theme,
rubato should be incorporated to further enhance the minor treatment of the
previously major melody.

25
 Franco employs the use of the concerto movement’s most lyrical
melody as the second theme of cadenza’s thematic development. In its
original appearance in the concerto (Fig. 16), the 10 bar melodic line is played
by the violin, acting in contrast to the rhythmic nature of the concerto’s
exposition and its themes. Appearing twice in the cadenza, the melody is
fragmented, presenting only the first 4 bars. In accordance with Türk’s criteria,
which is utilised in the established selection criteria, each appearance of the
melody is unique. Although he employs the use of double stops, the first
appearance of the fragmented melody occurs in its original pitch (Fig. 17), as
it appearers in the concerto. Upon the theme’s second appearance (Fig. 18),
the melody is expanded further, encompassing a broader range of pitch,
offering further development of the theme. The melody in its original
appearance in the concerto is accompanied by running quavers in the
accompaniment. Due to the unaccompanied nature of the cadenza, the
performer is at liberty to employ rubato, further enhancing the harmonic
tension and subsequent resolution employed by Franko.

Figure 16) Mozart Violin Concerto No. 3 in G Major, K. 216, Movement I,

bars 138 - 147
Lyrical theme as played by the violin in the concerto movement.

Figure 17) Mozart Violin Concerto No. 3 in G Major, K. 216, Movement I, Sam
Franko Cadenza
First appearance of second theme in the cadenza’s thematic development.

26
 Figure 18) Mozart Violin Concerto No. 3 in G Major, K. 216, Movement I, Sam
Franko Cadenza
Second appearance of the second theme in the cadenza’s thematic development.

The third theme presented in the cadenza’s second section appears in

the concerto during both the exposition and recapitulation. The theme, in its
original appearance, features a short ricochet motif, followed by a contrasting
legato line, concluding with an arpeggiated pattern which is played twice (Fig.
19). Upon the theme’s appearance in the cadenza (Fig. 20), Franko presents
the short ricochet motif in a lower register, performed as double stops.
Replacing the succeeding legato line, Franko interrupts the familiar theme
with a virtuosic arpeggiated staccato passage. In its appearance in the
concerto, the concluding arpeggiated pattern is articulated two notes separate
and two notes slurred. Franko differentiates this figure in his cadenza,
marking it staccato, played first in the higher register, and repeated at a
slower tempo in the lower register. This variation of articulation can be further
accentuated by the performer’s use of tempo. Performing the staccato
passages in a faster tempo emphasises Franko’s varied treatment of the
thematic material and articulation, creating a virtuosic sense of flair. In
accordance to the selection criteria, Franko’s varying tempo markings can be
further exaggerated through the use of a ritenuto on the final statement of the
arpeggiated passage.

Figure 19) Mozart Violin Concerto No. 3 in G Major, K. 216, Movement I,

bars - 64 - 70
This third theme’s original appearance in the concerto’s first movement.

27
Figure 20) Mozart Violin Concerto No. 3 in G Major, K. 216, Movement I, Sam
Franko Cadenza
Virtuosic development of the third theme.


28
 The second section continues with a virtuosic arpeggiated passage,
that in accordance to the selection criteria, is suited to the main character of
the composition (Fig. 21). While the passage does not provide thematic
material, the inclusion acts to add virtuosic excitement to the cadenza, as
demonstrated in Mozart’s piano cadenzas.

Figure 21) Mozart Violin Concerto No. 3 in G Major, K. 216, Movement I, Sam
Franko Cadenza
Non-thematic arpeggiated virtuoso passage.

As demonstrated in the piano cadenzas used to establish the above

criteria, Franko employs the use of a virtuosic run that prepares the trill, which
concludes the cadenza (Fig. 22). Marked with a crescendo and accelerando,
the run creates a highly spontaneous and virtuosic passage.

Figure 22) Mozart Violin Concerto No. 3 in G Major, K. 216, Movement I, Sam
Franko Cadenza
Virtuosic run leading to final trill at the cadenza’s closing.

Franko interrupts the final flourish to the closing trill with a brief
representation of the movement’s opening theme (Figs. 23 and 24). While no
such thematic device is evident in the piano cadenzas studied, in agreement
with the selection criteria, the addition acts to extend and enrich the cadenza’s

29
ending with thematic material. This can be further enhanced by the performer
ensuring that the two note motif is performed with the same articulation used
during the motif’s first appearance in the concerto movement to create
thematic familiarity.

Figure 23) Mozart Violin Concerto No. 3 in G Major, K. 216, Movement I, bar 38 - 41
Theme as played by the violin upon its entry in the concerto movement.

Figure 24) Mozart Violin Concerto No. 3 in G Major, K. 216, Movement I, Sam
Franko Cadenza
Interruption of the two note thematic representation before the cadenza’s final trill.

The cadenza concludes on a trill, as detailed in the selection criteria,

leading into the final orchestral tutti, and closing of the concerto movement
(Fig. 25). As demonstrated in Mozart’s piano cadenzas, the closing trill is
usually very simple. However, Franko employs the use of trills on both the
upper and lower notes played by the violin. This effect demonstrates, for the
first time in Franko’s composition, an imbalance of virtuosity and function. It is
for this reason, that only the upper trill shall be performed at the end of the
cadenza, in an attempt to conclude the work whilst maintaining the balance
that Franko achieves in the rest of his composition, as necessitated by the
selection criteria.

Figure 25) Mozart Violin Concerto No. 3 in G Major, K. 216, Movement I, Sam
Franko Cadenza
Final closing trills at the cadenza’s closing.

30
 This analysis reveals that Sam Franko’s cadenza for Mozart’s Violin
Concerto No. 3 in G major, K. 216 adheres to the selection criteria for length,
thematic treatment, integration, structure, virtuosity, and tempo. Franko’s
cadenza does not posses the inequality and separation of cadenza from
movement that is demonstrated in many cadenzas, but provides a concise
summary of the larger work, with the virtuosic identity that is demanded by
cadenza performance.

As discussed, Franko’s writing and the selection criteria can be further

enhanced through the use of varied articulation, tempos, and the employment
of rubato, to further acknowledge the selection criteria, as informed by
Mozart’s extant piano cadenzas, Türk’s treatise, and Paul and Eva Badura-
Skodas’ structural outline.

31
 Chapter Four
Conclusion
While it is difficult to know exactly how Mozart would have composed
or performed cadenzas for his Violin Concertos, from the analyses of the
extant cadenzas for Mozart’s Piano Concerto No. 14 in E flat major, K. 449,
and Piano Concerto No. 23 in A major, K. 488, in conjunction with Türk’s
treatise, and the Badura-Skodas’ structural outline, an informed selection
criteria can be derived. Given the extensive quantity of treatises and research
into Mozart’s Piano Concertos and the Classical cadenza, it is therefore
important that similar criteria are established for the violin.

The criteria developed in Chapter Three allow for the compositionally

justifiable selection of a cadenza. Encompassing length, thematic treatment,
integration, structure, virtuosity, and tempo, this set of criteria can be used to
examine the available cadenzas for Mozart’s Violin Concertos, in the absence
of any cadenzas written by the composer himself. Sam Franko’s cadenza for
Mozart’s Violin Concerto No. 3 in G major, K. 216 adheres to the selection
criteria established in this exegesis. Through the virtuosic development of the
concerto’s thematic material, the cadenza acts as an essential structural
component of the overall composition, and does not demonstrate the
inequality and imbalance of virtuosity that is found in many cadenzas.

Providing the performer with the compositional structure on which to

base their interpretation, Franko’s thematic and virtuosic treatment can be
enhanced through the use of varied articulation, tempos, and the employment
of rubato to further reflect his adherence to the selection criteria. It is due to
this sound compositional structure, balance of virtuosity, and representation of
the concerto’s thematic content that make Franko’s cadenza a historically and
compositionally justifiable selection for its inclusion to the performance of
Mozart’s Violin Concerto No. 3 in G major, K. 216.

32
33
 Bibliography
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& Co. KG, Kassel. Germany, 2003.

34
• Mirka, Danuta, “The Cadence of Mozart’s Cadenzas”, in The Journal of Musicology,
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• Stowell, Robin. Violin Technique and Performance Practice in the Late Eighteenth
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35
 Musical Excerpts
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Klavier und Orchester A- Dur Nr. 23 /KV 488, C.F. Peters 1991. 


36
 Appendix A: Concerto and Excerpts Recital
Program and DVD
Concerto
Mozart - Concerto in G major for Violin and Orchestra No. 3 KV 216, Movement I,
Sam Franco Cadenza (1775)

Orchestral Excerpts 43
1. Haydn - The Creation, Movement XVIII, Bars 1 - 24

2. Mozart - Symphony No. 39, Finale, Bars 1 - 40

3. Beethoven - Symphony No. 7, Movement I: Vivace

4. Beethoven - Symphony No. 7, Movement II: Allegretto, Bars 75 - 100

5. Dvorak - Symphony No. 9 in E minor, Op. 95, Movement I: Adagio - Allegro

Molto

6. Dvorak - Symphony No. 9 in E minor, Op. 95, Movement III: Scherzo,

Molto Vivace

7. Dvorak - Symphony No. 9 in E minor, Op. 95, Movement IV: Allegro Con
Fuoco

8. Wagner - Die Meistersinger von Nürnberg, Overture: Moderato, sempre

largamente e pesante

9. Tchaikovsky - Serenade for Strings, Movement III: Elegie, Bars 1 - 67

10. Mahler - Symphony No. 4 in G Major, Movement I: Bedachtig, nicht eilen

11. Stravinsky - The Rite of Spring, Danse Sacre, Bars 154 - 161

12. Prokofieff - “Romeo and Juliet” Suite No. 2

13. Shostakovich - Symphony No. 5, Movement II: Allegretto

14. Shostakovich - Symphony No. 5, Movement II: Allegretto

15. Shostakovich - Symphony No. 5, Movement II: Allegretto, Concertmaster

Solo


43Bar numbers not included in: Gingold, Josef. Orchestral Excerpts from the Symphonic Repertoire for
Violin, Volume 1-3. International Music Company, New York, 1953.

37
Appendix A: Concerto and Excerpts Recital
Program and DVD (Continued)


38
 Appendix B: Recital Program and DVD

Philip Glass: Sonata for Violin and Piano (2008)

Movements I and II

Ludwig van Beethoven: Romance for Violin and Orchestra

No.2 in F, Op. 50 (1798)

Edward Elgar: Violin Sonata in E minor Op. 82 (1918)

39