A Study Of The Structural Significance Of Cadenza In The Violin Concerto Of The First Half Of The Twentieth Century

The cadenza as is generally known usually refers to that in the instrumental concertos of Classicism. It is an improvised solo section located before the end of the movement, with the mark of fermata on the cadential six-four chord and the word "Cadenza". An integral part of the structure of the whole composition, it has certain structural significance. Since the 19th century, however, cadenza has undergone considerable change. Although it is still characterized by solo performance with the same label, its position is no longer fixed but flexible, in order to meet the need of the whole structure.Since the 18th century, when the Classical master Mozart established the basic form of concerto and gave cadenza a regular location, cadenza has not only been an important opportunity for performers to show their virtuosity but also possessed certain structural significance. In the 19th century, Mendelssohn, in his violin concerto, put the cadenza between the development and recapitulation, making the cadenza a structural bridge. In the 20th century, cadenza is not merely an integral section, but a coordinator. It is flexible enough to fit into any places the composer feels proper and can serve as any structural part of the composition, such as presentation, development or recapitulation. That is to say, cadenza exists to perform different structural functions. The cadenza between development and recapitulation, like that of the Romantic concerto, is used as a transition; the cadenza between movements became a section of certain independence; and the cadenza as development or recapitulation gained a superior status to the traditional one, as an essential part of the whole structure. As a result, the cadenza in the violin concertos of the 20th century, based on that of the Romantic concerto, maintains more structural significance.This thesis centers on the cadenza in the violin concertos of the first half of the 20th century from the perspective of its structural significance. With a study of the cadenzas in 18 violin concertos of this time, the author classifies the cadenzas into 7 kinds, according to the places they lie in:cadenza between the middle section and recapitulation, cadenza between recapitulation and coda, cadenza in coda, cadenza as presentation, cadenza as development, cadenza as recapitulation and cadenza between movements. Examining the structural significance of the cadenza in the violin concerto before the 20th century and the structural function of that in the first half of the 20th century, the thesis tries to discuss the change and difference that took place in the structural significance of cadenza. With this study, the author attempts to explore the meaning of the existence of cadenza in the 20th century as well as its structural function in the structure of the whole composition and make some contribution to the academic research of cadenza.