7 - On cadenzas

Summary

So far, the singer has been viewed only as a performer of a given piece; that is, nothing more was expected of him than to sing exactly, with security of intonation and steady tempo, what the composer has written down. In that case, only small ornaments are permitted for better connection of the melody or to give it more liveliness and lustre. Now, we still wish to acquaint the singer with those opportunities where he is called upon to make free use of his own inventiveness and taste. In this chapter the so-called fermata, where the accompanying instruments make a small pause in order to allow the singer time to introduce something of his own, will be discussed in detail. The arbitrary variations, which extend throughout an entire aria with continuous accompaniment, give the singer another opportunity to show inventiveness and judgment. This will be dealt with in the following and final chapter.

Cadenzas are also included in the category of the fermata. In the tenth lesson of Part I of the instruction, the essential meaning of cadences has already been discussed. Each of the four voice parts has its own way of forming cadences and introducing a trill on the penultimate note. Here the word cadenza [Cadenz] has a somewhat different meaning and implies the improvised ornamentation which the singer introduces according to his own discretion when the accompaniment pauses.