Welcome to European Tribune. It's gone a bit quiet around here these days, but it's still going.
yes, exactly!  Mozart was a riff monster; his gigs were just that: one off gigs.  The orchestra could play the piece, then at the certain moment he would play his solo--a solo by Mozart!

Most musicians now would play pre-written notes, so no improvisation.  I found this with a quick google, though:

The orchestra's favorite part of a concerto, someone once joked, is the cadenza - the section at the end of a movement when the orchestra stops playing and the soloist is on his own for a minute or two. But some listeners in the audience can't wait for the "real" music to start again, when the orchestra gets back to work.

Why do these listeners get impatient? Perhaps because the cadenza rarely lives up to what it's supposed to be - a fantasy that sounds improvised, with enough of the unexpected to keep you on the edge of your seat. Nowadays, in a Mozart concerto, most pianists play a cadenza that was composed well ahead of time (sometimes by Mozart for a student, sometimes by someone more recent). Too often, it's obvious that everything was planned in advance.

But not when the pianist is Robert Levin. Like Mozart himself in concerts, Levin makes up his own cadenzas on the spot. Hearing him plunge in after the orchestra stops is like watching someone walk a tightrope without a net. In a Levin cadenza, anything can happen.


Don't fight forces, use them R. Buckminster Fuller.
by rg (leopold dot lepster at google mail dot com) on Wed May 14th, 2008 at 08:30:13 AM EST
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