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
thesisposted on 03.03.2017 by White, Alexander
In order to distinguish essays and pre-prints from academic theses, we have a separate category. These are often much longer text based documents than a paper.
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. Additional material(s) submitted with thesis.