Upoštevanje historičnega konteksta pri skladanju kadenc za klavirske koncerte W. A. Mozarta

Stanič, Urban

SLO

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Title:	Upoštevanje historičnega konteksta pri skladanju kadenc za klavirske koncerte W. A. Mozarta
Authors:	ID Stanič, Urban (Author)
Files:	ZUP_Stanic_Urban_2025.pdf (3,30 MB) MD5: 115930A7648869178BA3D3299DC866C8
Language:	Slovenian
Work type:	Not categorized
Typology:	1.16 - Independent Scientific Component Part or a Chapter in a Monograph
Organization:	ZUP - University of Primorska Press
Abstract:	V osemnajstem stoletju je bila velika večina skladateljev tudi izvajalcev. Izvajali so lastne skladbe in skladbe sodobnikov. Praksa je bila, da so izvajalci v koncertih drugih skladateljev igrali lastne kadence, ki so jih prej zapisali ali pa improvizirali. W. A. Mozart je napisal kadence za večino svojih koncertov, kar ni bila ustaljena praksa. Za šest njegovih poznejših koncertov pa se ni ohranila nobena kadenca. Če kadenco napišemo sami, se lahko ravnamo po slogu ohranjenih Mozartovih kadenc in po značaju stavka, za katerega pišemo kadenco, kot svetujeta Eva in Paul Badura-Skoda. Uporabimo lahko tudi vire iz Mozartovega časa, kot je npr. Klavierschule Daniela Gottloba Türka. Türk piše, naj kadenca zadrži učinek skladbe in ga ojača. Kadenca naj po njegovem ne bo predolga in naj ne zaide v »glasbene vode, kjer skladatelj v skladbi ni bil«. Mozartove modulacije imajo funkcijo izmika, nove tonalitete ne potrjuje kot Beethoven. Izogiba se vpeljevanju tem eno za drugo brez jasne meje in koncu kadence, ki bi bil enak koncu zaključnega sola. Eva in Paul Badura-Skoda razdelita vsako kadenco na tri dele: začetni, srednji in zaključni. Začetni del je lahko tematski ali virtuozni. Za srednji del je značilen kontinuiran razvoj oz. Fortspinnung. Zaključni deli so najbolj svobodni, pogosto pa uporabijo določene harmonske sheme. Mozartove kadence se med seboj razlikujejo v načinu gradnje in obdelave materiala. Avtorjevi kadenci za koncert K. 414 sta po strukturi podobni Mozartovim. Kadenca za koncert K. 491 vsebuje še eno kadenco v malem, ki sestoji iz začetnega in srednjega dela.
Keywords:	W. A. Mozart, klavirski koncerti, pisanje kadenc, Mozartov slog, primerjava kadenc
Publication status:	Published
Publication version:	Version of Record
Publisher:	Založbe Univerze na Primorskem
Year of publishing:	2025
Number of pages:	str. 219-239
PID:	20.500.12556/RUP-22276
ISBN:	9789612934255
DOI:	https://doi.org/10.26493/978-961-293-425-5.219-239
Publication date in RUP:	19.12.2025
Views:	166
Downloads:	2
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Record is a part of a monograph

Title:	Glasbena interpretacija: med umetniškim in znanstvenim : [znanstvena monografija z mednarodno udeležbo]
Place of publishing:	Koper
Publisher:	Založba Univerze na Primorskem, Festival Ljubljana
Year of publishing:	2025
ISBN:	978-961-293-425-5
COBISS.SI-ID:	222878467
Collection title:	Studia musicologica Labacensia
Collection ISSN:	2536-2445

Licences

License:	CC BY-NC 4.0, Creative Commons Attribution-NonCommercial 4.0 International

Link:	http://creativecommons.org/licenses/by-nc/4.0/
Description:	A creative commons license that bans commercial use, but the users don’t have to license their derivative works on the same terms.

Secondary language

Language:	English
Title:	Taking into account historical context while composing cadenzas for Mozart‘s piano concertos
Abstract:	In the 18th century, the vast majority of composers were also performers. They performed their own compositions and the compositions of comtemporaries. It was usual for performers to play their written or improvised cadenzas in concerti composed by other composers. W. A. Mozart wrote cadenzas for most of his concerti, which was not usual in his time. There are no preserved cadenzas for six of his late concerti. If one writes a cadenza, one can adhere to the style of Mozart‘s preserved cadenzas and the character of the movement for which one is writing the cadenza, as Eva and Paul Badura-Skoda suggest. One can also use sources from Mozart‘s time, such as the Klavierschule by Daniel Gottlob Türk. He writes that the cadenya should hold the effect of the piece and amplify it. A cadenza should not be too long and should not »stray into musical country where the composer has not been in the ocurse of the piece«. Mozart‘s modulations only transiently use the new tonality, unlike Beethoven. He avoids introducing themes one after another without any clear division and making the ending of the cadenza identical with the ending of the final solo. Eva and Paul Badura-Skoda divide every cadenza into three parts: the opening, the middle and the closing section. The opening section can be thematic or virtuoso. Continuous development, or Fortspinnung, is typical of middle parts. The closing sections are the most free, but they often use certain harmonic schemes. Mozart‘s cadenzas vary in the way of processing of material and building. The author‘s cadenzas for the K. 414 concerto are structurally similar to Mozart‘s ones. The cadenza for the K. 491 concerto contains an additional shorter cadenza, which consists of an opening and middle part.
Keywords:	W. A. Mozart, piano concerti, writing cadenzas, Mozart‘s style, comparison of cadenzas

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