The musical moment where the rules of time are suspended

Music · Published 18 October 2026 Swipe more like this →

In short: Imagine a concert where the orchestra suddenly falls silent, leaving a soloist to navigate a labyrinth of notes alone. This is the cadenza—a virtuosic display that breaks the steady pulse of the music to showcase individual mastery before the ensemble re-enters for the final flourish.

The term 'cadenza' originates from the Italian word for cadence, but its evolution reflects a shift from simple decoration to profound artistic freedom. Originally, these were vocal flourishes in arias where performers added small embellishments like trills to the end of a phrase without altering the meter. Over time, these ornaments grew longer and more structured, eventually evolving into 'composed' cadenzas that allowed for the 'free' rhythmic style we recognize today—where the soloist plays without being tied to a strict pulse while the orchestra sustains a note or rests.

While often associated with the end of a concerto movement, cadenzas are strategically placed to highlight virtuosity. They typically occur over the final or penultimate notes of a piece, but can also appear in lead-ins or before a coda. In some works, they serve as structural bridges; for example, Aaron Copland uses a cadenza to connect movements in his Clarinet Concerto, and Dmitri Shostakovich uses one in his first cello concerto to link the second and fourth movements.

The transition from improvisation to notation is a key historical nuance. During the 19th century, composers began writing out cadenzas in full because third parties were often commissioned to write them for specific soloists so they could practice in advance. This created a standard repertoire of 'written' improvisations, such as Joseph Joachim’s cadenza for Brahms’ Violin Concerto. Conversely, some works still demand true spontaneity, like Franz Liszt’s Hungarian Rhapsody No. 2, which includes the instruction 'cadenza ad libitum,' leaving the choice to add an improvisation entirely to the performer.

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