JAVS Summer 2026

the rhythmic patterns commonly encountered in Classical cadenzas. 32 Together, these figures create the impression of spontaneity and improvisatory freedom while maintaining a clear connection to the concerto’s underlying musical language.

Expansion, Sequence, and Ornamentation Although sixteenth-note figuration forms an important component of many Classical cadenzas, these passages employ a wide variety of rhythmic materials, including eighth notes, triplets, dotted rhythms, and rapid ornamental flourishes. Figure 4 illustrates several of

Figure 4. Rhythmic figures commonly employed in Classical-period cadenzas, including eighth-note, triplet, dotted-rhythm, and rapid ornamental patterns.

The construction of longer cadenza passages often begins with relatively short melodic figures. Rather than introducing entirely new themes, composers and performers typically expand existing material through

combination, repetition, and variation. Figure 5 demonstrates how simple melodic ideas can be joined into larger compound figures, creating longer and more expressive musical statements. 33

Figure 5. Construction of compound figures through the combination of smaller melodic and rhythmic units.

Journal of the American Viola Society / Vol. 42, Summer 2026 Online Issue

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