Klarinet Archive - Posting 000253.txt from 2006/10

From: "dnleeson" <dnleeson@-----.net>
Subj: [kl] Eingange and cadenzas
Date: Wed, 18 Oct 2006 10:31:01 -0400

Time for a refresher.

An Eingang (or "lead in", plural being "Eingänge") is requested
by the composer with two identifying elements. First there is a
fermata, and second the underlying harmony on that fermata a
dominent 7th chord. The purpose of the Eingang is to make the
transition from the dominant 7th to the tonic. It should take no
more than somewhere around 15 seconds to achieve its end. It is
expected to be simple and uncomplicated. It should be improvised.

A Cadenza is requested by the composer with two identifying
elements. First there is a fermata, and second, the underlying
harmony on that fermata is that of a tonic chord in the 2nd
inversion; i.e., the fifth in the bass. This chord is very
unstable, and the Cadenza's purpose is to stablize the situation
by the instaneous and impetuous invention a transition to the
tonic that is based on the melodies heard in the movement. In
Mozart's time a Cadenza could be as long as 3 or 4 minutes. It
was expected to be improvised and the audience judged it on the
basis of its inventiveness.

The only similarity between the two distant cousins is (1) both
are called for a fermata and (2) at the conclusion of both the
Eingang and the Cadenza the audience hears a tonic chord. But
how each one is introduced (dominant 7th chord vs. tonic chord in
second inversion), and the lenght of the two, and the
expectations on the part of the audience are vastly dissimilar.

Dan Leeson
DNLeeson@-----.net

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