[mb-style] [Clean up CSG] Cadenzas, ornamentation, and introductions

[Brian Schweitzer]

>> As for ornamentation (German, "Gesangskadenzen"), there's only one in
>> Mozart's Kochel list; K. 293e (Ornamentation Cadenza for Johann Christian
>> Bach: Adriano in Siria, T 211: Aria "Cara, la dolce fiamma"), but the
volume
>> its in at NMA isn't online yet, so I can't link to it.  There's a bit of
>> discussion of these at http://www.dolmetsch.com/musictheory23.htm
>>
>
>What about leaving out introductions and ornementations? Both seem pretty
>rare and the word "introduction" can lead to confusions. This would
>complicate CSG unnecessarily. If someone stumbles on one of these, a little
>discussion at that time should solve the problem.

(Let me use the word Eingang here, as I'm not 100% that it ought to be
"introduction" as much "entrance" or something like that).

Re Eingang, in the little I can find on them, hey seem to have been an
extension on the cadenza concept created in the late 1770s/80s/90s.  I may
be totally off base, but if I understand correctly, the difference between
the three was that Cadenzas were intended as ornamentation for the soloist
and an Eingang for the orchestra (or some subset).  "Ornamentation" apart
from those 2 would seem to be more a practice of keeping the source work as
it is, but adding coloration to the existing parts, and/or adding additional
instruments (organ, trumpet and tympani, etc).

If we use the term "engang" in such an AR, instead of trying to properly
translate it, I think we'd also still be correct per the musical form,
without the possible confusions of "introduction" or "entrance".

They're not as numerous as cadenzas, at least in Mozart's catalog, but they
do pop up in decent quantities (like cadenzas, you've probably heard some
used, and just never connected that there was more than one cataloged work
included in that movement): 77 cadenzas (53 in 626aI/*, 19 in 293e, 5 in
293e (Anh)), 11 engangs (11 in 626aI/*), 3 ornamentations (1 in 470a, 2 in
293e (Anh)) - and I haven't yet looked to see if there's additional works /
fragmentary works in the anhang to 616aI/* or the K. Anh (Anh), but there
quite likely are (as with 293e), plus then there's all the cadenzas within
K.s 626aII/A-H, 626aII/K-L, and 626aII/N-O, 626b/8-9, Anh C 15.10, Anh C
15.12, Anh C 26.05, Anh C 27.05, the ornamentations within 626aII/M, and any
NMA (deest) works I've not yet looked at.

BTW, I misspoke earlier, with regards to K. 293e - just doing a little
follow up on that one.  It's not a single "Ornamentation Cadenza" as I said
before, but rather a collection of 19 different ornamentations in the
catalog, plus 7 (5 of them doubtful) ornamentations & cadenzas in the
catalog's anhang (appendix) for 293e.:
  - 10 cadenzas for Johann Christian Bach: Adriano in Siria, T 211: Aria
"Cara, la dolce fiamma
  - 5 cadenzas for Johann Christian Bach: "Catone in Utica: Aria O nel sen
di qualche stella
  - 4 cadenzas for Johann Christian Bach: Aria "Quel caro amabil volto"
(doubtful attribution of the original aria to JC Bach)
  - ornamentation for Johann Christian Bach: Adriano in Siria, T 211: Aria
"Cara, la dolce fiamma
  - ornamentation for Wolfgang Amadeus Mozart: Lucio Silla, K. 135: Act II,
Scene V. No. 11 Aria "Ah se il crudel periglio" (Giunia)
  - a cadenza for Tenor in A minor (for work ?) (doubtful, likely Leopold
Mozart, not WA Mozart)
  - a cadenza for Tenor in F minor (for work ?) (doubtful, likely Leopold
Mozart, not WA Mozart)
  - a cadenza for Tenor in D major (for work ?) (doubtful, likely Leopold
Mozart, not WA Mozart)
  - sketch of a cadenza for Soprano in C major (doubtful, likely Leopold
Mozart, not WA Mozart)
  - sketch of a cadenza for Soprano in F major (doubtful, likely Leopold
Mozart, not WA Mozart)

(One recording, btw, of of the the Cara, la dolce fiamma with Mozart
cadenza, for male soprano (originally for castrati), I'm not sure which
one(s), is http://jan-billington.com/christofellis/en/02_mozart.shtml -
track 1.)

Ornamentation, essentially, then is the classical equivalent of, say,
embellishments/solos in jazz or maybe even some uses of "feat" on other
albums. (
http://books.google.com/books?id=tBpwd6f-Rt8C&pg=PA267&lpg=PA267&dq=Frederick+Neumann,+Ornamentation+and+Improvisation+in+Mozart+293e&source=web&ots=F0vJdFdwd_&sig=EaXhGhMuIt4_FycT1CxM9DwFT8Q)
- I'm thinking the modern non-classical/jazz equivalent might be a written
version of Steveie Wonder's performance Seasons of Love (
http://musicbrainz.org/release/eaaa7cde-9add-4394-9372-1880b89f3755.html ).
In the case of K. 470a, it fills out the sound in Viotti's concerto No. 16
in E minor, the 2 trumpets enphasizing Viotti's horns, and the tympani
adding intensity ( I know the Viotti with 470a was recorded on LP at least
twice, but I'm not sure of any CD with it (we have no entries for it in the
database currently).  There has to be at least one, though, as ABC Classic
FM (Australia) included it in their back-to-back broadcast of every single
non-anhang Kochel work in 2006...)

In either case, though, the same proposal by symphonick easily covers all
three - it makes more sense to me that we codify that that same style ought
to be used for all three, rather than to only extend it to cover cadenzas,
then leaving a unneeded cat-corner case for ornamentation and Eingang when
the need arises.  It may be, too, than many engang and ornamentations, just
like cadenzas, also are unwritten, essentially solos inserted by the
performer on the spur of the moment.  (Or at least, planned and written
before the performance by someone, for that specific performer's use).  I'd
think the number of any of the three which are written out (or catalogued)
likely is not even half the number actually performed.  But when they're
credited for it, it's always good for us to still have some real guidance -
especially when that guidance would already be provided for cadenzas - on
how those ought to be entered.

Brian
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