I imagine Marty McFly playing this cadenza back in 1788 and all the fancy ladies and dapper gentlemen in powdered wigs looking at him with horror on their faces. "I guess you guys aren't ready for that yet. But your kids are gonna love it."
Love it! Going to see a concerto be performed and hearing an original cadenza is really special and very uncommon these days, and an improvised one even more so. It seems less epidemic in Classical concerti than Romantic ones, but I'm sure it has something to do with the way our institutions churn out soloists. That and the way we are all encouraged to specialise - composers write, performer play, musicologists write about the way it was composed or played... Seems impossible for anybody to be a modern Schumann (or even Schoenberg), perhaps you have the trifecta!?
I bet you that the real reason is because the schools do not know how to teach these things. That trifecta is supposed to be the norm. But one cannot master all 32 Beethoven sonatas note perfect and still learn to compose at the same time. Compositions were written for non musicians.
There are those who compose, improvise, interpret, etc. but modern academic standards in classical music have pushed them out into other genres like jazz for their creative outlets.
In Germany commonly "Teufelsmühle" or "Voglerscher Tonkreis" (I guess after the Musktheorist Georg Joseph Vogler) but as far as I know you guys over there say "Omnibus"
@@en-blanc-et-noirOmnibus and Teufelsmühle are different progressions (although they are almost identical). The Omnibus just changes the diminished chord to a dominant seventh to get a chromatic scale in the bass.
@@solarMusics yeah, could be though! :D Vogler shows all possible variants of them anyway so I wouldn't make this differentiation... all chromatic bass lines - be it ascending or descending - that surround minor 6/4 chords on the minor third cycle with precadential standards - be it ger6+, dim 7th or what ever stuff is Teufelsmühle for me... and that contains the Omnibus as well lol.