Cadenzas to Mozart Concerto #3: help me select!

July 22, 2008 at 11:45 PM · Help me select an edition of Mozart's Violin Concerto No. 3 for a student. I would like to choose the edition by the cadenza, which needs to be playable by a student at ASTA Level 4 or 5 (the rating of the rest of the concerto). Ysaye, Auer, Kreisler, Oistrach, Franko etc.? Which cadenzas are most commonly heard on recordings (i.e. cadenzas not composed by the soloist)?

Replies (23)

July 23, 2008 at 01:43 AM · My absolute favorite is the Franck; it's relatively challenging, yet simple and beautiful. I also agree with most of the bowings of the entire piece (versus the cadenza) in that particular edition. Menuhin has a great recording of it!

July 23, 2008 at 01:47 AM · I have the Barenreiter edition. It comes with the urtext, an edited version and a book with a large variety of cadenzas. This way you can choose between quite a few cadenzas without buying them all seperately.

July 23, 2008 at 06:40 AM · Hmm, I used Manze's cadenza, though I don't know whether he's published it (I picked it up by ear). I liked it because it was rather simple and drew most of its ideas from the rest of the piece.

July 23, 2008 at 07:55 AM · The cadenza recorded by Menuhin is by Sam Franko.

I took Milstein's advice to a friend: write your own!

By the way, there exists also a nice and rather easy cadenza by Marius Flothuis.

Huberman's cadenza is difficult and not to be recommended at this level. Oistrakh's cadenza could be used for the 2nd movement.

July 23, 2008 at 01:03 PM · I've always been fond of the Ysaye cadenzas. They are in the IMC edition--they were recorded by Francescatti.

September 6, 2008 at 06:30 PM · Hi everyone!

I agree that all the cadenzas are beutiful and unique and I am desperately searching for an edition that have the Oistrakh's cadenza in. Curiously, I didn't find one yet with this cadenza. Do somene knows where I could find the Oistrakh's cadenza for this concerto?



September 6, 2008 at 11:06 PM · I've always enjoyed Gilles Apap's cadenza; it does seem to provoke interesting audience reactions. Of course, that might not necessarily be a desideratum. You'd have to pick it up by ear.

September 7, 2008 at 04:19 AM · I find the Giles Apap cadenza completely insensitive to the refined beauty of the concerto, and repulsive in the extreme. To hear it is, for me, to witness a desecration, like seeing mud being thrown on a great Rembrandt painting. I like the Sam Franko cadenza.

September 7, 2008 at 04:59 AM · I don't think the Apap cadenza is interesting, spectacular, funny, whatever, enough. But if it's splashing mud on a Rembrandt, it's accidental, not vandalism I think.

But - one thing that would be closer to repulsive to me is using someone else's cadenza! If you want to talk about something truly not in the spirit of the piece, that's got to be one. I wouldn't be able to resist using my own cadenza, no matter how bad it was. So I give Apap a break, and wish it was more interesting (to me).

September 7, 2008 at 01:23 PM · Jim Miller wrote: "one thing that would be closer to repulsive to me is using someone else's cadenza!"

Personally, I'm not at all bothered by hearing someone play a cadenza that he didn't write (if it's a good one), but I agree that it is a definite plus to hear a cadenza written by the performing artist (if it's a good one!). Milstein treated the public to hearing beautiful cadenzas that he wrote. He would make changes from performance to performance, and from one recording of the concerto to the next. When I played Mozart D Major Concerto for him, with Joachim cadenzas, I asked him whether he might publish his Mozart D Major Concerto cadenzas. He said: "Write your own cadenzas!"

September 7, 2008 at 02:39 PM · Holy Mozart!! Desecration!!

I like it because I believe Wolfie would have found it amusing, along with the attendant reactivity.

Here's mud in your eye, Ollie.

September 8, 2008 at 08:22 AM · Bob, I doubt he would find it funny. It's like it was funny the first time, back around 1965 (1765 ?). Apap's no Gilbert Gottfried :)

Oliver, of course I didn't mean it bothers me to hear somebody using somebody else's cadenza. But it occurred to me that using someone else's might not be in the "spirit" of the piece. I can imagine a lesson with Mozart and you tell him you're going to play someone else's cadenza, and he's suddenly a bit bored. I think it could be a lot of fun to see what the performer would come up with, with whether or not it's a masterpiece cadenza being secondary. That's the spirit of the piece I think.

September 7, 2008 at 05:04 PM · I feel there's a difference between amusing and funny. I'm funny that way.

September 7, 2008 at 08:55 PM · Maybe. He's got the amusing squinting his eyes at the audience part down, but doesn't know any funny jokes.

September 7, 2008 at 08:25 PM · To Anne-Marie who is still waiting: The Oistrakh cadenza is in his edition of the concerto, Edition Peters EP 2193M

September 8, 2008 at 08:48 PM · Thank you very much Tijn! You are the who seems to know! It is not an easy one to find!



September 18, 2008 at 07:05 PM · Unfourtunately, Edition Peters told me that the Mozart edition with the Oistrakh cadenza in was no longer available. I would have like so much to get this beautiful music piece. If ever someone knows how to get it, I would be so happy!

Thanks a lot!


September 23, 2008 at 12:34 AM · I love the Franko. I personally think it sounds the best with solo violin opening with the double stops....

It is quite romantic, not really classical, but I love it all the same.

I feel like all the students learn this cadenza but nobody performs it. =(

June 5, 2011 at 03:26 AM ·

I'm still looking for the answer to my question. I was asking about finding playable cadenzas for 3rd-4th year violin students in their first experiences with Mozart, do you think these kids should be writing their own cadenzas?

June 7, 2011 at 12:17 AM ·

How old is the student? I'm 17 but have only been studying for about 6 years, and for the Mozart Concerti that I've played, I've always loved having the opportunity to write my own cadenza. I've also always taken time during my lessons to work on the musical properties of them with my teacher. Just some things to think about.

Also, most of the modern recordings I have heard use the Franko, and all of my friends who learned Mozart 3 also play that one, as it comes in the Shirmer.

June 7, 2011 at 12:25 PM ·

I think of the published ones the Franko is the most accessible (from the few I've looked at).  But perhaps one of the many members here that have written their own would like to share :)

June 7, 2011 at 02:41 PM ·

"I find the Giles Apap cadenza completely insensitive to the refined beauty of the concerto, and repulsive in the extreme"

sorry for the off-topic, but that was pretty much my reaction to the Schnittke cadenza for the Beethoven violin concerto. :-)

Back to our regularly scheduled programming- I love the Franko cadenza

June 7, 2011 at 02:51 PM ·

I wonder if someone can tell me which cadenza Oistrakh plays here. I guess it's about 7 minutes in, sorry.

This is my fave, since it's the one I grew up with. (Oistrakh, but different recording.) My hunch is that it is Oistrakh's own, since it is slightly different that th eone I'm familiar with. I think this is what I had in a 1960s Schirmer edition. It wasn't especially difficult.


This discussion has been archived and is no longer accepting responses.

Facebook Twitter YouTube Instagram Email is made possible by...

Shar Music
Shar Music

Pirastro Strings
Pirastro Strings

JR Judd Violins
JR Judd Violins

Dimitri Musafia, Master Maker of Violin and Viola Cases
Dimitri Musafia, Master Maker of Violin and Viola Cases

2023 Authenticate LA: Los Angeles Violin Shop
2023 Authenticate LA Shopping Guide Shopping Guide


Metzler Violin Shop

Southwest Strings

Bobelock Cases

Johnson String Instrument/Carriage House Violins

Jargar Strings

Bay Fine Strings Violin Shop


Los Angeles Violin Shop


String Masters

Nazareth Gevorkian Violins

Laurie's Books

Discover the best of in these collections of editor Laurie Niles' exclusive interviews. Interviews Volume 1 Interviews Volume 1, with introduction by Hilary Hahn Interviews Volume 2 Interviews Volume 2, with introduction by Rachel Barton Pine