In the present cadenzas for the three most frequently played viola concertos of the classical era, the author, in addition to a stylistic orientation, tried above all to shape these improvisations in favor of the joy of playing and out of the instrument. For the concert by Carl Stamitz, two cadences each are offered for the first and second movements. If the first version is more based on the model of a cadenza in the sense of Mozart, the second version is intended to indicate through layout, modulation and scope that such expanded forms can be found as early as 1800. (Compare Ludwig van Beethoven's 1809 cadenzas in the piano transcription of his violin concerto.) Since the - probably original - cadenzas of the concerto by C. Fr. Zelter are rarely taken into account, an alternative is suggested here. The author hopes with this publication, which is also intended to encourage improvisation on one's own, to meet a wish that has been expressed many times in violist circles.
- Franz Beyer