This chapter takes the Mozart-style cadenza as a case study. Just as a cadenza in the Mozart style interweaves themes from the concerto movement preceding it, the chapter interweaves the themes from all of the previous chapters. Eighteenth-century pedagogical treatises about cadenzas (e.g., that of Daniel Gottlob Türk), the model cadenzas that Mozart composed, interviews with Robert Levin on cadenza improvisation, and analyses of transcriptions of Robert Levin's own improvised performances of cadenzas in the Mozart style are presented and discussed. The cadenza from the first movement of Mozart's Piano Concerto in Eb Major, K. 271 serves as an example, since Mozart composed two different cadenzas to this movement, and since three different recorded cadenzas to this movement by Robert Levin were available for analysis. The conclusion of the chapter places the discussion in the context of previous chapters' discussions of cognition in improvisation.
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