When preparing the Concerto in C Major for Oboe and Orchestra by W.A. Mozart, oboists are presented with the task of providing cadenzas and Eingänge at appropriate places. These two traditions of performance practice are both played in an improvisatory style, yet differ in style and function. Cadenzas commonly occur over a second inversion tonic chord toward the end of a movement and are structural. Eingänge (Ger: entrances) may occur anywhere in a movement especially before the return of a rondo theme over a dominant chord and are ornamental. Cadenzas commonly end with a trill leading to the final orchestra tutti. Eingänge lead into a solo statement of the theme. Amadeus Mozart himself distinguished between the two as evidenced by a letter to his father, dated February 15, 1783. Each movement of the Mozart oboe concerto includes an opportunity for a cadenza and the last movement includes one Eingang at measure 123.

Here are 9 published examples of cadenzas and Eingänge. Annotations indicate: special features, the range of each publication (middle C between bass and treble staffs = c’), number of pages of each publication, printed affect/mood of each movement (if present), and the length of the suggested passage for each movement.

1. Baudo, Serge. Trois Cadences pour le concerto pour Hautbois K. No. 285 d=314 de W.A. Mozart, Paris: Leduc, 1967.

   Range: c’ to g”’. 5 pages. I. Avec une grande liberté, one-and-a-half pages (unmetered). II. 14 measures. III. Avec fantasie, no Eingang, 19 measures on page 4; page 5 unmetered.

2. Bruttger, Thomas, Concerto in C Major for Oboe and Orchestra KV 314 (285d), ed. F. Giegling. Kassel: BÀrenreiter, 1986.

   Cadenzas and Eingang are printed in the piano and not in the oboe part. Range: c’ to d”’. 32 pages. I. Allegro aperto, 6 measures. II. Adagio non troppo, 7 measures. III. Rondo, Allegretto, Eingang: 3 measures, cadenza: 11 measures.

3. Corina, John. “The Cadenza Problem in Classical Concerto Movements.” The Journal of the International Double Reed Society, #3 (1975): 18-23.

   This journal article approaches cadenza construction using models from Mozart piano concertos. The author offers his cadenza for the first movement only. Range: c’ to f”’. 6 pages including text and examples. I. 19 measures.

4. de Lancie, John. Mozart Concerto for Oboe and Orchestra: Three Cadenzas. Oceanside: Boosey and Hawkes, 1966.

   Range: b’ to e”’. 2 pages. I. 27 measures. II. 11 measures III. no Eingang, cadenza: 37 measures.

5. Mack, John. Cadenzas for the Oboe Concerto in C. K. 314 of W.A. Mozart, Spokane: B & D Publications, 1995.

   Range: d’ to g”’. 3 pages. I. Allegro aperto, 18 measures. II. Adagio non troppo, 13 measures. III. Rondo, Allegretto. Eingang: 6 measures, cadenza: 27 measures.

6. Meylan, Raymond. Kadenzen und VerzierungsvorschlÀge zur konzertanen Oboenmusik des 18. Jahrhundert. Adliswil-Zurich: Eulenburg, 1970.

   This collection offers cadenzas for 11 concertos by Handel, Albinoni, Vivaldi, Telemann, Haydn, and Mozart. Range: b’ to g”’. 12 pages. I. Allegro aperto, 23 measures II. Adagio non troppo, one line unmetered. III. no Eingang, cadenza: 30 measures.

7. Rochberg, George. Three Cadenzas for Mozart’s Concerto for Oboe. K. 314. Bryn Mawr: Theodor Presser Co., 1989.

   The first page includes the heading, “dedicated to my friend Joseph Robinson.” Estimated total duration c. 6 minutes. Range: d-flat’ to e”’. 7 pages. I. liberamente …, 61 measures. II. poco sostenuto … 36 measures. III. in tempo … Eingang: 12 measures, cadenza: 93 measures.

8. Sciarrino, Salvatore. Cadenze per i Concerti K. 313, K. 315 per flauto, K. 314 (285D) per oboe di W.A. Mozart. Milano: Ricordi 1989.

   Ricordi offers a collection of cadenzas for Mozart flute and oboe concertos. Range: c’ to d”’. 7 pages. I. 14 measures with two unmetered lines and a variant for two measures. II. 20 measures III. Eingang: one unmetered line, cadenza: 25 measures with one unmetered line.

9. Wuorinen, Charles. Three Cadenzas for the Concerto in C for Oboe by Wolfgang Amadeus Mozart. New York: McGinnis & Mark, 1990.

   Range: c’ to g”’. 3 pages. I. 34 measures. II. 15 measures. III. 65 measures. The last 14 bars outline structural harmonies and include a note that “from here to the end the player should improvise his own ornamentation.”

It is recommended that oboists take Mr. Wuorinen’s suggestion further and write their own cadenzas for each movement, perhaps using one or more of these models as a point of departure. A reference to assist the crafting of cadenzas is The Classical Woodwind Cadenza: A Workbook by David Lasocki and Betty Bank Mather (New York: McGinnins & Marx, 1978).

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