(SW 1073)

The idea of extracting the solo cadenza from an imagined instrumental concerto and presenting it as a solo sonata—essentially isolating a musical element from a non-existent context—is undoubtedly one of the specialties of the original composer Christian Ridil. Anyone familiar with him and his music will recognize his occasionally subversive approach to musical material and can thus appreciate the ingenuity concealed behind such deliberate misdirection.

Allusions to and derivations from supposedly underlying thematic and motivic material—elements that are typically introduced in a traditional cadenza and then processed as virtuously as possible by the soloist—can be fascinating and invite all sorts of speculation. One might detect echoes of Beethoven’s Violin Concerto, Brahms, or even Alban Berg, offering a wealth of musical references to be heard or even “read.”

For the viola—an instrument that has not been abundantly provided with original solo literature—this work presents an exceptionally demanding technical challenge. It is a virtuoso piece that incorporates every conceivable refinement, including micro-intervals, extensive use of complex polyphonic textures, and specialized bowing techniques such as col legno.

With this reflection, we have once again arrived at the heart of the matter: the solo cadenza itself.

Martin Schmeck

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