The orchestra stops and silence fills the air for one, maybe two seconds. The musicians now join the audience and all eyes gaze at the lone figure about to play. The spotlight is on her. Daring and poised, she clothes the themes in a brilliant new dress.
This is how I imagine the grand scene at the cadenza of Beethoven’s“Violin Concerto in D major” (1806). After nearly 20 minutes of soaring with the orchestra, the soloist must strike it out for a few minutes of unaided, 'improvised' playing. You’d think this would be exhilarating to watch, and it is, to an extent, but I’ve heard this 'improvisation' all before… on Spotify.
Classical music used to have a rich tradition of improvisation. According to the musicologist and noted improvisorRobert Levin, Bach and Mozart routinely improvised over their own themes. Beethoven even reportedly dueled Daniel Steibelt, a Prussian pianist, in an improvisation contest to gain repute in Vienna. Today such a match would be uncommon. Classical musicians are trained to be strict “textualists.” If the composer didn’t write it into the piece — it’s a no go. For the cadenzas in concertos, musicians write out “improvisations” or, more commonly, use those written by others historically. Indeed, Fritz Kreisler’s cadenza is so remarkable that it has been woven into the Beethoven concerto itself. Yet, I think there is a lot to be gained artistically, and musically, from returning to improvisation in classical music.
Improvisation is like a breath of fresh air for old music. While there have been 'new' ways to hear Mozart or Beethoven using period instruments or listening to different conductors’ interpretations, the notes are still the same! I’d be excited to see how a 21st century musician transforms the theme of a 19th century Mendelssohn. I’m sure she could bring out different rhythmic and harmonic variations which Mendelssohn could not have dreamed of himself all while blending it back into the piece. Sitting down to seriously improvise adds new words to a conversation across centuries. It is the way we can freshly hear beloved music.
Concerts would also be more exciting. Improvisation brings both drama and chance into the concert hall. It keeps the audience on the edge of their seats. Where will the performer go next? How will she transform the music? If, God forbid, she makes a 'mistake,' what will she do with it? This is how I’d want to hear music.
When I’m warming up to play, one of my favorite things to do is improvise. Maybe this is because I learned guitar first and needed to solo routinely. Sometimes I’ll even record what I’m doing! I have a lot of fragments of music I’d love to realize later. Improvisation is music at its most playful and raw. You can’t really be a complete musician without the ability to just play — no preconceptions, no conditions.
There is a lot of change in how we listen to and teach music. In the 21st century, we are broadening the ‘canon’ of classical music and reconsidering what we find valuable throughout history. Improvisation is that gem from classical music history I know we’ll fall in love with again.
Beginner Mentality: Improvisation
