ion, the orchestra, though it
frequently assumed the privilege of introducing the subject-matter,
played a subordinate part to the solo instrument in its development.
In violin as well as pianoforte concertos special opportunity is
given to the player to exploit his skill and display the solo
instrument free from structural restrictions in the cadenza introduced
shortly before the close of the first, last, or both movements.

[Sidenote: _Cadenzas._]

[Sidenote: _Improvisations by the player._]

[Sidenote: _M. Ysaye's opinion of Cadenzas._]

Cadenzas are a relic of a time when the art of improvisation was more
generally practised than it is now, and when performers were conceded
to have rights beyond the printed page. Solely for their display, it
became customary for composers to indicate by a hold ([fermata
symbol]) a place where the performer might indulge in a flourish of
his own. There is a tradition that Mozart once remarked: "Wherever I
smear that thing," indicating a hold, "you can do what you please;"
the rule is, however, that the only privilege which the cadenza opens
to the player is that of improvising on material drawn from the
subjects already developed, and since, also as a rule, composers are
generally more eloquent in the treatment of their own ideas than
performers, it is seldom that a cadenza contributes to the enjoyment
afforded by a work, except to the lovers of technique for technique's
sake. I never knew an artist to make a more sensible remark than did
M. Ysaye, when on the eve of a memorably beautiful performance of
Beethoven's violin concerto, he said: "If I were permitted to consult
my own wishes I would put my violin under my arm when I reach the
_fermate_ and say: 'Ladies and gentlemen, we have reached the cadenza.
It is presumptuous in any musician to think that he can have anything
to say after Beethoven has finished. With your permission we will
consider my cadenza played.'" That Beethoven may himself have had a
thought of the same nature is a fair inference from the circumstance
that he refused to leave the cadenza in his E-flat pianoforte concerto
to the mercy of the virtuosos but wrote it himself.

[Sidenote: _Concertos._]

[Sidenote: _Chamber music._]

Concertos for pianoforte or violin are usually written in three
movements, of which the first and last follow the symphonic model in
respect of elaboration and form, and the second is a brief movement
in slow or moderate time, w