With every performance of a concerto by W.A. Mozart, the soloist is confronted with the question which cadenza he will play. Because there are few original Mozart cadenza's, the performer must choose between cadenza's written by later composers or performers, or write / improvise a cadenza himself. In the context of this research project, cadenza's from the 18th, 19th and 20th centuries are studied; tools (existing standard formulas and structures) that can serve as inspiration for their own improvisation or self-written cadenza are provided; and a lot of musical experimentation will take place on performance practice during rehearsals and concerts. In this way, students, teachers and guest lecturers can exchange information and gain experience.
The demand for ‘the perfect cadenza’ will not be solved - that is impossible and irrelevant - but the aim is to provide the broadest possible orientation, based on historical sources (namely the existing cadenza's of Mozart himself and his contemporaries), performance practice and contemporary inspiration. In line with this, attention is also paid to the question to what extent a performer can deviate from the original notation of the composer.