Improvisation in western classical music and technical analysis of cadenzas composed for J. Haydn cello concerto (Hob. VII:2 No.2)

In Western Classical music, it is likely to talk about some practices in improvisation during performances despite the limitations. Cadenza, appearing in concertos in the classical period, is, probably, the most remarkable one of among those practices with its potential to improvise. Yet available cadenzas, produced earlier by important virtuosos for this period, and the use of those cadenzas by the performers entailed a disregard of the function of improvisation as cadenza. The cadenza created by the performer and the importance of offering one's own musical ideas for the performer form one of the reasons of this study. In this study, by looking at the concept of cadenza; the existence of improvisation in Western Classical music, its historical significance and development, and the opinions of composers and theoreticians are investigated. Furthermore, the cadenzas produced for J. Haydn's Violoncello Concerto No.2, (Hob. VIIb:2), with its unique place in cello repertoire, are analyzed technically and an original cadenza is written for the first and the second movement of this concerto. This study also focuses on the importance of considering incorporating as a part of instrument training in conservatoire where the education of Western Classical music is provided. Key Words: Improvisation, Classical Concerto, Classical Cadenza, Haydn, Violoncello