Cadenzas

In one of the first movement’s quieter piano cadenzas, she had a liquid tone and a sense of mystery.

During the concerto, Ferrandez-Castro will improvise his cadenzas, a skill common in Haydn's time, but less so today.

Almost all sopranos append cadenzas to the end of the "Mad Scene", sometimes ending them on a high keynote (E-flat or F, depending on the key in which they are singing, though Mado Robin takes an even higher B-flat citation ).

Both cadenzas lead to an identical section with arpeggios in the piano and a solo flute accompanying, before the cadenza ends quietly.

During the Romantic music era (1820–1910), composers began writing out ornaments and cadenzas, and so classical musicians were not expected to improvise very much.

One of the choirs sings a simple fauxbordon based on the original plainsong chant for the Tonus peregrinus; the other choir sings a similar fauxbordon with pre-existing elaborations and the use of cadenzas.

The only completed compositions that exist from later in her life do not have opus numbers and are: Vorspiele (Improvisations), 1895, and cadenzas written to two concertos, one by Mozart and the other by Beethoven.

Third parties also wrote cadenzas for works in which it was intended by the composer to be improvised, so the soloist could have a well formed solo that they could practice in advance.