Editing Cadenza (section)

==As a vocal flourish==
The cadenza was originally, and remains, a vocal flourish improvised by a performer to elaborate a cadence in an [[aria]]. It was later used in instrumental music, and soon became a standard part of the concerto. Cadenzas for voice and wind instruments were to be performed in one breath, and they should not use distant [[key (music)|keys]].<ref>{{cite book|last=Agricola|first=Johann Friedrich|author-link=Johann Friedrich Agricola|title=Introduction to the Art of Singing|translator=[[Julianne Baird|Julianne C. Baird]]|publisher=Cambridge University Press|year=1995|page=211|isbn=9780521454285}}</ref> Originally, it was improvised in this context as well, but during the 19th century, [[composer]]s began to write cadenzas out in full.<ref>{{Cite book|title=The Oxford Companion to Music|last=Latham|first=Alison|publisher=Oxford University Press|year=2002|isbn=9780198662129|location=New York|pages=[https://archive.org/details/isbn_9780198662129/page/194 194]|url-access=registration|url=https://archive.org/details/isbn_9780198662129/page/194}}</ref> 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. Some of these have become so widely played and sung that they are effectively part of the standard repertoire, as is the case with [[Joseph Joachim]]'s cadenza for [[Johannes Brahms]]' [[Violin Concerto (Brahms)|Violin Concerto]], [[Ludwig van Beethoven|Beethoven]]'s set of cadenzas for [[Wolfgang Amadeus Mozart|Mozart]]'s [[Piano Concerto No. 20 (Mozart)|Piano Concerto no. 20]], and [[Estelle Liebling]]'s edition of cadenzas for operas such as [[Gaetano Donizetti|Donizetti]]'s ''[[La fille du régiment]]'' and ''[[Lucia di Lammermoor]]''.