Musical Cadences

(titles whooshing)- Dear friends, welcome to the third lecture in our course, and it's, the topic of it is musical cadences. And it's possibly the most important topic of all, and the one I like very much. So what are cadences? Cadence is from caden, Latin word meaning to fall. Indicates that your voice might fall at the end of a phrase. And because both in music and in speaking, reading prose, reading poetry, we depend on our breath, on the length of our breath, both music, song, chant, and poetry heavily dependent on the length of that breath. You will have to have some kind of divisions of phrases. So that's why I'm starting with a section called punctuating music. Because, as you can see, and on these pictures you can see a very kind of early ancient Greek text with these dots, sort of dispersed with dots, which are positioned in various ways, indicating a kind of half stop on the full stop or maybe kind of a third thing in between. And you can see also a score of a bar corral, which also has these various pauses and to indicate where the phrase stops and where you have to take a breath. So let us go through history through several centuries looking for clues of how this idea of a musical cadence was born and how it was developing. So already in the ninth century in this famous treatise Musica Enchiriadis, we find the sentence, the segments of a song are its colons or commas, which divide up the song by their endings. So here the words colon and comma don't actually mean the punctuation marks. They mean the section themselves. John of Affligem, the theorist circa 1100 connects that. Connects with punctuation marks, with particular melodic patterns. It's all still happening just with one melody. When a melody rests in a suspended manner, a fourth or a fifth from the home note, it's a colon. When the melody is led back to the home note in the middle of the phrase, it's a comma. When it arrives on the home note at the end of the phrase, it's a period. So he has these different distinctions. The word itself, cadentia, comes into use by some people starting from the 14th century, Jacobus of Liege who used the word for the first time referring to the progression of an imperfect consonance to a perfect consonance. So like this for example.(light music) So that would be the musical cadence around his time, say with two voices. Now, if we go, you know, a few centuries further, another German theorist, Nicholas Wollick, he actually gives you a parallel between different melodic patterns and punctuation marks. So he has a (inaudible), he has a comma, he has a colon, he has even an interrogativum. So the interrogative mark. And give the various melodic patterns which are supposed to kind of correspond to these types of punctuation. And another German theorist, which was called Andreas Ornitoparchus, that's very fancy name, at the beginning of the 16th century, talks about closing formulas. And what is important about his theorizing is that he talks about three stages of every formula. And he calls them going backwards from the end, an ultima, penultima, and antepenultima. And that is a very important point for what I'm going to tell you next. Because almost every musical cadence that we're going to discuss will have these three phases. So even though these people might not have been necessarily connected with each other by a straight line, it's a kind of dotted line. They might not have known about each other. What we find out from this bit of history are several things. So the endings of phrases matter. So that's one thing. The second thing is that these endings tend towards certain formulas that allow them to be recognized. And by this, we kind of get a bit of help with the music, we grasp these rhymes, we grasp these formulas, we can follow the music better. These patterns can imply either imperfect or perfect closure. So a comma or a full stop, a middle phrase or end of the phrase. And what's important, because they are formulas, they create expectations that can be either realized or thwarted. So you can play with it because you know where we are supposed to end up. So if you change that formula there, you get a bit of a trill, a bit of a free song from the change. So if we know what the goal of the phrase supposed to be, if we know where we're going to arrive, then the whole phrase, or maybe the whole piece becomes a journey. And that's why very often in western music, we use these metaphors of departure and arrival, which are very apt. Now, finally, I thought what can I show you that you would all imagine a cadence, a perfect cadence in your mind, even people who don't have any music education. And I decided to use the happy birthday tune, which ends with a cadence. So this is a tune which originally was actually called Good Morning to All. It was a kindergarten song written by two sisters, and then it was turned into Happy Birthday. But what you should all remember is that after you have the name of your birthday friend, so then you have this ending.("Happy Birthday") So you can reproduce it in your mind even without singing. You kind of feel these chords, you know what they're supposed to do. So let's kind of analyze it, starting from the final chord. The final chord is our ultima, so our last bit. So that's of course a tonic. And that's a tonic, try it. And we know that from lecture one, if you haven't seen lecture one, you should go back to lecture one and look at that. So what precedes it? This whole bar, birthday two is actually a dominant function, although there are actually more than one chord there. So the chord immediately preceding the tonic.("Happy Birthday") Those of you who attended lecture two should know that it's a dominant seventh resolving into the tonic. So that is a very important chord that we discussed for the whole lecture. But what happens before it? And I also can't, as part of this penultima,("Happy Birthday") it's a kind of decoration of the dominant. So we still have the same base. Then I will go to jump down to the tonic. But the notes of the score(piano harmonizing) actually belong to the tonic triad. They are the same notes, if you remember that we were talking about inversions also in lecture one. And you can have the perfect triad, the first inversion, and this is a third inversion. That's what we have there at the start of the penultimate bar. It's the start of our penultima. And this is a chord which doesn't have a good name, it only has a technical name. And I'm afraid I'll have to use it. And I'm going to call it the cadential 6/4. Because it's actually defines the cadence. We're going to go back to it many times. So although the notes that consists of are belonging to the tonic chord, it actually is not in the tonic function because it doesn't sound stable. It wants you to continue. Because it has this kind of, the interval of the fourth and the base. It actually kind of has problematic. You can't stop there, you can't start applauding yet. So yeah, when I was talking to you about those inversions. So this is the third inversion, which is actually performs the function of the dominant, the job that it has is the dominant. It's a decoration of the dominant.("Happy Birthday") Now let's look at what happens before that. So the antipenultimate phase. And there we have another chord, which has to be different from either the dominant or the tonic. It's very often like here, it's.("Happy Birthday") It's different. So it's chord two. So chord on the second note of the scale in this case. But we can modify it. It could be("Happy Birthday") or it could be or. All of these are working. So there's a whole group of kind of predominant chords that we can use. And the point is that when we finally get to this chord, which is called cadential 6/4,(piano harmonizing) we have a sense of, oh, we are nearly home. We have a sense of arrival. You will see how that will play out in music in various extracts that I'm going to give you. So this is, I've filled that in. So cadential 6/4, it's a 6/4 because of the intervals that it uses. And the dominant seventh and the tonic. So this is our three phases. I really like this idea of three phases. It explains a lot. So now for the next section, when we're going to talk about various cadences and cadenzas, I'm going to invite on the stage our pianist today, Alexander Karpeyev, who is going to illustrate a little bit for me and also play at the end.(audience applauding) Thank you. Thank you. Well, while you're settling down, I will show a couple of examples of how cadences were used in the 16th century. So we really start with these patterns, these recognizable formulas to us. They start appearing around the end of the 16th century. And I'm going to play this corral by Lucas Osiander, a kind of Lutheran composer and scholar. And you will see how every time we take a breath, we feel a sense of stopping, a sense of a comma. or a full stop. And then we continue with the next phrase, and so on.(singing in foreign language)(solemn music) So you can see that the score actually stopped moving at those points. Because these pauses are only indicated by breath mark. Not the actual kind of addition of a extra note value or anything else. But you could see how you had these different patterns. and every single time that they had the phrase, the base would go, would leap back usually. That's a very typical thing for the cadence. Another example, slightly later, from Monteverdi's Opera, L'Orfeo, which is this chorus very close to the end, and very different type of music. But the principling is again the same.("L'Orfeo")(singing in foreign language) So then you can hear these cadences, how they start talking to each other like a rhyme in poetry. You can hear them already sort of on top of everything that's going on, they're speaking to you sort of from their own. Now I will ask Alex to play this lovely, lovely bit of Mozart, yes? So let's just play that extract first.("Sonata facile" by Mozart) Thank you very much. So with what everything that we already know, we can now analyze it from the end. If you play to us, like the last line, the last line just gives us a repetition of dominant, seventh, and tonic, dominant, seventh, and tonic.(energetic music) Great. So that is just a kind of post-cadential extension. We're just extending the music. We want it to have a bit more affirmation at the end. Now let's look at the bar before that with the trill, if you could play that, sir.(trilling music) So the trill indicates the dominant seventh chord. Usually in classical music, at the time of Mozart, if you hear something like that with a trill, it's the dominant seventh and you are about to count to the tonic. So then what are we going to have in the big bar before? We're going to have this cadential 6/4 that I mentioned. So could we have it go from there?(energetic music) Great. So now the only thing to can get into your head is what happens in the predominant section where you have this kind of crescendo thing? So first you will hear a kind of chord, which is a kind of chord two. And then it will get tenser in the next one. Now that chord is called the diminished chord, and we're going to talk about it next time. Very important chord. So it gets very tense. And then the moment it gets tense, then it gets a resolution, a kind of resolution in the next bar when you get to the cadential 6/4. You feel, oh, okay, that's already better. We're arriving somewhere. So if we can have from there.("Sonata facile") Great, fantastic. Can you follow this? Great. So this is what the kind of thing that happens in the classical music with Mozart. And I have a very nice quote here from Mozart about the kind of thing that happens where inside of the cadence, you start improvising something. So basically the situation is that he, I think he went to the city, which wasn't his own. And he comes in through the church service. He does the church service on the organ. And at some point, he says,"I entered during the Kyrie"and played the end of it."After the priest had intoned the Gloria,"I played a cadenza." So what is a cadenza then? It's the same word we said. Cadence, cadenza, the same word. But cadenza started to mean this improvised passage inside a cadence, which is like a bracketed clause. It's a kind of, you know, deviation. It's a kind of digression. You suddenly go on a journey somewhere and you improvise a little bit, but then you come back and finish your cadence. So that becomes a very typical practice. And you find it in churches, you find it in the Italian opera, you find it even in church music, as here. So, he says, I played the cadenza. And because it was so different from the cadenzas that were common here, everyone turned around, especially Ignaz Holzbauer. So you can see him turning his head, but what is going on? That just tells you how people were attuned to these little things. They were attuned to the chords, how the chords moved. And once they did something that they, you know, weren't used to, for example, in Manheim or in Salzberg, they would turn their head, oh, what is he doing? So that tells you how important it is. And this is why it's worth looking at this in detail. So talking about concertos and cadenzas. So, Mozart usually improvise his cadenzas. He had no problem with that. Sometimes he would write them out, for example, for his students. But in most concertos, they are not written out. So what you have is just a cadential 6/4, and then dominant seventh, and a tonic. So it's between the cadential 6/4 and the dominant seventh. Well, the trill that you can have this whole long passage which would be either improvised or like here in the example I'm going to show now, it was written in by Beethoven. So you have a piece of Beethoven essentially inside Mozart's concerto, and it all happens between the cadential 6/4. and the dominant, or maybe between the dominant seventh and the dominant seventh, you kind of break it up. So what I'm going to play to you, it's quite a long example, which will bring you to this cadential 6/4 and then the dominant seventh. And then, Beethoven is going on a journey. He uses various themes from earlier in the piece. He goes into various keys, it all goes on for about two minutes. And then finally you get back to the dominant seventh with the trill. And you know, well now the orchestra is going to come in. So you already will know when the trill comes in, now the orchestra is going to come in on the tonic and just finish the concerto. So let's hear how it happens.("Concerto in D Minor(No. 20)" by Beethoven) Trill. Dominant seventh with a trill. So all that was inside our little happy birthday progression. All that was fitted in. As I said, as a digression, as a bracket clause. So let's see how this happens in opera. We will hear a bit of a duet from Norma. And I will again start, help you to sort of go through. What we have is just basically a repetition of a cadential figure. And every time it comes back, it has embellishments. More and more vocal embellishments, because that was the moment where singers could even add their own stuff. At least at the times of Rossini, for example, and Bellini. Later on, Verdi said no, you're not doing this. I'm going to write you what you're going to sing. But that was the place where the cadenza, where they could add things.(singing in foreign language)(soft music) Cadential 6/4. Predominant seventh. Tonic. Cadential. Cadential 6/4. Dominant seventh. And a tonic. So we have a lot of suspense between these chords. And the further you go into the 19th century, the further they begin, it gets stretched and more stuff can be placed into that scheme. Now let's talk about half-cadences. Well, here's a picture of somebody going through combing her hair and stopping halfway, being caught halfway. That's why I thought it would be applicable to half-cadences. So let's talk about the commas, not about the full stops. And let's have a look. And Alex, if you could play that beginning of the sonata of Haydn.(bright music) So what we had there, we had sort of a phrase which had a comma, then a full stop, then a repetition of it with a little bit of variation. Again, a comma and a full stop. So if you could play just the first four bars.(bright music) So that's a half-cadence. We stopped on the dominant triad. It's actually not the dominant seventh. Dominant seventh is a bit too strong for the half-cadence. It's pulls you a bit too far. So it's better to stop on it right. And then let's play the other half of that sonata.(bright music) And that's a full stop. And you can see how it's, again, it's like a rhyme. The music starts rhyming. It's the music which is essentially poetry. The interesting thing here is that, of course, the patterns become so established in the 18th century that you would almost always have a half the cadence in the bar number four. And always, always, always have full cadence. Or as I say, perfect cadence, imperfect, imperfect in bar number eight. So people would become so attuned to this, they would expect this, this would be the normal thing. So if you don't do it, if you then continue further, that becomes sort of more interesting. Or if you have a seven bar phrase, oh dear, what happened, you turn your head. And so people become extremely, extremely used to that. Let's have another example from the Beethoven's Pathétique Sonata finale. So you will hear them, the half-cadence and the full cadences again.("Pathétique" by Beethoven) So what happened here is that you had normal kind of full bar phrase for the comma, then a full stop, then again half-cadence. And then there was an extension at the end, where, if you could play that bit when it goes to B flat.("Pathétique" by Beethoven) And that already takes us out of the normal eight bar phrase. And we turn heads and that gives us something extra, some extra interest. So that's basically how it works in classical music. To the point that Beethoven could actually give you just one voice and you would still know what a half-cadence is. It's a kind of big joke of the variations, the heroic variations, which are the same as the variations in the Third Symphony. And they'll just play you that. It's not even a theme for the variations, it's just the bass for the theme of the variations. You will still feel where the half-cadence should be.("Eroica" by Beethoven) Here it is, yeah? So, it's actually not four here, but eight, because they're very short. So it can be either four or eight. Then the whole thing will be 16th. So you will go to this half-cadence once, then you will repeat it again. And then the second phrase will be the answering phrase, and that will go to the full stop, and that will be repeated again. So let's hear it again.("Eroica" by Beethoven) Once more. So in the second part, something strange happened. There were empty bars, bars of silence. If you were a contemporary of Beethoven, the count of bars would go on in your head so you would know where you are and when things are coming. Why is there silence? I'm supposed to be here having a cadence soon, whatever. What has happened? This kind of play with this four and eight bars, eight and 16 bars is just what classical music is about. It's all about expectations and thwarting them. If I give you now the proper statement of that theme that he actually disguised here just as a base, you will see that it also has a melody and it has an accompaniment, but the structure is absolutely the same. You're going to have cadence, repeat, go do that again. And then you have the second phrase, which goes to the full stop and again, repeat.(energetic music) Half-cadence. That's the joke, and the final cadence. So talking about jokes. talking about Beethoven (laughing), well you may know that Beethoven, especially at the ends of various symphonies, gives you quite a lot of cadences. He gives you one and then another and then even more. Because there was so much turmoil at the start that he wants to really make it affirmative at the end. So this is what I couldn't avoid giving you an example of, Dudley Moore playing the kind of Beethoven sonata. Which is not really by Beethoven, but it should give you the idea of this kind of endless cadencing. And notice when the cadences are in two chords or when they're in three phases, in three chords. So you will find very familiar things here.("Beethoven Sonata")(audience laughing)(audience laughing)(audience applauding) That's very, very well done. And illustrates the point I think very well, as well. Now let's talk about yet another type of cadence, which is interrupted. I told you that the expectation could be thwarted. So if you know that the dominant seventh has to resolve into the tonic, when it doesn't, you get a jolt. So sometimes they're also called deceptive for this reason. That's a term you might have heard because you are deceived, your expectations are deceived. I'm going to show you, well this is obviously not Dudley Moore, this is a Krystian Zimerman but he's also playing, acting out an interrupted cadence at the end of a Mozart sonata. So you will actually not just hear it, but see it as well.(lively music)(laughing) So, after this interruption, you have to do something really emphatic to bring it back into the main key. So I will ask Alex if we can go to the Mozart Fantasia. Yeah? And I don't have it on the screen, but we are just going to play it to that moment of interrupted cadence. And then maybe stop.("Fantasia" by Mozart) So if it wasn't interrupted, could you just resolve it there into the top?("Fantasia" by Mozart) That's what we expected. So now if you could give us the whole thing to the end.("Fantasia" by Mozart) So the second time, he has to make it really emphatic because we were already so kind of thrown off course by that interrupted cadence. And that was the most typical one when the dominant seventh is going into chord six. And the interesting thing is chord six in the major is minor, and then the minor is major. So it gives you a little bit of variety. If we get to the very famous sonata by Beethoven, he actually does something very interesting. He starts with an interrupted cadence. He starts with a partner in the right hand, which we associate with a particular key. If you could just play with the right hand here.(somber music) So that supposed to give us, if you give us the E flat major chord.(piano harmonizing) That's what it's supposed to to be. That's what you imagine because it was such a popular sort of type of, I dunno, a horn call. It was called a horn call. You would expect already that chord of E flat major at the end. But what he does it, he doesn't give it to you. He gives you instead this interrupted cadence.("Les Adieux" by Beethoven) And then the second time, he does something even more beautiful. It's interrupted, but in a different way. He gives you a flat six chord. He really plays with that pattern. And the only time he actually does it a proper normal way is at the end of the piece.("Les Adieux" by Beethoven) So here, it sounds much more normal. And that of course, because it's a fare-thee-well sonata, farewell sonata, so it has to sound with a slightly sort of sad version of a very familiar idiom. Now we are getting to a much later composer, 20th century composer, Prokofiev, who absolutely adored playing with cadences. And this piece that is also very familiar, and you might think, well it's the kind of ordinary, you already know it, but actually it's full of these musical jokes. The bit that that I have in the first circle, if you could just play us sort of up to that moment.(lively music) That's a coming up to a cadence, but they're very kind of unusual, strange thing. It's already slightly strange. It's already taken you out of the key where you were and put you in a distant key. Then if you just play the next one, that's an interrupted.(lively music) Okay, we interrupted it once more. So every time something comes up, there will be some kind of play, some kind of joke on interrupted cadence. So that at the very end, if you can see that passage, you will have a lot of accidentals there. We are actually in a key which is a semitone lower than where we should be, oh dear, we are completely slipped, right? So if you can play us sort of that bit.(light music) We're not in the key where we're supposed to be. We have to save it very, very quickly.(energetic music) So that's what Prokofiev does to you. He teases you all the time. So at this point, I would like Alex to play the whole piece to you, and I'm going to kind of announce him and you can see his lovely CDs there. And we're going to hear this short piece as a whole.("Gavotte op.25" by Prokofiev)(audience applauding) Thank you. I will let you go for about 10 minutes. And then we'll bring him back again. So the next section is called Cadences in Love and War. And as you can see from the picture is a 15 plus section. In the 19th century, as the orchestral forces were becoming bigger, pieces were becoming longer, cadences were stretched further and further. And they sometimes could occupy pages and pages of musical scores, you will see. So there's a lot of stuff going on the foreground, but on the background we still have that cadential formula, which exerts some kind of pressures on your body. You sort of feel that something is happening, you feel that it's there. You feel that the dominant is coming, you feel that the end is nigh. So, it's something that works on you even without you realizing. So I'll give you an example from Chekhov's 1812 Overure, which is not a piece that we want to play right now, but nevertheless it's such a ridiculous piece that I cannot believe that actually it was written in full seriousness. And I will show you why. What is important in war? Victory, the expectation of victory. So that's what we are going to have on this extract. We are going to have the base note. You can see the base note. It's establishes itself and sits there for a long time. The pages were going to turn, the base is going to sit there, it's the dominant. And there is a little bit of timpani going on. That tells you no matter what's going on on top, that the cadences soon will happen. Something will happen. So you hear the Marseillers going, the bit of the Russian tiers going, they're waring with each other. But the timpani and the bass tell you no, it's all going to come to a close. And then you will hear, and I will announce it when it will finally come to the dominant. And the dominant seventh is going to be stretched out in the most ridiculous way. And you'll have the most tedious motif,(instructor harmonizing) going on forever. I think it's about 43 times that it's repeated. Ridiculous. This is all the stretching of the dominant seventh. Well, that's why I think he cannot be serious. Surely, surely he can't be serious. And then when it resolves into the tonic, then the celebration can begin. That's the moment of victory. So let's hear it.("1812 Overure" by Chekhov) Finally have the tonic. And that's where the bells come in. I think it's a very, very funny moment. So that might be the only kind of saving grace for that piece. But nevertheless, that's how the cadence works in war. I will show you now a very much, much better piece, which is Tchaikovsky 5, Tchaikovsky's Fifth Symphony, in slow movement, where we have two moments of an interrupted cadence. And when the fifth theme comes in and destroys all the lovely things that are going on. And I always thought that the second time is actually more devastating. And I will try to explain to you why the second time is more devastating. So it's where you interrupted. So the first time it's interrupted, you actually have a cadential 6/4 in the minor. And it's already, there's a lot of kind of movement and tension in the voices. So you don't expect anything good. So when the cadential 6/4 kind of dissipates into the interrupted chord, and that is a very famous Tchaikovsky chord that I've showed you last time, you are more prepared. So let's hear how that happens.("Symphony No. 5" by Tchaikovsky) Now the fifth theme comes in on this interrupting chord. Now the second time it comes in much later in the cadence when we are already about to resolve the dominant seventh into the tonic. And it's actually a sort of lovely calm music, as if maybe there was some love making going on and you're about to fall asleep. So you're about to resolve into the tonic. And at that moment when you thought, okay, everything's gone well and you've heard it going well before because that music already sounded in that movement, and that's when it happens. It is absolutely terrifying.("Symphony No. 5" by Tchaikovsky) Cadential 6/4 and the dominant seventh and a second time. That is really devastating. Honestly, listen to the whole piece. Then you will find how, so no matter how many times you've heard this and you know it's coming, it is still devastating because it's at that moment of the cadence when you expect the final resolution into the tonic. The composers who were using the cadence in particular with the connection of this theme of love and Eros. Because by manipulating the cadence, you can create particular empathy between the listener and the music. It's because, you get a buildup to the cadence, like to a sexual climax. And then you have the climactic chord, which is usually cadential 6/4, and then it all resolves. So you kind of go through all these stages in your body that the music is going, and the characters in the song or in the opera are going through. And 19th century composers were using this extremely effectively. Rachmaninoff was one of the absolute masters of this. I'll give you the moment from his song In the Silence of the Secret Night, which is kind of autobiographical, so imagine Rachmaninoff was 17, he falls in love with his cousin who is 15. The parents are watching them, they're still sort of sitting, holding hands. And eventually the parents actually sort of separate them. They can't write to each other because it's getting a bit too dangerous. So instead, Rachmaninoff writes a song about this, how he, in the silence of the night, reminisces about her hair, her lock of hair, what she said. And then the singer gets to the high note, this is a pre-cadential moment and the piano gets us to this glorious, climactic cadential 6/4. And the piano gives (harmonizing), the two note motif, which is actually the secret word Vera, the name of the girl that he's dreaming about. So, that is happening in the piano. And it's so effective precisely because he uses this tension that the pre-cadential chord creates. And the release that gives us the 6/4.("In the Silence of the Secret Night")(singing in foreign language) So the build up starts. Pre-cadential. Cadential 6/4. Vera. So it requires a lot of breath. And the piano, as you can see, they can't stop straight away after such a big climax. So it has to be, you know, a long dying down as well. And this is what Rachmaninoff was so good at, and this is why his music went, what was used in the Brief Encounter and other films about love works so well. Because it actually plays with our kind of bodily sensations of cadences because they are built into us already. But both Rachmaninoff and Chekhov did not discover this. The person who discovered this in a major way was Wagner. So essentially I want to show you the most devastating interrupted climax, interrupted cadence, I should say. And also interrupted climax, which is from Tristan and Isolde. Now in Tristan and Isolde, Wagner, we'll talk about it in a couple of lectures, but basically he tries to avoid cadence at every step. So basically he has no proper cadences. He wants to move, every single chord sort of becomes an interruption, and it's a chain of interrupted cadences. And if he didn't have to have an interval when people go for the beer or for the champagne, he would have gone on for five hours without cadencing. But he has to have ending of acts. But basically in act two, this is a love duet and Tristan and Isolde, they've had the love potion, they're full of desire for each other. And it goes on for an hour. So it's really kind of mythical scale, not even on a human scale. And then they're finally coming to the climax. Now I'll give you the concett performance because you can see the words here and how it all sort of, there's a big buildup and you have an alternation, faster, it gets faster and you have the alternation between cadential 64 and dominant seventh. And that's the moment you know it's already closed. Because it can happen any moment. You are so tense at that point. And then the husband comes in.(audience laughing) It's a terrible thing.(singing in foreign language)(sweeping music) Now, if Mozart could correct it within a few bars we heard. He had an interrupted cadence, he corrects it. Very quickly. Wagner needs an hour, another act, another hour. And during that act, Tristan dies. So there is a moment of consummation, but then Tristan is already dead. So, Isolde has to sing it solo. This is the famous Liebestod. I'm not going to play it, but you can play it and actually experience the absolutely transcendent climax that happened at that moment when she kind of overshoots the tonic, gets you into some other dimension. It's most amazing, most amazing play on the cadence. Final section is about the last cadence-maker. And I want to mention Prokofiev again because he was a modernist, I'm not talking about post-modern composers. But he was a modernist who was actually contributing to the development of the cadence. And he liked, he enjoyed playing with the cadence. Well here's a end to his piano sonata. And you have these incredible passages, virtuosic passages, which give us to the tonic. The chords before the tonic are not actually the standard predominant and dominant. But because they're placed in this metric position, we sort of thinking backwards, we hear it as a cadence. Let's hear it.("Piano Sonata No. 5" by Prokofiev) So the last two chords, it was basically dominant tonic with lots of other notes thrown together. It still sounds like a dominant tonic. This is the kind of thing that he could do. Now, for our final and most wonderful section, we are going to have a very special piece performed by Alexander Karpeyev. It's Rachmaninoff'S first sonata, the first movement. Extremely virtuosic and extremely kind of troubled piece. It's based on Faust. So this is Faust with all his questions and all the trials and tribulations. Why I chose this, because he will hear that at the very start, it begins with a cadence, with a series of cadences. So instead of saving them for the end, using them kind of syntactically, he already uses them as his main thematic material. It's very typical of Rachmaninoff because of his connection with Russian Orthodox music. So it's one of his favorite things to play with his cadence. So you will hear at the very start, this cadence not actually acting as a cadence, but acting as his thematic material. But I also want you to try to pick out the moment, it'll be quite sort of well in, almost at the end of the movement when you have a huge climax and there'll be trills going on. There'll be a lot of kind of trilling on a major scale. And the trills tell us that this is the dominant seventh. And you will have a resolution at a major chord. So maybe you won't hear it this first time, but if you listen to the lecture the second time, you will pick it up. And that's also, that's the main cadence of the movement because it's kind of a much more large scale thing with what you have at the start. So this is a little introduction. And now let's bring Alexander back, and I hope he's there. And give him applause.(audience applauding)("Sonata No. 1" by Rachmaninoff)(audience applauding)- Thank you so much. Thank you. Professor Frolova, thank you for another fascinating lecture and a very great thank you to you, Alexander, for such a beautiful performance. We hope you can all join us for Marina's next lecture on Thursday, the 9th of February, which will be on diminished and augmented chords. Thank you all for joining us this evening. Have a lovely night.- And we're going to have Peter Delhoe back. by the way, for that lecture.- Yes. Yes, we will. Thank you.(audience applauding)