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The purpose of this article is to identify the peculiarities of theinterpretation of cadences in cello concerts precisely C-dur and D-dur bycelebrated Joseph Haydn. In accordance with this goal, the following tasksof scientific research are defined, namely to identify the characteristicfeatures of cadence in a classical concert, to compare the features ofperformance by different performers. Discussion on the practice ofimprovising cadences in the 19th and 20th centuries. Methods of the studyare to apply comparative analysis of different approaches to improvisationin the 19th and 20th centuries, performative analysis in the study of thedifferent types, functions and locations of cadences in the works for celloand orchestra of the eighteenth, nineteenth and twentieth centuries, whendiscussing both the history and practice of performance. The scientificnovelty of the investigative article is due to the new approach to theproblem of improvisational cadences in the academic works of theclassical period (on the example of classical concerts by well-knowncomposer, distinguished master of classical musical culture J. Haydn).Conclusions. Cadence, an amazingly important part of the professionalacademic concert, has undergone significant changes since the eighteenthcentury to the present day. She gradually lost her original designation as asection in a concert where the performer could improvise and demonstrateher virtuoso abilities, becoming an integral part of the work. Cello concertsby the celebrated composer Joseph Haydn are some of the few academiccompositions that make it possible to improvise in a cadence.

Cadence into the cello concerts by J. Haydn (history, analysis and principle of improvisation)