22. This was well understood by Kollmann (Essay, 22–23), whose first rule, under the rubric “The Fancy Cadences,” prescribes “no other harmony, than what may be introduced as a continued cadence or an Organ Point, between the suspending chord … and the leading chord.” The rigor of this principle is emphatically not abandoned even in the third rule: “The more novelty, richness of modulation, and variety, a fancy cadence contains without trespassing against the … foregoing rules, or without making it too long, the better it is.” This implies a certain desirable tension between the sense of the cadenza as a prolonged cadence and the pull of the harmonies away from the dominant. Kollmann’s description of an elaborate cadenza from Clementi’s Musical Characteristics or A Collection of Preludes and Cadences … Composed in the Style of Haydn, Kozeluch, Mozart, Sterkel, Vanhal and The Author, op. 19 (London, 1789) is instructive: “the harmony does not admit of the continuation of the first bass note through the whole cadence, and yet the whole is felt as one continued cadence throughout.” See further Eva Badura-Skoda, “Clementi’s ‘Musical Characteristics’ Opus 19,” in Studies in Eighteenth-Century Music: A Tribute to Karl Geiringer on His Seventieth Birthday, ed. H. C. Robbins Landon and Roger E. Chapman (London: George Allen and Unwin Ltd, 1970), 53–67.