4. To my mind, it is a mistake to hold to the categorical distinction between the fermata that stands for an expressive, rhetorical pause and the fermata that stands for embellishment. On the former, Eva and Paul Badura-Skoda, Interpreting Mozart on the Keyboard, tr. Leo Black (London: Barrie and Rockliff, 1962), 239, remind us of a passage from the article “Fermate” in Georg Sulzer’s Allgemeine Theorie der schönen Künste (4 vols., Leipzig, “neue vermehrte zweyte Auflage,” 1794; reprint Hildesheim: Georg Olms, 1967), II: 226–227(my translation): “The fermata helps to reinforce powerful emotions at points where they reach their climax.... It interrupts the melody, just as a man strongly moved may hesitate slightly after an outburst, in order then to proceed yet more passionately.” It does not much stretch the imagination to grasp that this explains as well the expressive moment of cadenza, and its cause. In the rhetoric of Classical concerto, the cadenza seems often to respond to just such a moment of climactic interruption.