At 22, the Granada native María Dueñas has been the “It” girl of the fiddle for quite some time. In 2019, the sharp-eared Maya Pritsker profiled Dueñas as Musical America’s”New Artist of the Month,” citing the teenager’s “spectacular virtuosity, electrifying drive, and bel canto-like phrasing.” The memories of the Russian grand master of the violin Vladimir Spivakov, however, go back to a home video that landed in his Moscow mailbox when Dueñas was all of 12. “It was immediately clear that she was special,” Spivakov told Pritsker. For evidence of the still-young artist’s probing musical intelligence, look no further than the bouquet of cadenzas in her Deutsche Grammophon album Beethoven and Beyond. Performed at a point of suspension at the tail end of a concerto movement or aria, a cadenza is a vehicle for free unaccompanied virtuosic display. Sometimes composers prepare optional cadenzas, sometimes other composers supply them, sometimes soloists compose or improvise their own. In her CD of Beethoven’s towering Violin Concerto, Op. 61, Dueñas plays cadenzas of her own in all three moments. For good measure, she has also recorded historic first-movement cadenzas by Louis Spohr, Eugène Ysaÿe, Camille Saint-Saëns, and Fritz Kreisler. Her party piece at Tanglewood is Mendelssohn’s Violin Concerto, as elegant and romantic a piece as one could hope for on a summer’s evening. Andris Nelsons conducts. —Matthew Gurewitsch