I always get a bit annoyed with cadenzas. Not to sound like a curmudgeon, but to me, if you can insert anything you want into a certain spot in a work, then that work is inherently weak in concept, particularly in concertos where the purpose of an inserted cadenza is often just to show off. It's kind of like leaving blank spots in a painting for others to fill in as they wish. That's about the only flaw I can find in Beethoven's 4th concerto.
There are so many of them. Right now I am particulary attached to Rachmaninoffs cadenza to his first concerto. The cadenza is better than the actual concerto I think.
I'm going to make an insane chromatic cadenza for Mozart's A major concerto, and I will add in double trills, octave glissandos, arpeggios in both hands in contrary motion, lightning octaves, and will organize them contrapuntally around eachother to make the most furious cadenza ever
has no-one got my little prank i pulled earlier in the thread? lol...Tom
Maybe too many Wigan fans on this forum??
I'm surprised the All Italiana cadenza in Busoni's Piano Concerto hasn't been mentioned yet.That one gets my voteTheodopolis