Two Cadenzas for Beethoven's Piano Concerto in G Major, Op. 58

About this work

These two cadenzas enter into dialogue with a concerto in which piano and orchestra already answer one another constantly. Brahms takes cells from the movement, develops them and offers two paths back to the collective argument.

Compare the theme’s position, the length of sequences and the density of chords. Those differences alter formal tension far more than a simple choice between a short and a long version.

In practice, retain the pulse of the motives even in freer passages. The final trill or sustained sound must listen towards the coming orchestral entry, not merely conclude the solo.

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