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In part, that is because the cadenza was written years later (1809) while the concerto itself was written in 1794/5 and revised in 1798 and finally published in 1801. Were it not for the revisions we would know it today as Concerto No. 1.

I'm working on K.453 these days and I'm planning on writing my own cadenzas. Abbado would not be happy with me, I'm sure.

-J

Thanks for the info! I was certainly aware about the reverse numbering of the concertos (as with Chopin), but I would have thought that Beethoven's cadenza dated from later than 1809.

Its musical language almost points to his Op 101, but I guess things were cooking earlier than that. Very interesting.

Much earlier. Play through the coda from the third movement of op.2/3. It almost sounds like late stuff.

-J

Bloody helll, I never thought about that! (That incredible moment seems to have always passed me by, where have I been?)

Many thanks, this is why PW is so exciting, I learn new things everyday.

Listen to Beethoven's Consecration of the House. It's a nice study in diatonic C major -for a while- but then Beethoven unleashes his genius in the coda. Wait a minute, what happened, this has to be an acid trip... Beethoven is letting his genius go crazy!

Would recommend Roy Goodman's recording on Nimbus with period instruments. Mr. Goodman was an outstanding boy soprano -he got his dose of C of E with his milk (like I did)- and has since become one of the great conductors. His ear is second to none. And he is a fabulous bloke!

Not a very clever move by the conductor. It's clear that he thought he could get the Mozart cadenza past her onto the final disc later. It must be easy for a conductor to acquire the habit of treating his players like his tools. I wonder if he would have tried this trick on someone who was bigger than him.

I listened to the DVD preview of the K488 adagio on the Arkiv site. I find it listless, in bad need of a pulse, or may be a conductor? The piano playing is fine.