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I had no idea these were a "thing." ...like little kids that can't help but push in speaker dust caps ....or graphitti (the bad ones). You have to have brass balls to paint some sunglasses over the Mona Lisa. I lived on Rubenstein's Beethoven concertos and Toscanini's symphonies when from around 8 years old in the 60's. These iconic works are burned into my brain. They are the definition of majesty and emotion - and that's the point: don't queer the deal! Don't spoil the mood! But back then, structure seemed to demand _spoiling the mood._ Chopin so man times spoiled exquisite drama with a Hallmark soft gooey center break in the action. The sappy part in the Heroic is like a commercial break in a good movie on TV. I'm a hack and leave those parts out. I thought I was crazy only to fine my major abridge of T's June was.... _exactly what Lang Lang did!_ And preserved the exquisite mood T achieved: ruclips.net/video/PbHhqXSUzKQ/видео.html which I mented above in another reply. I have no intention of ever listening to these.... _things._ However.... if you have a #1, give me a link. I'd like to compare notes.

Don't expect a period performance. The essence of late 19th C.interpretation was that many pianists including D'Albert and Busoni would reinterpret earlier works in their own image. Because they were also composers. Why not? It was only the advent of recording technology which ended individualism in the interpretation of music.

​@@RollaArtis Apologies, this is long winded but am at keyboard: What's the point of injecting something so incongruous? Juxtaposition? I have no problem with someone playing Moonlight in stride, or make a medley of styles. I will give you that if Busoni was performing the concerto for a paying crowd, they'd all be wondering if he was going to "cut loose" on the cadenza, that would be awesome. But to compose it? Who would ever dare to perform that for a crowd that came to hear Beethoven? But then was D'Albert in Busoni's shadow? I have no problem with Busoni, but maybe I do with D'A. Modern recording ending individualism, yes to an extent. But that was only in the beginning where the push was to capture the greats. Soon everyone had recordings of their interpretation. With streaming the objective is to be different and stand out. And then spectacular renditions pop out of nowhere from unknowns to surprisedly greats. And they edit what they play. LL's June is a perfect example of leaving out the gooey center which totally destroys the emotion and also plays it with heart like no other - the audience hanging on each note: ruclips.net/video/PbHhqXSUzKQ/видео.html Another unexpected, unparalleled is Kissin's Prokofiev: ruclips.net/video/45mXvaIW02c/видео.html listen to that crowd, it's as spectacular as the performance - they are applauding him, not Prok.

@@NoferTrunions Liszt and Chopin also created 'incongruities' in performance, but we don't have recordings by them. Such 'aberrations' would never make it to the present day because they don't sell.

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@@brianbernstein3826 I'm definitely aware of the shortcomings of my videos when it comes to musicality, generally only really possible with a real performance. That's why I try to link a performance in the video description when I can find one! There should be one linked in this video, performed by Hofmann :)

@@thelonesomepianist well let me say that I certainly appreciate the upload. it's fascinating to hear cadenzas of famous masterpieces, written by composers that aren't commonly known

@@brianbernstein3826 I agree, and to me what's also interesting is to see how big these composers were in their time, and yet now they're barely on our radars... And listening to other works by these composers- they were definitely very talented, but despite that they haven't stayed well known. Back to the cadenzas- I think they're fascinating, I wish more people would perform some of these alternative cadenzas.

Yeah I was definitely wondering if I input the notes correctly in that section... Though I will say after having heard it so many times I think I see what he was going for...

I uploaded it! It should be on my channel :)

@thelonesomepianist YOOO THANKS

Check out the video description, i have 2 performances linked :)

I linked the sheet music, if the link doesn't work then you can find the cadenza on imslp.com

Each one? You listened to them all? (The ones I uploaded, I have more that I haven't gotten to)

I have a recording of Jerome Lowenthal playing this cadenza, and he definitely does it way more justice than I did in my video...

Medtner’s Cadenzas for the 4th are so good, the counterpoint is so good and the 3rd movement cadenza is very fleshed out, unlike Beethoven’s short one

Brahms' is like the worst of all of them

Surely the modulations are not that exceptional or exceptionally abrupt? The cadenza is really rather modest, not to say reverential. It does raise the question, as do many of these, as to the purpose these composers had in writing their own cadenzas. One might have thought it was the opportunity for great musical minds to offer their critical insights. But they mostly don't take up this challenge, being content to demonstrate, if nothing else, that they are on top of developments in piano technique since Beethoven's day.

@@zugzwang2007I usually find it’s either the cadenza writer showing something they found interesting in the previous work. This Liszt certainly shows something of the “infinite” melody in the Beethoven. How it can just keep going and going. Alkans cadenza shows a rather interesting peak behind the curtain in this concerto imo. It’s not the best cadenza but it’s the most interesting, Alkans that is.

@@clarkebynum4623 I agree with you that the Alkan is interesting but also not the best. It is an example of the thing that I feel is unexpectedly rare, namely sharing insights into the original, as you say.

@@zugzwang2007if you haven’t heard his Mozart 20 cadenza then I highly recommend that as well for the same reason. I prefer all of Beethovens original cadenzas but the alternates are interesting. I love getting a little insight into what they saw in the concerto. If anything at all haha similar with the Hungarian rhapsody no.2 cadenzas

@@zugzwang2007literally the first thing we hear is a surprise modulation from C minor to G sharp minor. This is very unBeethovenian, and seems intended to shout “Liszt” from the onset - fine. Then uses the submediant E major to modulate up a half step to A minor, then does it again to B flat minor. He wants us to wonder if we are heading to C. The modulation to Db (neopolitan) seems promising. Instead we arrive in B major. Come on, Db major followed by B major? He is is intentionally toying with our wish to get back to C. Later on, Liszt uses a lot of fragmenting of the lyrical theme. He uses the fragments to sequence us through even more keys. Not hearing the theme in full is supposed to build tension, but it actually just annoys me. I want to hear the full theme not be interrupted over and over