Description

Foreword

At the latest since Ludwig van Beethoven composed two cadences for Mozart’s d-minor piano concerto, it is well known custom, that virtuosi and fellow composers write down their own inventions for the improvised cadences, the audience exspects from the soloists, if the composer had not already done it himself.
The twentieth century offers a number of subsequently composed cadences for works from the eightheenth or nineteenth century, for example the one of Alfred Schnittke for the violin concerto of Ludwig van Beethoven.
This tradition of contrasting historic music in style and letting it thus be seen in a new light, linking the past with the present, I want to persue with this cadence for the violin concerto by Johannes Brahms. For in the first movement of his concerto he explicitly left space for a cadence, thus inviting for a personal reflection of his music.

Otfried Büsing (transl.: Dr. Ute Arnold)