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En hier is de meest merkwaardige uitvoering, door Gidon Kremer:

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The most controversial issue here is of course the CADENZA sections, especially in the first movement, where the backstage piano suddenly comes out through the loudspeakers of the concert hall. The concerto suddenly transforms into a trio for timpani, piano & violin. Kremer 'instrumented" them from Beethoven's own arrangement of the violin concerto for piano, timpani & orchestra. At first I also find it strange, but with repeated listening, it sounds rather interesting, with timpani giving highly dramatic solo passages (indeed Harnoncourt uses the timpani to great theatrical effect throughout the whole concerto). The flawless concentrated playing of Kremer alone is enough to compensate for any loss of integrity during this "triple concerto section" The cadenza in the second movement is for violin alone while in the third movement cadenza the piano makes a brief final appearance. The musical quality of the cadenza itself is great, with many references of material from the concerto itself, and integrates very well into the concerto.