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This brooding, 25-minute piece begins with a passionate violin cadenza, played like the rest of the concerto with heated commitment from Stewart, and then evolves frequently, without defined section breaks.

Tao will even improvise his own cadenzas in the concerto — a practice emulating Mozart’s own.

Outside a playful, nuanced cadenza, his sharp and quick technique didn’t provide much variety.

There is a spot in the “All’Italiana,” right after the cadenza, where the piano has these huge chords in left and right and they run toward each other.

But it wasn’t a one-to-one transfer; many sections were heavily changed, and she also added a cadenza.