Indeed, the use of this chromatic device reveals the purpose and nature of this cadenza. It is no Mozart-like dominant prolongation but a
high-level tonic prolongation. There is no predominance of I 6-4 har- mony, no special reservation of the bass register to sustain the dominant
function. Instead, the subject boldly announces the tonic triad, and the- matic material is introduced, after a dominant pedal, in B-flat minor, so that the prevailing harmonic sense is one of tonic stability, not dominant tension. There is a brief foray into E-flat, then more dominant harmony which resolves to a tonic pedal, which lasts eight measures. The cadenza ends with a firm tonic cadence reiterated over two measures, then a flourish on a B-flat scale to lead back to the orchestra's entrance.