 Shortly thereafter, however, the I arrives and the cadenza begins and everything continues on as normal.Girdlestone (p 187, "Mozart and his Piano Concertos") writes that the gait of this finale is "neither that of a gallop, nor of a race, nor even of a dance, but just of a swinging walk, swift and regular, and the virtue of its refrain, with its sketchy outline and its 'sillabato' diction... rests in its rhythm rather than in its melody.