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Why can an added cadenza sound out of place in an older concerto?

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caricature of Antonio Vivaldi — concerto Caricature of Antonio Vivaldi, pen and ink on paper by Pier Leone Ghezzi, 1723; in the Codex Ottoboni, Vatican Library, Rome. The inscription below the drawing reads, “Il Prete rosso Compositore di Musica che fece L'opera a Capranica del 1723” (“The red priest, composer of music who made the opera at Capranica [College in Rome] of 1723”).

An added cadenza can sound out of place in an older concerto when it fails to align with the original work's stylistic context. Because the cadenza is intended to be a brilliant climax, performers sometimes substitute their own versions if they find the composer's original options lacking in technical display.1

However, this can disrupt the integrity of the piece if the new cadenza is:

Anachronistic: It employs technical or harmonic styles that do not match the era of the concerto.1
Disproportionate: Its length is out of balance with the rest of the movement.1
Thematically disconnected: It is inadequately related to the musical themes established by the composer.1

While the cadenza was traditionally an opportunity for improvisation, modern performances often rely on written-out passages. When a performer introduces a cadenza that ignores the stylistic norms of the original composition, it becomes less tolerable as a structural element of the work.21