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for piano solo
degree of difficulty: medium-high
total duration: 15’30’’ approx.; each: 8’30’’ approx. (I ), 7’ approx. (II)
year of composition: 1985
first performance:
pianist: Bruno Canino
Edizioni Suvini Zerboni, Milano
available the studio recording by RAI
WORK REGISTERED AT SIAE (Italian Authors and Publishers Association)

Using pianistic writing that is rough and lively, the two Improvvisi are not formally akin with their illustrious romantic prototypes, in spite of some ecstatic sonorities. They conserve more the improvisational character of the romantic Improvviso than its historicised form. Moreover, the juxtaposition between zones of suspense and episodes of intense exitement shows how the word 'improvviso' was chosen to point out the aforementioned juxtaposition between improvisational situations that the piece evokes. Composed with maximum empathy for the keyboard, the two Improvvisi flow towards their conclusion across areas of considerable pianistic difficulty.

The steadfast structuring of the material and the spontaneity join forces and signal the happy dealectic in which Organisation and Invention live together.

The first Improvviso commences with rapid figurations which ellicit the resonance of certain harmonics. A crescendo follows which bursts forth into a zone of ecstatic sonority. The alternation of formally rarefied sections with intensely vivacious episodes is a characteristic of both Improvvisi.  Before the aroused conclusion appears an homorhythmic section, which bears the performance marking “teso e isocrono” (tense and isochronal).

The second Improvviso opens with a counter-positioning between rarefied sonorities and rapid and representational figurations. A formal segment centred on trills then develops. Analagously to the previous Improvviso, atols of ecstatic contemplation appear to be 'improvisational' (for the author this word also, and above all, possesses this meaning) among the wavy turbulence of rough seas.