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DUE INTERMEZZI

for piano solo
total duration : 9’ approx.
year of composition: 1983
I performance.: 3.7.1988, Rai Radio Uno, Musica Sera
piano: Alberto Malazzi
Edizioni Suvini Zerboni, Milano
available the studio recording by RAI
WORK REGISTERED AT SIAE (Italian Authors and Publishers Association)



The intimate and private feeling of these two Intermezzi led the author to keep them to himself for a long time before handing them over to be printed. They were written as part of a preceding compositional phase – the euphonic one - which he felt was finished.

Intermezzo Primo
A warm and reserved lyricness is the trademark of the first
Intermezzo. Anzaghi is a good pianist, and is familiar with the example given by the great pianist-composers of the Romantic 19th century. Those masters of their art showed how the most ardent virtuosic writing could converge and lose itself in a melody of Bellinian ascendence and fascination. From their inspired fingers flowed the magical, whirling movement of the piano keys, flowing into one another in an embracing and un censored 'lyricness' that was unkown to the singers' voices. The author, mindful of these excelling examples, knows how to make the keyboard 'sing' with the right compositional and pianistic choices.

The opening of the first Intermezzo is indeed a song, emanating from a keyboard that is touched with vibrating expertise. A few bass notes confer impetus on the notes of the melody and on the constellations of sound that surround it. The denoument of the Intermezzo is entrusted to the star-like gleaming of the upper registers.


Intermezzo Secondo
The second Intermezzo is permeated by a subtle nostalgia and by certain echoes of Brahmsian sonorities. The piano writing is in some ways analagous to that of Revenents, but differs from it in being soaked in a haunting but restrained emotiveness which seems to be a profound, melancholic dissatisfaction.

By contrast with Revenents the prevaling register is not the upper (which alludes to the carillon), but  invovles broader areas of the keyboard, such as the middle-to-low range. Within these zones are collocated not only some few notes whose role it is to support the projection of the upper harmonics – as in Revenents– but also outlined designs that require the depth and intensity of these registers in order to take shape.

The veiled allusions in this second Intermezzo to the last of those by Brahms have already been mentioned. The mood of farewell unconsciously links this Intermezzo to those of that great forebear, who is so well loved by the author. Around appropriately expressive nuclei arabesque designs fluctuate that have no hedonistic value, but are intended to connect measuredly brief but intense emotional flowerings through diaphanous piano writing.