ABSTRACT

Of all the influences which I posit as being operative on keyboard music in its movement from the Classical to the Romantic periods, improvisation is the least considered and perhaps the least approachable, for the obvious and understandable reason that it is, by its nature, incapable of true fixation either in notation or in any other more-or-less permanent form. And unfortunately, in the present time, what we cannot repeatedly access, we at best mistrust, at worst dismiss.