“ANGELUS” is the first piece of the “24 Impromptus”. Its title refers to theCatholic Devotion recited three times a day: the music is structured as in three different iterations of the original in the axis Cminor-F# minor. The second section is governed by A minor-Eb minor, the third one by F#minor-Cminor. Thus the second segment of the third section is actually a variation of the beginning -a sort of recapitulation.  The implicit wordplay concludes that Angelus, as opposisto of Diabolus in Musicaa is being generated by the ‘evil tritone interval.

The progression gives the performer the possibility to take a repetition at measure 93, going back to the beginning for as many times as they wish. Consequently the three prayers are repeating themselves as if the day will never end.

The piece’s design comes also as an inspiration from a poem by Giousué Carducci: “La Chies di Polenta all’Angelus” composed in 1897, which text refers to ‘a melody that walks through, invisible between earth and heavens, spirits that were, are, and will be”. Thus, the melody is constantly variated, and is a meditative prayer which borrows from a combination of elements found in the music of Johann Sebastian Bach, altered by contextual references to a pantonality. When midnight comes -figuratively speaking, the coda appears: the spirit of JS Bach once existed in a human body, still exists and will always exist with us.