As we come to the Northern Hemisphere’s end of summer, a musical summary.

The 24 Impromptus commissioned in 2024 came to completion this past July, more than two years after the first performance in London of two pieces of the series (Angelus and Soliloquio). It has been a prolonged period of time devoted to resuscitating the dexterity of my left hand (and full mobility in the corresponding arm), severely harmed in September 24; I spent it in various locations – Mount Vernon (NY), London (UK) and Gioia del Colle (Italy).

This is a kaleidoscopic collection of pieces named after its artistic inception (free improvisatory sketches): they embody a diversity of styles as a result of my wanderings and interconnected visions inspired by varied artistic forefathers.

Within the last two weeks, four new pieces came unexpectedly to life with a startled smile: two nocturnes (I can’t think of a better title, as they seem to be meditative, fleetingly optimistic, then sombre ), a fast prelude equally owing homage to JS Bach and modern jazz, and an intermezzo that muses on a slow dance in thirds accompanied by ample, fast arpeggi.

Those four musics accompanied – insistently meandering until their completion – my concurrent revision of the Faust Symphony (first performed in 2019), and the Dixwell Cantata on Gullah Creole text.

On the last day of August 2026, searching for creativity, and expression.

As beautiful as a rainbow after a furious storm, as wondrous as the appearance of a full moon after a cloudy day, resilience gaining more productive territory over the unexpected malfeasance. The novelty of certitude combined and intermingled in the search.