"Like creation, invention or inspiration, improvisation is a beginning: it is song in its embryonic state, the birth of music". This is the phrase used by the great Franco-Russian philosopher Vladimir Jankélevitch in an essay in 1953. Arnold Schoenberg described composition as "slow-motion improvisation". These illuminating reflections form a perfect introduction to a work which consists almost entirely of improvised pieces (the exceptions are "Blue East" and "Stefi’s Song").
"Perugia Suite", because of the prevalence of pure improvisation, is a profoundly different album from the other piano solos which the Roman artist has previously recorded with EGEA. While Un alba dipinta sui muri, Con infinite voci and Canto Nascosto are made up of structured pieces, "closed forms" based on a melody which is the main element of expression, in Perugia Suite Pieranunzi’s attitude towards his instrument and towards sound is dominated by a total, inexhaustible nomadism in research. The audience - it’s important to remember that these are live recordings in two of Perugia’s magnificent theatres - is invited to enter into the pianist secret workshop. There they witness the birth and transformation of forms and sound structures which appear, mutate, reappear completely transfigured in a rhapsody of the imagination which in reality is an adventurous journey along the path of possibility. Thus, Pieces like Internal Meaning, Summer Mood or Perugia Suite become true "once-offs" where all of Pieranunzi’s conscious and subconscious musical experiences can be found.
"Perugia Suite" is a tense, visionary and unexpected album, which gives the jazz lover (and the music lover in general) the opportunity to explore the mysteries of improvisation, and to become involved in the challenge which the musician faces in the attempt to portray his internal flux and to represent the unknown and its infinities. A mystery which finds a seductive representation in the image chosen for the album cover: a "pictosculpture" by Barbara Sbrocca, whose title "Di donna e d’acqua" (of woman and water) refers to the receptiveness and that sense of fluid elusiveness, which play a fundamental role in the fascinating art of improvisation.