A firm fixture in the late 20th century avant-garde scene, Bertoncini’s abilities as a pianist also led him to perform piano repertoires from the Baroque era through the early modernist canon, and even piano and keyboard pieces written by Terry Riley and John Cage. He wrote numerous pieces for solo musicians and ensembles that include a variety of instruments and acoustic environments and treatments, such as Japanese gongs, prepared piano, speakers, mimes, photoelectric motors, sitars, “kinetic shadows” (whatever those are), and — of course — many Aeolian harps. Yeah, he was a weirdo, and an enormous influence on the late 20th century Italian avant-garde.
The piece follows this brief introduction with a tempo change from Sostenuto (66 BPM) to Misurato (106 bpm). The tempo will change again to Prestissimo later on in the piece, helping to create a sense of momentum with an increasingly faster beat.