The Improvisation of Poetry, 1750 – 1850
A database of commentaries on improvisational performance
The author mentions Abbé Lorenzi’s distinguished skill in poetic improvisation, but writes that Sgricci’s improvisation is more fascinating. The author gives an anecdote of Sgricci’s improvisation of the Death of Polyxena in front of an audience that chose the subject.
Piozzi describes her experience of poetic improvisation in Italy. While visiting Ferrara, she recalls the performance of the improvisatore Talassi in London in 1770, which brings about reflections on the practice of poetic improvisation in general. In Florence, she notes the fading voice of the aging Corilla, whose character however remains as sharp and humorous as ever, and emphasizes the charm of the younger and more beautiful Fantastici. Piozzi also praises the talents of the Abate Lorenzi and the Abate Bertola and comments on written and oral improvisation of Latin verses.
In his travel notes, Volkmann describes Italian improvisation as a light diversion typical of that nation. He mentions several famous improvisatori, and notes that improvisation is not a new art form, but has existed for centuries.
Lalande lists and describes the most celebrated improvisatori in Italy, and claims that Lorenzi is the best.
In one of the most referenced articles on improvisation published in his time, Fernow describes in detail the skills and state of inspiration necessary for improvisation and the social circumstances in which improvised performances are to be witnessed in Italy. The first section of the article concludes with a reproduction of an Italian improvised poem, “Il Cinto di Venere.”