The author of a vast number of compositions including about forty operas and ballets, eleven symphonies and eleven concertos, numerous pieces for the piano, chamber and vocal works, as well as critical studies, literary writings and memoirs, Gian Francesco Malipiero lived and worked in a difficult and extraordinary balance between the new and the old. He was unquestionably the most important and complete musician of the Generazione dell’Ottanta, a member of the avant-garde of the first post-war period, and an advocate of an anti-romantic conception of harmony without the residue of nineteenth-century chromaticism. His “Impressioni dal vero” (1910, 1915), “Pause del silenzio” (1917), and “Le sette canzoni” on lyrics drawn from ancient Italian poetry, are among his masterpieces. This CD, which presents some works for the first time ever, attempts to sketch a sort of portrait of Malipiero, though the drawing tools employed are merely the charcoal of the cello and the few colored pencils of the piano. This portrait outlines a long period of time in the life of the composer, from his first years of composition—fertile but unacknowledged—to 1946; in other words, from a rebellious apprenticeship to expressive maturity, in a variety of genres, from pre-established forms to the feuille d’album and improvviso, arriving at works which are free from any pre-conceived model, so long as it is related to the legacy of the antique masters. Over these long years, Malipiero entrusted to both the cello and the piano a sort of intimate confession which referred not so much to events and sentiments as much as the way they reverberated in the depths of his soul—the colors of a restless sensibility. One of his sonatas for cello and piano dates from 1907 and was published the following year but was later repudiated, or rather excluded from the catalogue of works compiled by the composer himself. The years of 1907-08, during which time he also wrote the Bizzarie luminose for piano, were crucial in the life of Malipiero: it was a period of reading and rethinking, of discoveries and experimentation, a search for expressive means capable of reflecting a personality which, though still developing, was nonetheless already aware of its own musical destiny. And if our musician did not yet know what he wanted, he definitely knew what he didn’t want.