Tres impromptus per a piano

The first 3 Impromptus of 1955 form a very balanced and coherent unity...The first piece, Larghetto, in ternary form with an extremely tranquil outer section and a more animated middle section, contrasts with the second: a Vivace that is fleeting and extremely fast throughout . With the Impromptu nº 3 we return to a calmness and serenity that is even more intense than in the first Impromptu: a sustained calm throughout the piece, even in the noble final climax...In all, we do not find in this first Impromptu any intention on the part of the composer to break with tradition...
This position of Homs not to scorn traditional techniques persists in the Impromptus nº 2 and nº 3. The second, a carbon copy of the classical Scherzo –where not only the traditional ternary bar is maintained but also the presence of a central Trio in slower time –is remarkable for some passages which demand particular agility from the performer. The Impromptu nº 3, reflective and peaceful from beginning to end, provides considerable contrast.
Summary of: “An introduction to Homs’piano works”, by Jordi Masó.