Any kind soul doing me a favor?

I could rewrite it for you on Musescore and export it in .xml format (which should be read by Finale).

But I could do it tomorrow.

I need it in pdf. Comments are also welcome

It can be done in pdf, unfortunately tomorrow morning I have to get up at 4:15.

When I get back I can do it for you (if no one else arrives in the meantime).

Ok thanks

Simò, five minutes and he'll be here.

I will send it to you by email.

Try to take a look at it.

Infinite thanks to Frank and also thanks to Maurizio who sent me a copy via email. Small correction. Penultimate measure, it is not MI but the LA below the MI.

Let me know what you think, Frank. Who better than you?

I find it fun, but there are things more or less urgent; I'm just passing along a few quick reflections because I'm a bit worn out and can't stay at the PC for long

Let's say, thinking out loud:

- measure 7, the last F#, I would keep it until the middle of measure 8 (followed by a breath)
- from measure 8 begins a small section with more "voices," which could be improved and is perhaps a bit sudden
- at measure 16 that chord on the left can be arranged better; in the bass it is too dark, especially in relation to what is happening above

Why no Mi in the penultimate measure? The A kills the reprise; if you don't like it, study another solution

Just a few ideas... I should look more closely at the harmony, but it flows. Furthermore, I haven't related the cadence "to the before" and "to the after."

This is how it sounds at the current state.

http://www.pianoconcerto.it/condivisione/cadenza488.mp3

Frank wrote:

I find it fun, but there are things more or less urgent; I'll just pass along a few quick reflections because I'm a bit of a wreck and can't stay at the PC for long

Let's say, thinking out loud:

- measure 7, the last F#, I would keep it until the middle of 8 (followed by a breath)

- from measure 8, a small section with more "voices" begins, which could be improved and is perhaps a bit sudden

- at measure 16, that chord on the left can be arranged better; in the bass it is too dark, especially in relation to what is happening above

Why no mi in the penultimate measure? The A kills the pickup; if you don't like it, study another solution

Just a few ideas... I should look more closely at the harmony, but it flows. Furthermore, I haven't related the cadence "before" and "after."

At measure 16, I also thought it was a little dark. In fact, I think I will raise it, either in inversion or directly to the upper octave.

On the penultimate measure there is an error, it's not la-mi (the mi you read is actually a dot/pedal mark). The trill is on the A, and I had put the reinforcing A in the bass (not the E, I wrote it wrong).

Ok, since you have the G# in the trill, maybe it's better to omit it in the ''last chord of the left hand.''

I am pleased that a pianist knows how to improvise a cadenza. Well done Simone. Clearly, by writing it beforehand, one has the time to "perfect" (everything can be improved)... but in the improvisational spirit, I would say I don't mind it.

Well, I am not a composer. I put it together based on the path of the first movement, practically improvising, and then putting it down on paper. Furthermore, I am not endowed with great musical creativity; all banal ideas come to mind, and I realize it the moment I formulate them. In the end, to each their own profession, one cannot be a "tuttologo" [know-it-all]!