Pizzetti wrote several books, mostly of musical criticism (he co-founded a journal of modern music, Dissonanza in 1914), but notably also a biography of Niccolò Paganini. His music is lush, diverse in terms of what he asks of his orchestral players, and sincere. It fits well with the times, being not all that dissimilar to the beauty and drama of Claude Debussy and Vaughan Williams; and it yet fits even more perfectly into the history of Italian sacred music and operatic canon. A true delight to discover him here.
The odd timing, as the sequence starts on the “4” beat of the end of the solo, instead of the expected “1” beat, catches the ear off guard and adds to the mystical feel of this little interlude. The icing on the cake can be tasted when the bass doubles the notes from octaves below it — though at the start of the third octave, Jones dips back to the third below it, and finishes his last arpeggio back at the top of the second octave, instead of continuing on to the top of the third with Page. It’s a wise decision, as the widening gap in pitches helps accentuate the guitar’s rise to its zenith. It’s yet another classic example of Jones’ flashy but never overdone playing.