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Does the music work remain the sole property of the composer? What could have sensitized the performer to the point that he improvises his own short introduction before starting the piece, and changes the authentic nuances in some bars? Is the definition of „impromptu” giving freedom to reflect the true feeling inspiration of the performance moment? The article includes an introduction on F. Schubert, famous Austrian composer and pianist, the study of the impromptu genre defi nition and historical context. The authors have chosen interpretative versions on F. Schubert’s Impromptu no. 3, op.90 off ered by V. Horowitz, S.Richter, D.Lipatti, M.J. Pires, D. Fray, K. Buniatishvili. Besides a short description of their pianistic abilities, the authors tried to reveal the individual approach of each performer. It is important to mention an unusual treatment of this genre by D. Lipatti who added his own two bars improvised on Schubert’s text.