Around the year 1906, Perosi conceived the large-scale project to dedicate symphonic works for full orchestra to Italian cities, some of which had been the venues of his musical experience. Over the years that followed, the "Roma", "Venezia", "Firenze", "Messina", "Tortona", "Milano", "Torino" and "Genova" suites appeared, with, perhaps, a ninth, unfinished one for "Naples". The project was to have concluded with a tenth suite entitled "Italia", which would have included voices with the orchestra. Composer Alberto Gasco provided this interpretation of Perosi's intentions: "Maestro did not intend writing description music, nor creating a portrait of the cities themselves. Was this wise? I do not think so, and confirming my opinion is the fact that the Messina suite, as the composer himself decalres, was inspired by the horrific reality of the city in ruins. Therefore, little by little, Perosi arrived at the idea of creating a special character in the music of his suites. Entitling his compositions aftre Rome, Venice and Florence, through sound he conveyed the solemn majesty of the metropolis, the infinite languor of the city on the lagoon, and the carefree, pulsating Italian soul of the city of art, condensing emotional aspects into his works." Author Vittorio Podrecca offered this praise of the compositions: "Here, Perosi, with soul, reawakens the symphony by composing suites. Radiating through his noteworthy qualities are a limpidity of inspiration and design, sweetness of effects, sincerity of emotion, persistent elegiac poetry, and efficacious, tasteful orchestration."