My personal review: We had already discussed what a Consolation is in music in a previous article , as well as the possible sources of inspiration for Franz Liszt, the first composer to use the name Consolation for one of his pieces. Donna Mitchell's Consolation No. 2 creates a calm, poetic, meditative atmosphere. It is a piece in two sections, each of which is divided into three subsections, plus an introduction and a coda; its slow and leisurely tempo, as well as the constant accompaniment of arpeggios, are the main characteristic of this piece. It is worth noting that the second section, although it feels like a restatement, has certain variations (especially in the second subsection), which create some interest for the listener, which is further enlivened by the surprising coda. Mitchell's social links: YouTube (Channel 1) YouTube (Chann...
"Keyboard Sonata No. 1 in G minor", by composer David Unger, is a piece in the purest Baroque style.
Let us remember that, in its beginnings, the word "sonata" referred to "what is sounded," as opposed to "cantata," "what is sung."
However, composers such as Domenico Scarlatti began to shape monothematic pieces into two sections (the first modulating, from the main key to a neighboring key, and the second returning to the main key). This form would be decisive in the classical "sonata form," which dominated 18th-century music.
The one presented here by Unger begins with an exposition that may well remind us of an invention, as there is an entry of a small subject in the main key (G minor) and in the right hand, immediately followed by the corresponding entry in the left hand and a third entry, again in the right hand. This third entry makes us think, although we are obviously not 100% sure, that perhaps the composer intended the two voices to expose not only the subject but also the countersubject (a melody that sounds at the same time as the subject), since, had he made only two entries, the first being with the subject alone, the two countersubjects would not have been exposed. Be that as it may, it is something we find interesting and noteworthy.
We also find it worth noting that, after a cadential process, a counterexposition appears, a device reminiscent of the scholastic fugue and which consists of exposing the subject again, but this time entering in the reverse order to the exposition. That is, if the exposition was right hand, left hand, right hand, in this case, it would be left hand, right hand, left hand.
Next, a short modulating episode, in which the hands exchange the musical motifs that comprise it, leads us to a cadential process in the key of B-flat major, relative to the main key.
This entire section is repeated to give way to the second section, which begins with the usual exposition, this time in the current key of B-flat major.
We miss the counter-exposition, however, we are encouraged by the fact that this time there are two modulating episodes. The first, like the previous section, alternates the motifs between the two hands. In the second, the right hand plays the main motif, while the left plays a secondary one, creating a certain musical tension that culminates in a climax just before the final cadence that returns us to G minor.
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