My review: Romance Nº 1 is a piece in three sections, with an accompanied melody texture and a tranquil tempo, creating an atmosphere of calm and reflection. The thematic unity and the constant accompaniment of arpeggios give the piece a sense of cohesion, with a second development section and a third recapitulation section. In fact, it is constructed from a harmonic progression (accompaniment) upon which small variations on the main theme melody are layered. Gimenez's social links: Facebook YouTube SoundCloud Enjoy "Romance Nº 1" , performed by Carlos Marín Trigo:
"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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