This is a set of three pieces, though composed individually, that I put together as a single opus number, each reflecting an attempt to compose within a specific style.
The first is a "sonata" akin to the single movement works of Domenico Scarlatti. It originally started as a possible movement for my harpsichord concerto which I later just used as a stand alone solo keyboard piece. It is playable for harpsichord or piano.
The second is a movement in classical sonata form that was originally an assignment for a music theory class. It's probably the most "pedantic" of the group being in very tight sonata form.
The last is a romantic style prelude. It is a piano transcription of the cadenza to the ending of Fantasy for violin and orchestra that I wrote about 5 years ago.Sonata in c minor - score.pdfSonata Movement in A minor - score.pdf
A delightful little piece. I'll be honest, I didn't hear the rondo form but probably more because my ear isn't accustomed to hearing modern harmonies within a classical form. I love the rhythmic complexities, keeps the listener off-balance in a good way.
The general impression es that of fluidity. All the techniques you mentioned are not perceived, but in a whole way, which I think is good. The melody is clear and interesting, it catches my attention. One of the "modern" aspects for me is the treatment of the "rhythm" section, very noticeable. The complex chords at the end are amazing, they sound "dense", reminding me some works by Rautavaara.
This is an etude in the form of a Rondo. I don't make too much of it except that it addresses the topic a of recent thread here about 'how to introduce asymmetrical phrases into your writing to give it interest and unpredictability, which are pretty much the same thing. The techniques I used are a malleable time signature (2/4), truncation of theme, inversion of theme, pointillism of theme, fooling the listener to hear the strong beats as weak beats and vice verse. And there is something like a Stretto, but not quite. Where the last bar of a line forms the first bar of the next line, effectively melding/confusing a proper cadence with a new line.