Corrupted Sonatina No. 1

Hi!

First of all, before anything else, I want to say how amazing this forum has been for me and how friendly and helpful the community is. This is the only place where I truly feel I'm getting the kind of feedback that helps me grow as a composer. Thank you all for that!

Now for the music.

I wrote a piece that explores the idea of Classical clarity being gradually corrupted by an unknown force. As the music unfolds, the familiar structure and stability slowly break apart, transforming into something different.

There are a lot of little details and ideas I tried to communicate through this piece, and for the last few weeks I don't think I've gone an hour without thinking about it. Naturally, I feel very connected to it, and I'd genuinely love to hear your thoughts and feedback.

YouTube link

Score

Movements:
0:00 Allegretto
1:44 Adagio
3:28 Andantino

Corrupted Sonatina.pdf

A very interesting piece.

Although I don’t quite grasp the idea. I’m not sure if you mean that it begins with a movement that sounds very classical and then takes a few twists and turns.

The second part seems to take a stylistic step back, as it sounds pre-Baroque with unadorned lines and a modal sound (perhaps Dorian F).

@Luis Hernández
Thank you for listening!

Yes! that was the general idea. I wanted the piece to begin with a clear classical language and gradually become destabilized by something outside of that system. This is reflected mostly in the larger architectural decisions, but also through smaller stylistic choices.

It's interesting that you heard the second section as pre-baroque. That wasn't my conscious intention, but I can definitely see why it comes across that way!

Hello,

I listened to it twice. When you say corrupted, it made me think of this piece by Denisov: it's pretty long. The first 10 minutes is just Schubert (can you probably skip through it, if you want), but it gets a bit weird, no longer just Schubert, perhaps corrupted at around the 10 min mark and by the end of the song it gets pretty weird before returning to a bit more normal.

There are parts of the song where it doesn't really feel like classical music anymore, definitely noticed something off at measure 70. And around measure 105 is when it really becomes noticeable to me.

I can recognize a theme that persists throughout, even as you change things up, so that's nice. I think there is some notation issue at measure 84? Not sure 100% about the tied note.

The part at measure 50 reminds me a bit of that famous Mozart variation, I think in A major?