Sonata no 26 in A major ( Binary )

Hello my friends! I’m happy to present my Binary Sonata No. 26 to you as well. I hope you enjoy it!

Um... is this an undiscovered work by Scarlatti or something like that?

Anyway, some people in this forum have amazing compositional skills and knowledge.
Not everyone does, though, and I mean, hats off to such people.
And I think you are one of them. At least, I think so.
You have amazing composition skills.
I appreciate this piece.
The resonance of the sound is great, and it excels in every respect—from the dynamics and tempo transitions to such a smooth, flowing quality and a well-executed conclusion.
The interplay of sound between the left and right hands is also nice.
It feels as if the sound is sparkling.

By the way, I like your sheet music.
I’m not qualified to judge the technical accuracy of the scores, but there is a certain quality to them—you can sense the deep thought that went into their creation.
They have a real warmth to them.

Ok, this world is "so fair" that even when we compose for ourselves as a hobby, etc., there are magnificent differences, haha. 

Hats off to you, again, @Vasilis Michael!!
I like your pieces! 

Best,

Lithl.

44 minutes ago, Lithl said:

Um... is this an undiscovered work by Scarlatti or something like that?

Anyway, some people in this forum have amazing compositional skills and knowledge.
Not everyone does, though, and I mean, hats off to such people.
And I think you are one of them. At least, I think so.
You have amazing composition skills.
I appreciate this piece.
The resonance of the sound is great, and it excels in every respect—from the dynamics and tempo transitions to such a smooth, flowing quality and a well-executed conclusion.
The interplay of sound between the left and right hands is also nice.
It feels as if the sound is sparkling.

By the way, I like your sheet music.
I’m not qualified to judge the technical accuracy of the scores, but there is a certain quality to them—you can sense the deep thought that went into their creation.
They have a real warmth to them.

Ok, this world is "so fair" that even when we compose for ourselves as a hobby, etc., there are magnificent differences, haha. 

Hats off to you, again, @Vasilis Michael!!
I like your pieces! 

Best,

Lithl.

My dear friend, thank you so much from the bottom of my heart for this wonderful comment! ❤️

I’m incredibly happy that you enjoyed the sonata, and even more so that you noticed so many details in the music, from the dynamics and tempo transitions to the interplay between the two hands and the way the music leads towards its conclusion. These are things that are very important to me when I write.

And what you said about my scores—that you can somehow sense the thought and warmth behind their creation—really touched me. For me, a score is not simply a way of writing music down; it is a part of my thoughts and a little piece of myself.

And as for Scarlatti, your comment is an enormous compliment to me, because his music has had such a deep influence on this part of my musical journey. 😊

Thank you again for your kindness, for taking the time to listen to my music so carefully, and for continuing to find something of your own in it. I truly appreciate it my friend! ❤️

Edited August 9Aug 9 by Vasilis Michael

Hi @Vasilis Michael !

Another great work my friend! That Neapolitan F major resolved to E major in 0:40 sounds so magical to me. I would describe your style as a mix of Schubert and Scarlatti! Both composers are magical in their modulations and you too!

Henry

25 minutes ago, Henry Ng Tsz Kiu said:

Hi @Vasilis Michael !

Another great work my friend! That Neapolitan F major resolved to E major in 0:40 sounds so magical to me. I would describe your style as a mix of Schubert and Scarlatti! Both composers are magical in their modulations and you too!

Henry

My dear Henry, thank you so much, my friend! ❤️ I’m really happy that you noticed that particular moment with the Neapolitan — it’s one of those harmonic moments I especially love, and I’m very glad that it felt so magical to you.

And the fact that you describe my music as a mix of Schubert and Scarlatti is a huge compliment to me, especially coming from a musician and composer whose work I appreciate so much. They are two composers I deeply love, and in my own way, I feel that I find something of myself in both of them.

Thank you sincerely for your beautiful words, Henry. Your opinion means a lot to me, and I’m very happy that we can continue sharing our music with each other! ❤️

Also, when I find some time, I definitely want to listen to the Clarinet Quintet you posted. I’m really looking forward to hearing it! ❤️

Quite beautiful.

8 hours ago, Luis Hernández said:

Quite beautiful.

Thank you so much my dear friend. I’m glad that you like it🙏🙏🙏

As a type one sonata, I can safely say the following:

• The tonic pedal under the TR zone is nice touch. Our ears usually want to V pedal while there is key modulates. But a tonic pedal creates tonal stability and fits within type of sonata.

• Although there is not official ST after TR launch, which is linked to missing MS. We still have closing section, but not a codetta.

• The sentence structure in the opening is well written: statement and response.

• The middle section (B) is small development that follows up with A section.

  Overall, this type fits nicely with in early period of the romantic composers or with in late baroque-early classical period. I imagine you were inspired by Clemente, Scarleti, Schubert, Mozart, etc. Let me know.

I just read @Lithl comment and your reply! Yes, I can see how his works would have influence you. We would not think his sonatas as the norm, but back then, sonatinas were. It is right to say it is binary, but more accurately it is sonatina. :D

7 hours ago, Kvothe said:

As a type one sonata, I can safely say the following:

• The tonic pedal under the TR zone is nice touch. Our ears usually want to V pedal while there is key modulates. But a tonic pedal creates tonal stability and fits within type of sonata.

• Although there is not official ST after TR launch, which is linked to missing MS. We still have closing section, but not a codetta.

• The sentence structure in the opening is well written: statement and response.

• The middle section (B) is small development that follows up with A section.

  Overall, this type fits nicely with in early period of the romantic composers or with in late baroque-early classical period. I imagine you were inspired by Clemente, Scarleti, Schubert, Mozart, etc. Let me know.

I just read @Lithl comment and your reply! Yes, I can see how his works would have influence you. We would not think his sonatas as the norm, but back then, sonatinas were. It is right to say it is binary, but more accurately it is sonatina. :D

My dear friend @Kvothe

Thank you very much for taking the time to look at it so closely! And yes, I can certainly see why you would describe it as having a sonatina character.

What I am actually trying to do with these pieces is to use binary form as a framework, while at the same time incorporating some of the dramatic principles of Classical sonata form into it. So although the structure remains essentially binary, I try to give the B section a more developmental and dramatic function, rather than treating it simply as the second half of a binary form.

In that sense, I agree that “sonatina” can be a more precise description than simply “binary”. The binary structure is the foundation, but I am trying to bring the dramatic logic of Classical sonata form into that framework.

My strongest influences are Mozart, Schubert, Beethoven and Scarlatti. Schumann and Brahms have also influenced me at times, although perhaps less directly. I actually haven’t listened to that much Clementi, despite the connection you noticed.

Thank you again for your observations. It is really interesting for me to see how someone else perceives the formal and dramatic structure of the piece.