Friday, February 17, 2017

Costa Nogueras, from 12 Composiciones musicales (1881), continued

In the previous post, I commented on the first three numbers in the 12 Composiciones musicales (1881) by Vicente Costa Nogueras. Today I look at the last three, a Fantasia-Impromptu (n10),  a waltz "Arlequin" (n11), and a March (n12).

The Fantasia-Impromptu is a larger scale piece in a ternary form with a strongly contrasting middle section (Allegro giocoso in the outer sections, Andante Cantabile in the middle one). After a six-bar introduction, the principal theme enters in a double period in which both units end on the dominant. Here is the first:

After a contrasting middle of 19 bars, the theme returns, though now the second unit is entirely new -- but once again ends on the dominant):


Now this unit is repeated, finally closing the A-section in the tonic and introducing a transparent ascent from ^5 to ^8 in the cadence.

All this is repeated at the end of the piece, and a brief rousing coda follows:


Arlequin (n11) is a conventionally designed waltz set with a short introduction, four waltzes, and a coda that quotes the first waltz. It is unusual in the progression of keys: F-Bb-Eb-Ab and a return to F through a quick modulation in the coda.

The first strain of waltz n1 gives a prominent place to ^3 (A5) in the first unit, but the second runs a line directly from ^5 over a typical TSDT functional progression.


The second strain (trio) of n2 leaves little doubt about its attention to ^5, and ^6 as its neighbor.


The March (n12) that closes the collection is a straighforward example of the "mirror Urlinie" from ^8 down to ^5 and then back up again in the cadence.