Postings in the tonality group are only allowed with an explanatory note. That's why I write this explanation. This piece has romantic tendencies. So how can we comment on a style and a tradition that is already so well established? Well, I can’t beat the romantic composers on their understanding of sonata form and refinement of piano writing. But I have tendencies of my own. There is for example a tendency in my harmonies (by intuition and imagination) to destabilize traditional harmonies by adding lower non-chordal tones. Its something of a gaze in the abyss, and I don't know why I'm sensitive to it. The most daring dissonant of this piece is in bar 11. The right hand tones suggest a g major dominant 7th chord, which could go to c minor. The lower left hand tones however are drone like sound on d flat, that could modulate to g flat (as far away from c minor as possible). So this dissonant suggest something of a double vision (at least my ears find it convincing), a view of something beyond, how romantic is that. Bar 13 hints at the tonality of g minor, more or less. Then it goes on in e flat major, the parallel key of c minor. So the dissonant of bar 11 is the most important bang of this piece. Everything hinges around this point, its emotions, but also its architecture.
No.4 of five pieces for the organ