ASSISTANT
Form, structure, and harmony in Sonafinita:
Sonafinita can be considered as a compound ternary form, consisting of three sections. In the second section, the elements of the first section are self-referenced. Instead of being a binary or ternary form, Section A (exposition) is itself a compound ternary form. Essentially, Section A consists of a short introduction, followed by a simple two-part vocal idea, dynamic ideas within the framework of ternary form, and a short recapitulation of the first section, concluding with a complement.
In comparison to the first section, the composer introduces the introduction in a surprising manner, leading it to a high vocal theme with a movement that creates the expectation of dynamic thematic elements. The harp harmonies, sustained notes of wind instruments, and harmonics of strings propel this section, and its climax is created not melodically, but through an increased density of texture. Chelsta then gradually establishes the thematic space of this section with ascending, inverted, and head-to-toe gestural movements towards the next section. Continuing with altered repetitions of the gestural movement, the second theme of this section is presented, developed, and leads towards the recapitulation of the first theme. In Section B, the ideas from Section A are mixed in an expanded form, and a new episode is presented. Further in this episode, the expansion of the ideas from Section A culminates in a fugato, marking the end of Section B. Following this section, a recapitulation of Section A along with a short coda concludes the piece.
The composer's main goal and effort throughout all sections of the piece is emphasizing melody and expressing thematic melodies while avoiding a definite and tonal space.
In this piece, the composer pays special attention to counterpoint techniques, including various imitations at different intervals, ascending and descending imitations, strettos, etc., to express his ideas. Another technique that the composer particularly focuses on is the use of staccato in different registers, especially in the bass register. It is heard through instrumentations or different doublings in different tonal areas with various orchestral colors. Additionally, the composer strives to achieve a personal musical language in the realm of free atonal space by using non-tertian chords and non-functional relationships between chords. In fact, most of the harmonic elements are derived from the initial thematic idea, presented in measures 14 to 17 (especially the chord notes in measure 17). The theme, which completes the mass in several measures melodically, holds special importance for the composer. Various combinations of fourth and second intervals are heavily utilized in chord structures, with the root of this choice attributed to the structure of the chord in measure 17. The chords are either the result of different transformations of this chord or variations of these transformations (along with other notes derived from the theme in measure 14) or simply formed under the influence of combining various fourth and second intervals. Even the combination of orchestral melodic elements and passages is influenced by this harmonic combination approach, with doubling at the second interval (usually major second and occasionally minor second), especially in the high register, accompanied by notes at a fourth interval, forming a part of the composer's technique to advance the piece.