The sonatas by Espona, similarly to other Catalan works of the second half of the XVIIIth century, have a simple and pleasant style. Their range does not exceed a regular keyboard, for they are perfect for harpsichord or organ. In Espona’s sonatas, we often find alternate octaves, sonorous arpeggios between both hands that lead to a cadenza, written out ornaments, irregular phrases, elisions with final fermata and, sometimes, unforeseeable changes of motives.
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