Through composed fantasia. 139 compas >> quite long.
Theme 1 = incipit, Theme 2 = ascend 3rd motive usually given M.C M rhythm. Themes 3 and 4 = briefly treated imitated motives. 40-43, and 46-57 respectively.
Tempo indications are contradictory: ni apriessa ni espacio and verbal ‘algo despacio’
S range = mode 3, but K on A at end. Mode 4 cadences rather than mode 3. Active voice shifts from phrase to phrase thus maintaining the imitative contrapuntal spirit of the fantasia but no systematic thematicism. Contrapuntal complexity thus felt. Great variety of textures including: active S with 10ths in T; homophony with outer parts in contrary motion (135-139); static voices with moving active voice. Great cadential variety. Not too much dissonance, but many interrupted Ks of strange type. Sudden breaking off of voices sometimes seems like poor writing, other times just whimsical. In both cases, interest of listener is always thrust forward ahead of performance.
Pujol (Textos y comentarios p.62) says there is a ‘the positive influence of Narváez on the technique and aesthetic’ on this fantasia, shown in its ‘texture, development and elevated spirituality’.
Aesthetic maybe, but to me not in technique.
Work begins as if it were to be an imitative piece.