What's Your Favorite Modern Piano Sonata?

[Simula]

"Modern Piano Sonata" seems to be quite general, but I didn't know how else to classify it. Everything from Berg to Boulez. I have enjoyed Schnittke's piano sonatas. Please share some of your favorites.

[ComposerOfAvantGarde]

Boulez 1-3
Chris Dench

[Brian]

Not sure why, but many of my favorite mid/late-20th century piano composers did not write "sonatas" as such, or their major large-scale works do not carry the "sonata" label. Similar, I guess, to how many contemporary composers resist putting the word "Symphony" on their larger orchestral works.

[Simula]

Not sure why, but many of my favorite mid/late-20th century piano composers did not write "sonatas" as such, or their major large-scale works do not carry the "sonata" label. Similar, I guess, to how many contemporary composers resist putting the word "Symphony" on their larger orchestral works.

Maybe share one of your favorite "mid/late- 20th Century" piano works?

[ComposerOfAvantGarde]

I don't think there is as much meaning to the word 'sonata' these days as there was from the 17th to the 19th centuries. Particularly in the late 18th and early 19th centuries it held a particular structural implication that grew out of the harmonic functions of that era. Things change and people use 'sonata' to mean different things. Perhaps naming things by the number of instruments being performed has always been the easiest way to categorise music ('solos' 'duos' 'trios' 'quartets') but there are composers who do love a nice descriptive title.

[North Star]

I don't think there is as much meaning to the word 'sonata' these days as there was from the 17th to the 19th centuries. Particularly in the late 18th and early 19th centuries it held a particular structural implication that grew out of the harmonic functions of that era.

This sounds rather similar to what has happened to the words symphony and concerto, too. Someone might suggest that there are actually more meanings to these words nowadays, rather than less.

but there are composers who do love a nice descriptive title.

Such as solos, duos, trios and quartets?  Descriptive titles are good because it's bloody hard to remember which work is which if you have 30 piano sonatas or 100 symphonies to remember solely by their opus number, sequence number and key signature. It's also not good if some of them, equally deserving works, don't benefit from this memory aid, though.

[Karl Henning]

This may be mine:

http://www.youtube.com/v/QEaHJ1SsA4o

[Mandryka]

Hanns Eisler's 3rd sonata.

The Barraqué sonata

Karl Amadeus Hartmann Sonatina

Anyone going to talk up Sciarrino?

[Simula]

Listened to Wuorinen No.3 (not quite my cup of tea, but maybe I am missing the point)?

Listened to Eisler No.3 (this was very interesting, reminds me of Schoenberg's piano music, interspersed with Jazz motifs).

However, neither of these sonatas achieve the solidity or originality of the Schnittke sonatas. 

I should also say, I find the piano sonatas of Sessions to be very interesting indeed, they certainly seem to articulate an emotional quality.

[Monsieur Croche]

Listened to Wuorinen No.3 (not quite my cup of tea, but maybe I am missing the point?)

I don't think you're missing the point as much as expecting a more 'usual' and identifiable application of the more traditional (common practice) Sonata-allegro format, which, by your statement below...

However, neither of these sonatas achieve the solidity or originality of the Schnittke sonatas.

I think a decent educated guess, since Schnittke was very involved with use of the old forms. (Exactly why I find him not nearly as interesting as many seem to do... and at least a partial ditto re: the Sessions, as you've  mentioned below.

I should also say, I find the piano sonatas of Sessions to be very interesting indeed, they certainly seem to articulate an emotional quality.

Somewhat in that mold, I highly recommend the Elliott Carter Piano Sonata from 1946 (technically that is then "modern' vs. "contemporary" era.)  It is quite a memorable piece from the time he had just arrived at his own readily identifiable style. It is a big piece, both in duration as a large-scale structure, and I think from its time it remains an 'important' piano sonata and part of the sonata repertoire. It is also very demanding upon the performer.

Carl Vine (Australian) wrote a first piano sonata in 1990 (also a large-scale work) which created a fair amount of a buzz in musical circles for a while, but I found it a cloaked romantic affectation (It really is not that for many, while for me it is, so it holds no interest for me.) Though, "chacun à son goût," it could be right up your alley.

Boulez' second sonata has been mentioned, and is certainly 'worthy.' In a similar vein, you may want to check out the Sonata by Jean Barraqué.

There are some outstanding piano works from the mid 20th century and ongoing, like the Messiaen "Vingt regards sur l'enfant Jesus," or Frederick Rzewski's monumental set of variations, "The People United Shall Never Be Defeated," and his "Four North American Ballads." Similarly, we have too the attractive and fiendishly difficult William Bolcom: Twelve New Etudes (1977-86).

While as already mentioned, the more recognizable older sonata format has not been of such interest or attraction to many a composer, especially post 1975 Americans (this is as true of 'Symphony' as well.) I'm not one to miss that, while others bemoan the fact....

[amw]

I can't think of any "modern" piano sonatas that are worth while to be honest. Expanding the field to include the late 20th century there is obviously Berio, and Ustvolskaya (5 & 6). And uh, probably some other ones. I feel like Boulez's 3rd is probably too old, likewise Barraqué, and a lot of the other more outstanding examples. Some people think highly of the Tippett 3rd and 4th, which are good, but I guess not really my thing.

Not going to be much of a Sciarrino defender either. I'm not as convinced by his piano work as by his other stuff in general. Though recommend all of the Notturni. Also not going to defend Brice Pauset though maybe someone here will. The use of the sonata term in the modern era, in general, correlates with composers who are either openly backward (like, idk, Avner Dorman or whoever) or who problematise or comment on familiar material/style, which is more like closeted backward (like, John White or Chris Newman or whoever).

My Problematic Fave™ from the late 20th century is Harbison's 1st (speaking of cloaked romantic affectations) dedicated to the memory of Sessions. Overall favourite I'll go with Berio because, not much else, and it's very good indeed.

[Karl Henning]

Listened to Wuorinen No.3 (not quite my cup of tea, but maybe I am missing the point)?

May just not be your cup of Assam.

[Karl Henning]

I cannot believe that it really the case that I enjoy the Wuorinen "simply" because I studied with the composer.

But, even if I am the only soul here who perceives its musical merits, I am content.

[Drasko]

Radulescu 2-4

[Simula]

I don't think you're missing the point as much as expecting a more 'usual' and identifiable application of the more traditional (common practice) Sonata-allegro format, which, by your statement below...

Friend, I certainly thank you for your feedback.

[Simula]

Listened to Radulescu No.4. The progression of this sonata seems too simplistic to me.

Listened to Harbison No.1. This is a far more mature sonata than the one mentioned above, although it seems a bit gimmicky to me, neither of these would be uploaded to my mp3.

Berio sonata is next.

[Mandryka]

I can't think of any "modern" piano sonatas that are worth while to be honest. Expanding the field to include the late 20th century there is obviously Berio, and Ustvolskaya (5 & 6). And uh, probably some other ones. I feel like Boulez's 3rd is probably too old, likewise Barraqué, and a lot of the other more outstanding examples. Some people think highly of the Tippett 3rd and 4th, which are good, but I guess not really my thing.

Not going to be much of a Sciarrino defender either. I'm not as convinced by his piano work as by his other stuff in general. Though recommend all of the Notturni. Also not going to defend Brice Pauset though maybe someone here will. The use of the sonata term in the modern era, in general, correlates with composers who are either openly backward (like, idk, Avner Dorman or whoever) or who problematise or comment on familiar material/style, which is more like closeted backward (like, John White or Chris Newman or whoever).

My Problematic Fave™ from the late 20th century is Harbison's 1st (speaking of cloaked romantic affectations) dedicated to the memory of Sessions. Overall favourite I'll go with Berio because, not much else, and it's very good indeed.

Thanks for this, I didn't know the Berio sonata before. I've lost all interest in Ustvolskaya recently. One I forgot to mention which I like is the Cornelius Cardew third sonata.

Boulez 3, modern or not, has some outstanding bits, though I can do without the whole sonata. I like constellation-miroir.

Maybe, just maybe, the OP will enjoy Norgard's second.

[Simula]

I tried to find Norgard's 2nd but could not find it on youtube, however I did come across Bartok's corniest piece of work, his Sonatine. God spare me! A bunch of juvenile riffs, nothing more.

[Archaic Torso of Apollo]

Somewhat in that mold, I highly recommend the Elliott Carter Piano Sonata from 1946

Yes, I can second this one. It was "when Carter became Carter," so to speak.

Carl Vine (Australian) wrote a first piano sonata in 1990 (also a large-scale work) which created a fair amount of a buzz in musical circles for a while, but I found it a cloaked romantic affectation (It really is not that for many, while for me it is, so it holds no interest for me.) Though, "chacun à son goût," it could be right up your alley.

I heard this once while driving and was hugely impressed with the energy and drive of the piece. Haven't heard it since then.

[Cato]

I am having a problem with the word "modern." 


https://www.youtube.com/v/9AiRrz3Udks