DavidMahler
Headphoneus Supremus
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[size=small]I notice how much circulation the classical music threads get on head-fi and I think that’s really awesome. I wanted to set up a thread which talks about the most quintessential piano pieces of the repertoire. This list will talk specifically about solo piano music and will read semi-chronologically. Remember this is all my own opinions, and the reference recordings chosen are from my own large collection of classical CDs.[/size]
[size=medium]Johann Sebastian Bach[/size] – The Well-Tempered Clavier Books 1 & 2 (BWV 846-893) [1720-40]
Not enough can be said about Bach’s keyboard music. While not originally intended for the piano (most of Bach’s piano music was written for harpsichord) Bach’s keyboard music is along with Beethoven’s and Chopin’s, the most often performed and recorded of all compositions for the piano. At the top of the hill of piano music stand two essential works by J.S. Bach. The first I’ll mention is called the Well-Tempered Clavier and what it consists of is 2 complete books of preludes and fugues for every key, both major and minor. Each book consists of 24 preludes and fugues. Between the two books we have what many call “the great 48.” It is this 2 volume series of keyboard music which lays a great foundation for those wishing to explore the piano’s rich history. Both books combined take up 4CDs, and there are many wonderful versions. Glenn Gould’s recording of the work was sent into space in a time capsule to show the entire universe just exactly what humans could do, the height of our powers so to speak! My reference recording of this piece is Andras Schiff’s recording for Decca London.
[size=medium]Bach[/size] – The Goldberg Variations (BWV 988) [1741]
When I was working as a personal assistant to the late Rosalyn Tureck (renowned Bach pianist) she used to have a saying which she sprung at me every day “You can listen to all the music of the world, but the only composer who really matters is Bach.” I think she knew she was exaggerating or just egging me on, but when you get lost in the world of the Goldberg Variations, it’s actually hard for at least that moment to imagine another composer mattering. For me, the Goldberg Variations is Bach’s finest achievement. And of all his works, it was the one which he received the most money for composing. The piece is a series of 32 variations built on top of a fairly simple aria which Bach may have not even written. It is the nature of the following variations, which leave performers and listeners in awe. Without delving into too much detail, the variations explore the depths of Baroque symmetry and counterpoint with an expressiveness that is unlike any other piece. You can never own too many recordings of this work and from my understanding it is the most often recorded work Bach ever wrote.
Glenn Gould made two very famous recordings of this work, both of which I don’t love. I usually listen to this work on harpsichord, but for piano reference I usually prefer Murray Perahia’s wonderful interpretation.
[size=medium]Jean-Philippe Rameau[/size] – Keyboard Suite in A Minor [1728]
Rameau was a great innovator when it came to inventing new ways of explaining and understanding melody. In particular Rameau understood that polyphony did not have to consist of two or more separate melodies overlapping one another. Instead he began the proposition of the idea that a melody could be written on top an underlying chord sequence. From this realization we begin to have advanced heterophony, meaning music with a distinct melody standing apart from a chord sequence. Most popular music is written this way (for instance all lead sheets consist of this). Rameau’s revolutionary essays on harmony and melody reached a high point in 1728 when he used these new ideas of his to compose one of the great keyboard suites of Baroque. The keyboard suite consists of a series of French dances, which were very important at the time. The conception of the keyboard suite originated in the mid 17th Century when composers like Johann Jakob Froberger and Louis Couperin began writing in the style for the French Court. The thing which separates Rameau from his predecessors is that his keyboard music seems to lend itself to the piano in a way that others don’t. It’s almost as if Rameau had a sense of the piano even before the instrument was invented. My favorite recording of this piece is Alexander Tharaud’s for Harmonia Mundi
[size=medium]Domenico Scarlatti [/size]– Keyboard Sonatas [1705-57]
Scarlatti’s music is some of the earliest examples of the word “sonata” associated with the keyboard. They are not pieces of music in sonata form the way Haydn, Mozart and Beethoven are, but rather short two-part pieces of keyboard music. He wrote over 550 sonatas for the keyboard! While Italian by birth most of his sonatas were written in Spain where he became very popular. Today his music is often heard in the concert hall in the form of encore pieces. Vladimir Horowitz sort of brought his name back to the forefront of the repertoire in the mid 20th Century. Chopin also admired Scarlatti’s music and used some of his compositions for practice and teaching purposes. Vladimir Horowitz famous recording for Sony (an overview of Scarlatti’s Sonatas) is an easy recommendation for Scarlatti’s works.
[size=medium]Franz Joseph Haydn[/size] – Piano Sonata No. 52 in E-flat Major [1794]
It is amazing how much Haydn’s piano music is overshadowed by his symphonic and chamber music. When one thinks of great piano music of the classical period, Mozart immediately comes to mind leaving Haydn in the dust. However, Haydn’s solo piano music (not piano concerti) is far more innovative than Mozart’s. The underlying reason is Mozart expressed his highest pianistic achievements in his concerti and understood the solo piano sonata as a platform to teach students. This is not to say Mozart’s piano sonatas are poorly written, they are still beautiful and often brilliant. However, Haydn’s Piano sonatas (especially the later ones written after 1785) are among the most personal works of the Century’s most innovative composer. In this sonata we not only find surprising cadences, but we actually hear a middle movement in a key one half step sharper than the tonic! Alfred Brendel’s wonderful 4CD series of Haydn’s greatest piano music is essential for any classical collection, but let this sonata serve as a starting point.
[size=medium]Wolfgang Amadeus Mozart [/size]– Fantasia in C Minor followed by Piano Sonata No. 14 in C Minor (K 475 / 457) [1784-91]
These two pieces were written separately, but are often performed as one cohesive unit. The Fantasia is among the most interesting pieces Mozart ever wrote and sounds years ahead of its time. The Sonata which follows it is one of Mozart’s most dynamic achievements for the instrument. I do feel if you’re trying to build a collection of solo piano music it is important to recognize that Mozart, while unquestionably one of the greatest composers to ever live, did not leave behind the most essential portfolio of solo piano music. I think a lot of people are drawn to Mozart’s solo piano music before anyone else’s because he’s “Mozart – the genius” and that is unfair to one’s self because it will provide the listener with a sense of Mozart at his less inspired moments. Mozart’s greatest works are his piano concerti, his Requiem Mass and certainly his operas. For a fine recording of Mozart’s Fantasia and Piano Sonata in C Minor I recommend Alfred Brendel's.
[size=medium]Ludwig van Beethoven [/size]– Piano Sonata No. 8 in C Minor “Pathetique” (Op. 13) [1798]
Let me preface this by saying Beethoven’s weakest piano piece is his Fur Elise, a piece which he wrote while still very young before he was to reach the level of genius, which he was later to become. Beethoven’s 32 piano sonatas are easily the most studied and discussed works ever written for a single instrument. One of the most interesting aspects of the entire cycle is that while there is a sense of growth throughout, the sonatas don’t necessarily improve; they just advance. By the time Beethoven composed his 8th Piano Sonata in 1798, he had already begun breaking new ground in terms of a harmonic language unknown to his earlier contemporaries such as Haydn and Mozart. The sonata was written just 5 years before he would finish his Eroica Symphony and be remembered as the greatest of all composers (along with Bach and Mozart). The pathos to be found in the adagio movement of this sonata is among the most beautiful melodies ever composed for any instrument. Music this perfect could never be surpassed in my opinion. It could only be equaled in different ways. My favorite recording of this piece is Stephen Kovacevich's on EMI, however Wilhelm Kempff's is a great recording as well and is available for much cheaper since Kovacevich's is currently only available as part of a boxed set.
[size=medium]Beethoven[/size] – Piano Sonata No. 23 in A Minor “Appassionata” (Op. 57) [1805]
Beethoven’s Piano Sonata cycle provides a plethora of brilliant piano music. It is reported that Beethoven preferred his 23rd Sonata over any other. This is another great starting point for newcomers because it consists of melodic music that explodes into a showcase of extremely impressive technique. It was written exactly in the middle of Beethoven’s career as a composer and consists of elements of his early style while hinting at technical achievements to be found only in his latest works. The title Appassionata was not Beethoven’s own, but was attached posthumously by a publisher looking to promote this piece in particular. Emil Gilels never finished recording his Beethoven cycle, but had he completed it, there’s no doubt it would be considered one of the two or three best available. His recording of the Appassionata is extremely well played.
[size=medium]Beethoven[/size] – Piano Sonata No. 29 in B-flat Major “Hammerklavier” (Op. 106) [1818]
The Hammerklavier is among the most difficult pieces of piano music to play successfully. It demands incredible technique, stamina, and supreme musicianship. Unlike a lot of virtuosic music which was influenced by Beethoven’s innovations, Beethoven’s virtuosic music never indulges for the sake of its own appearance. There is thought behind every note in this advanced work, though on a first listen it can seem perplexing and downright bombastic. In truth it isn’t, but what it is, is Beethoven’s attempt at bringing the pianoforte to its breaking point. And the subtitle of the piece “Hammerklavier” simply means “this piece must be played on a hammerklavier (a modern piano).” In other words, he did not want this piece played on a harpsichord, or a fortepiano or even a pianoforte from 10 years prior. In his opinion the piano as an instrument hadn’t yet caught up to Beethoven’s vision. Hopefully he would be happy with the way the piano eventually landed up. He wanted the piano to have a greater dynamic range and more versatility. By 1860 the piano as we know had basically been blueprinted. My favorite recording of Beethoven’s Hammerklavier Sonata is Maurizio Pollini’s classic account on Deutsche Gramophone.
[size=medium]Beethoven [/size]– Piano Sonata No. 32 in C Minor (Op. 111) [1821]
If a poll was taken as to which Piano Sonata was the most profound in the entire repertoire it is my suspicion that this sonata, Beethoven’s final, would take first prize. By this time, completely deaf, Beethoven’s music had become introverted and emotionally explosive, but at the same time meditative and far reaching. It is in this music that feeling of Romanticism in music truly begins even if Beethoven is bracketed as a Classicist. In two long movements, Beethoven’s final sonata explores harmonies that would later influence all Romantic composers, and even modern composers. I even suspect sometimes that great jazz composers were influenced directly or indirectly by this sonata. A piece such as this cannot be completely understood in one listen. I don’t even completely hear its full potential, but great music can never reach its full potential if its potential is limitless. Again I wholeheartedly recommend Maurizio Pollini’s recording of this sonata. However, if you are new to Beethoven’s piano music do not start with this piece. Start with the 8th Piano Sonata.
[size=medium]Franz Schubert[/size] – Impromptus for Piano Set 1 (D. 899) [1826]
With Schubert we begin to hear complete Romanticism in music. There is a sense of complete inwardness in Schubert’s piano music. The impromptus almost feel like meditative thoughts about life and love and sometimes death, but most of all the impromptus reveal a picture of a poet speaking his most private thoughts. There’s even a deep insecurity in these works, a beautiful insecurity. The structure of each piece is bounded by the emotions which string them together, unlike a metaphysical form such as a sonata or rondo. Murray Perahia did an absolutely wonderful recording of this for Sony in the 1980s.
[size=medium]Schubert [/size]– Piano Sonata No. 21 in B-flat Major (D. 960) [1828]
Schubert’s piano sonatas were neglected for nearly a century. The reason for this is they are perceptively empty. That is empty of superfluities. They are not ornamented, and they don’t wow the listener like a Beethoven Sonata. They are very finely tuned and pensive compositions, filled with unparalleled melodies. But overall there is a sense of simplicity in the sonatas which he wrote. This simplicity is deceptive. I often judge a pianist’s ability on how they interpret a Schubert piano sonata. This is because there is so much open space for a performer’s mind and heart to reveal itself. I love Schubert’s final sonata over all his others, but his final five are worth listening to. The last sonata seems to accept the death, which its composer knew was coming soon. As a reference listen to Alfred Brendel’s latest recording. However, for a more painful reading try Sviatoslav Richter’s recording on Regis.
[size=medium]Fryderyk Chopin[/size] – Ballade No. 1 in G Minor (Op. 23) [1831]
Chopin’s name is synonymous with solo piano music. Most of what he wrote was in fact for solo piano. His first masterful achievement for the solo piano was his first Ballade. The Ballade was a form which Chopin perfected in the late 1820’s as a slow, passionate piece with multiple parts in 6/8. This was one of the pieces which prompted contemporary composer Robert Schumann to declare Chopin’s genius. I consider this piece a great starting point for any piano collection. I love Arturo Benedetti Michelangeli’s recording of it for Deutsche Gramophone.
[size=medium]Chopin [/size]– Nocturnes for Piano (Op. 27) [1835]
These two Nocturnes are Chopin’s finest in the genre. The Nocturne, meaning piece to evoke the image of night, are usually meditative and introspective. The genre originated with Irish composer John Field, but it is with Chopin that the genre peaked. I cannot over stress the greatness of fellow Pole Arthur Rubinstein in this repertoire. For this piece look no further than Arthur Rubinstein; this may be the only recording of the work, you’ll ever need.
[size=medium]Chopin [/size]– Piano Sonata No. 2 in B-flat Minor (Op. 35) [1837]
Chopin’s Piano Sonatas are very different from Beethoven’s or Schubert’s. There is an underlying sense of a program to this sonata in particular. The program essentially is “death.” Within this sonata is Chopin’s most famous music, the famous 3rd movement, a funeral march which every person hears in their lifetime. I recommend Arthur Rubinstein once again for this piece.
[size=medium]Chopin[/size] – Ballade No. 4 in F Minor (Op. 52) [1843]
This is considered by the majority, Chopin’s greatest achievement. It probably is, and it stands as the greatest single movement work of piano music of 19th Century. In around 10 minutes Chopin manages to summarize the feeling of Romanticism in Paris with a nocturnal glow. Unlike most pieces I mention in this list, I have to stress that I feel Krystian Zimerman’s is the only recording I believe which truly expresses the piece honestly. It is the slowest version ever recorded, but it doesn’t feel slow. It feels thoughtful. Listen to this piece and be completely immersed into the world of Chopin.
[size=medium]Robert Schumann [/size]– Davidsbundlertanze (Op. 6) [1837]
When I think of the greatest piano music, Schumann’s pops up in my mind before anyone else’s. More than any other composer, Schumann reveals his most private thoughts in his piano music. Even thoughts one may be ashamed of revealing. What I mean by this is, there is a sense when listening to Schumann’s piano music that you are hearing the thoughts of a disjointed insane individual. Some of his piano music is little dribs and drabs connected together by an underlying emotional premise. It is this flaw, if you will call it a flaw, which makes the music more appealing to me. Davidsbundlertanze is not the music of an outward genius, but a flawed human being seeking refuge in his own music. It is an eighteen part journey. I have come to love Murray Perahia’s recording of this piece.
[size=medium]Schumann[/size] – Fantasiestucke (Op. 12) [1837]
The opening of this piece is one of the most subtly inviting introductions of any piece. This eight movement piece is one of the high points of Romantic piano music. It should be listened to as one piece though it is often performed as eight separate pieces. Murray Perahia’s recording is once again my favorite!
[size=medium]Schumann[/size] – Kreisleriana (Op. 16) [1838]
When the young Johannes Brahms first got hold of this piece he knew it was time for him to meet the older composer. Kreisleriana is arguably Schumann’s greatest work for solo piano. It is an eight movement fantasy loosely based on a literary figure on the German Romantic movement. Harmonically, Schumann continues to explore uncharted territory. I appear to be repetitious in my recommendations, but I prefer Murray Perahia’s take on this piece over any other.
[size=medium]Schumann [/size]– Fantasie in C Major (Op. 17) [1838]
It’s a safe bet when one listens to any piece of Schumann piano music written prior to 1840. His first decade as a composer was arguably his best. While he wanted to be a master composer of the piano sonata, Schumann admittedly was not. The Fantasie in C Major was the closest Schumann ever came to writing a piece of Beethovenian grandiosity and poise. He contemplated calling it a Sonata, but due to its loose nature he settled on the title Fantasie. And while the piece was initially written in memory of his idol, Beethoven, the piece was eventually dedicated to his great contemporary Franz Liszt. Maurizio Pollini does my favorite version of this piece.
[size=medium]Franz Liszt [/size]– Piano Sonata in B Minor (S. 178) [1851-53]
I’m going to take a lot of heat when I say this, but I have a very strong opinion of the Liszt Piano Sonata in B Minor. First of all, I consider the piece to be light years ahead of anything else Liszt ever composed and because of this I hesitate to recommend anything else he wrote as an essential piano work. The other thing I will take heat for is the fact that I feel the Liszt Sonata is the greatest of all piano sonatas, even surpassing Beethoven’s in overall conception. More than any other composer of the Romantic, Liszt was an innovator of harmony. Richard Wagner is often credited with harmonic innovations which were explored by Liszt years prior. In the Liszt Sonata we not only hear many of these harmonic inventions in their earliest state, but we also hear a brilliantly structured piece which flows like no other. There are at least six different motives which reappear in different contexts. This is the piece is dedicated to Robert Schumann, in return for Schumann’s dedication to Liszt attached to his very own Fantasie in C. It is in part this sharing of dedication, which makes it attractive to display both pieces on one single CD. For years I appreciated Martha Argerich’s classic recording of this work, however I’ve grown to consider it a bit capricious. I strongly recommend trying Arnaldo Cohen’s fantastic recent recording for bis.
[size=medium]Johannes Brahms [/size]– Piano Sonata No. 3 in F Minor (Op. 5) [1853]
I look at this piece as the last great piano sonata of the Austro-German tradition. Composed at just age 20, Brahms shows a great sense of maturity here. It is a long sonata in five movements. The second movement is among the first pieces the budding composer was to play for his mentor Robert Schumann. Upon hearing this piece, Schumann declared Brahms the heir to the greatest composer the world has ever known: Beethoven. My favorite recording of this piece is one of the longest on record. It is performed by Antti Siirala on the record label Ondine.
[size=medium]Brahms [/size]– Intermezzi (Op. 117) [1892]
Brahms' late piano music is of an entirely different mind than his early works. They have an autumnal and contemplative nature. Avant garde composer Arnold Schoenberg dared to end Brahms’ reputation as a conservative composer by describing these later piano pieces as harmonically revolutionary. And revolutionary they are. They almost seem to come from nowhere. It’s an indescribable feeling. The best way to describe it I guess is that music seems to ripple out from a single stroke. Brahms called his opus 117 “three lullabies to my sorrows.” They are indeed very somber works. Radu Lupu’s classic account for Decca is an easy first choice.
[size=medium]Leos Janacek [/size]– Piano Sonata “From the Street” [1905-06]
There’s an interesting history with regard to this piano sonata. The third movement was destroyed by the composer in a fit of rage. One will never hear how the piece was resolved for the composer. But one doesn't need to to be fulfilled by this piece. This fifteen minute work was inspired by the murder of a Czech civilian protesting German dictatorship. It is extremely passionate and while it was written in 19th Century style, I regard it as the best Piano Sonata to be written in 20th Century. For a great recording of this work look no further than Janacek’s very own student Rudolf Firkusny.
[size=medium]Claude Debussy[/size] – Images for Piano Books 1 and 2 [1905-07]
Debussy’s Images rank among the greatest pieces of piano music ever composed. Without getting into too much detail, each of the six pieces represents an “image.” The first piece in the series is entitled “Reflections in the Water.” And in my humble opinion it is the great five minutes of piano music composed in the 20th Century. Debussy’s music involves the sustain pedal more than it had ever been used before. He preferred letting the notes drone, creating a sense of a hammerless piano. In fact he once commented that he thought even Beethoven was not a great piano composer. He felt Beethoven’s use of pianistic texture was based too heavily on the instrument’s percussive capability. What he may have overlooked is the fact that through most of Beethoven’s life, the piano did not have a modern sustain pedal and therefore the instrument’s percussive capability was even more of a substantial element of the piano’s texture. Debussy claimed to be influenced substantially by Schumann, Chopin, but most of Liszt. For a great recording of the Images, I recommend Arturo Benedetti Michelangeli.
[size=medium]Debussy [/size]– Preludes for Piano Books 1 and 2 [1907-12]
Like the images, each piece here represents an idea or a picture. The music is extremely impressionistic and is linked to paintings by Monet, Seurat and others of the time. The two books consist of twelve pieces each, totaling in twenty-four. Some of Debussy’s most beautiful melodies are to be found here. Again I recommend Arturo Benedetti Michelangeli’s recording.
[size=medium]Maurice Ravel [/size]– Gaspard de la nuit [1908]
This is the most virtuosic piece in the whole list. Very few pianists are capable of performing it. Like Debussy it shares an impressionistic style, but the texture is less enveloped by the pedal. It could almost be describe as pointillistic. Ravel left behind very few piano pieces, but what he did leave behind was some of the finest of the Century. Gaspard de la nuit is based on a poem by Aloysius Bertrand, but the composition soon overshadowed its original inspiration. My favorite recording of this piece is Ivo Pogorelich’s on Deutsche Gramophone.
[size=medium]Alexander Scriabin [/size]– Piano Sonata No. 10 in C Major “Trill” (Op. 70) [1912-13]
Scriabin is probably the least known composer on this list, but his piano music is some of the most interesting and unique. His final sonata is possibly his finest. It is in one movement and is extremely difficult to understand. I could not make a list of important piano works without mentioning Scriabin at least once. I love Mikhail Pletnev’s recording of this on Virgin Classics.
[size=medium]Sergey Rachmaninov[/size] – Piano Sonata No. 2 in B-flat Minor (Op. 36) [1913]
There are two versions of this piece. One is the original version (which I prefer) and the other is a version which Vladimir Horowitz revised. The latter version was accepted by the composer as the final version of this piece. However, I prefer hearing the Sonata in its unabridged context because I know that is how the composer originally conceived it. This piano sonata is incredibly difficult to play, but very enjoyable to listen to. Rachmaninov’s finest piano music was written for piano with Orchestra accompaniment, but his second piano sonata is one of my favorites in the repertoire. I love Zoltin Kocsis interpretation of this piece.
[size=medium]Sergey Prokofiev [/size]– Piano Sonata No. 6 in A Major “War Sonata No. 1” (Op. 82) [1939-40]
You may notice the Russians are now dominating the scene. In the early to mid 20th Century Russia was king of piano music, both in the composers it produced and the performers it produced. A Russian friend of mine once said to me that Russia thrives under horrific circumstances. He’s probably right. Prokofiev’s greatest works were composed around the time of World War II, under the dictatorship of Stalin. He wrote a trilogy of Piano works nicknamed the War Sonatas. My favorite of these three is his first in the trilogy, the A Major Sonata. It is these three sonatas which brought the piano sonata form back into the limelight in the mid 20th Century. For any of these three piano sonatas I prefer to hear Sviatoslav Richter’s interpretation, since he knew the composer intimately and debuted much of his work, including the Sonata mentioned.
[size=medium]Dmitri Shostakovich [/size]– Preludes & Fugues (Op. 87) [1951]
In a sense we come full circle here. This superb work was inspired by Bach’s Well-Tempered Clavier. It is the most substantial documentation of piano music by the most substantial composer born in the 20th Century. Shostakovich was taken aback when he discovered the budding pianist Tatiana Nikolayeva, while judging a competition of pianists performing Bach’s music. He immediately set to work on 24 preludes and fugues for this young pianist to play. The music which came out of this circumstance is truly magnificent and is an even greater revelation after you are familiar with Bach’s Well-Tempered Clavier. For a wonderful recording of this work you must try Tatiana Nikolayeva, the pianist whom the composer intended the music for in the first place. Her recording for Melodya, but now distributed by Regis is even better than her last recording for Hyperion records.
[size=small]A few footnotes:[/size]
[size=small]I did not include such keyboard masters as William Byrd or Francois Couperin because I don’t feel their style lends itself well to the piano. That is just my opinion.
Another thing is that this is just an overview. You can practically recommend any of Beethoven's Piano Sonatas or any of Chopin's piano music, etc. I tried to be as selective as possible.
Also you may notice Murray Perahia is the most recommended pianist on my list. This is true, though he is certainly not my favorite. I tried to recommend interpretations that I thought would be a great introduction to the many recordings available.
Lastly, you may wonder why I took my time out and wrote such a long thing. I did it for a few reasons. First and foremost, I am studying to achieve my Masters in music history and plan to write notes like this for the rest of my life. I suppose this is really practice. However, I love starting forums for discussion involving classical music. It is my life and my passion. I hope you enjoyed this list and the comments included and look forward to your input and additional recommendations![/size]
[size=medium]Johann Sebastian Bach[/size] – The Well-Tempered Clavier Books 1 & 2 (BWV 846-893) [1720-40]
Not enough can be said about Bach’s keyboard music. While not originally intended for the piano (most of Bach’s piano music was written for harpsichord) Bach’s keyboard music is along with Beethoven’s and Chopin’s, the most often performed and recorded of all compositions for the piano. At the top of the hill of piano music stand two essential works by J.S. Bach. The first I’ll mention is called the Well-Tempered Clavier and what it consists of is 2 complete books of preludes and fugues for every key, both major and minor. Each book consists of 24 preludes and fugues. Between the two books we have what many call “the great 48.” It is this 2 volume series of keyboard music which lays a great foundation for those wishing to explore the piano’s rich history. Both books combined take up 4CDs, and there are many wonderful versions. Glenn Gould’s recording of the work was sent into space in a time capsule to show the entire universe just exactly what humans could do, the height of our powers so to speak! My reference recording of this piece is Andras Schiff’s recording for Decca London.
[size=medium]Bach[/size] – The Goldberg Variations (BWV 988) [1741]
When I was working as a personal assistant to the late Rosalyn Tureck (renowned Bach pianist) she used to have a saying which she sprung at me every day “You can listen to all the music of the world, but the only composer who really matters is Bach.” I think she knew she was exaggerating or just egging me on, but when you get lost in the world of the Goldberg Variations, it’s actually hard for at least that moment to imagine another composer mattering. For me, the Goldberg Variations is Bach’s finest achievement. And of all his works, it was the one which he received the most money for composing. The piece is a series of 32 variations built on top of a fairly simple aria which Bach may have not even written. It is the nature of the following variations, which leave performers and listeners in awe. Without delving into too much detail, the variations explore the depths of Baroque symmetry and counterpoint with an expressiveness that is unlike any other piece. You can never own too many recordings of this work and from my understanding it is the most often recorded work Bach ever wrote.
Glenn Gould made two very famous recordings of this work, both of which I don’t love. I usually listen to this work on harpsichord, but for piano reference I usually prefer Murray Perahia’s wonderful interpretation.
[size=medium]Jean-Philippe Rameau[/size] – Keyboard Suite in A Minor [1728]
Rameau was a great innovator when it came to inventing new ways of explaining and understanding melody. In particular Rameau understood that polyphony did not have to consist of two or more separate melodies overlapping one another. Instead he began the proposition of the idea that a melody could be written on top an underlying chord sequence. From this realization we begin to have advanced heterophony, meaning music with a distinct melody standing apart from a chord sequence. Most popular music is written this way (for instance all lead sheets consist of this). Rameau’s revolutionary essays on harmony and melody reached a high point in 1728 when he used these new ideas of his to compose one of the great keyboard suites of Baroque. The keyboard suite consists of a series of French dances, which were very important at the time. The conception of the keyboard suite originated in the mid 17th Century when composers like Johann Jakob Froberger and Louis Couperin began writing in the style for the French Court. The thing which separates Rameau from his predecessors is that his keyboard music seems to lend itself to the piano in a way that others don’t. It’s almost as if Rameau had a sense of the piano even before the instrument was invented. My favorite recording of this piece is Alexander Tharaud’s for Harmonia Mundi
[size=medium]Domenico Scarlatti [/size]– Keyboard Sonatas [1705-57]
Scarlatti’s music is some of the earliest examples of the word “sonata” associated with the keyboard. They are not pieces of music in sonata form the way Haydn, Mozart and Beethoven are, but rather short two-part pieces of keyboard music. He wrote over 550 sonatas for the keyboard! While Italian by birth most of his sonatas were written in Spain where he became very popular. Today his music is often heard in the concert hall in the form of encore pieces. Vladimir Horowitz sort of brought his name back to the forefront of the repertoire in the mid 20th Century. Chopin also admired Scarlatti’s music and used some of his compositions for practice and teaching purposes. Vladimir Horowitz famous recording for Sony (an overview of Scarlatti’s Sonatas) is an easy recommendation for Scarlatti’s works.
[size=medium]Franz Joseph Haydn[/size] – Piano Sonata No. 52 in E-flat Major [1794]
It is amazing how much Haydn’s piano music is overshadowed by his symphonic and chamber music. When one thinks of great piano music of the classical period, Mozart immediately comes to mind leaving Haydn in the dust. However, Haydn’s solo piano music (not piano concerti) is far more innovative than Mozart’s. The underlying reason is Mozart expressed his highest pianistic achievements in his concerti and understood the solo piano sonata as a platform to teach students. This is not to say Mozart’s piano sonatas are poorly written, they are still beautiful and often brilliant. However, Haydn’s Piano sonatas (especially the later ones written after 1785) are among the most personal works of the Century’s most innovative composer. In this sonata we not only find surprising cadences, but we actually hear a middle movement in a key one half step sharper than the tonic! Alfred Brendel’s wonderful 4CD series of Haydn’s greatest piano music is essential for any classical collection, but let this sonata serve as a starting point.
[size=medium]Wolfgang Amadeus Mozart [/size]– Fantasia in C Minor followed by Piano Sonata No. 14 in C Minor (K 475 / 457) [1784-91]
These two pieces were written separately, but are often performed as one cohesive unit. The Fantasia is among the most interesting pieces Mozart ever wrote and sounds years ahead of its time. The Sonata which follows it is one of Mozart’s most dynamic achievements for the instrument. I do feel if you’re trying to build a collection of solo piano music it is important to recognize that Mozart, while unquestionably one of the greatest composers to ever live, did not leave behind the most essential portfolio of solo piano music. I think a lot of people are drawn to Mozart’s solo piano music before anyone else’s because he’s “Mozart – the genius” and that is unfair to one’s self because it will provide the listener with a sense of Mozart at his less inspired moments. Mozart’s greatest works are his piano concerti, his Requiem Mass and certainly his operas. For a fine recording of Mozart’s Fantasia and Piano Sonata in C Minor I recommend Alfred Brendel's.
[size=medium]Ludwig van Beethoven [/size]– Piano Sonata No. 8 in C Minor “Pathetique” (Op. 13) [1798]
Let me preface this by saying Beethoven’s weakest piano piece is his Fur Elise, a piece which he wrote while still very young before he was to reach the level of genius, which he was later to become. Beethoven’s 32 piano sonatas are easily the most studied and discussed works ever written for a single instrument. One of the most interesting aspects of the entire cycle is that while there is a sense of growth throughout, the sonatas don’t necessarily improve; they just advance. By the time Beethoven composed his 8th Piano Sonata in 1798, he had already begun breaking new ground in terms of a harmonic language unknown to his earlier contemporaries such as Haydn and Mozart. The sonata was written just 5 years before he would finish his Eroica Symphony and be remembered as the greatest of all composers (along with Bach and Mozart). The pathos to be found in the adagio movement of this sonata is among the most beautiful melodies ever composed for any instrument. Music this perfect could never be surpassed in my opinion. It could only be equaled in different ways. My favorite recording of this piece is Stephen Kovacevich's on EMI, however Wilhelm Kempff's is a great recording as well and is available for much cheaper since Kovacevich's is currently only available as part of a boxed set.
[size=medium]Beethoven[/size] – Piano Sonata No. 23 in A Minor “Appassionata” (Op. 57) [1805]
Beethoven’s Piano Sonata cycle provides a plethora of brilliant piano music. It is reported that Beethoven preferred his 23rd Sonata over any other. This is another great starting point for newcomers because it consists of melodic music that explodes into a showcase of extremely impressive technique. It was written exactly in the middle of Beethoven’s career as a composer and consists of elements of his early style while hinting at technical achievements to be found only in his latest works. The title Appassionata was not Beethoven’s own, but was attached posthumously by a publisher looking to promote this piece in particular. Emil Gilels never finished recording his Beethoven cycle, but had he completed it, there’s no doubt it would be considered one of the two or three best available. His recording of the Appassionata is extremely well played.
[size=medium]Beethoven[/size] – Piano Sonata No. 29 in B-flat Major “Hammerklavier” (Op. 106) [1818]
The Hammerklavier is among the most difficult pieces of piano music to play successfully. It demands incredible technique, stamina, and supreme musicianship. Unlike a lot of virtuosic music which was influenced by Beethoven’s innovations, Beethoven’s virtuosic music never indulges for the sake of its own appearance. There is thought behind every note in this advanced work, though on a first listen it can seem perplexing and downright bombastic. In truth it isn’t, but what it is, is Beethoven’s attempt at bringing the pianoforte to its breaking point. And the subtitle of the piece “Hammerklavier” simply means “this piece must be played on a hammerklavier (a modern piano).” In other words, he did not want this piece played on a harpsichord, or a fortepiano or even a pianoforte from 10 years prior. In his opinion the piano as an instrument hadn’t yet caught up to Beethoven’s vision. Hopefully he would be happy with the way the piano eventually landed up. He wanted the piano to have a greater dynamic range and more versatility. By 1860 the piano as we know had basically been blueprinted. My favorite recording of Beethoven’s Hammerklavier Sonata is Maurizio Pollini’s classic account on Deutsche Gramophone.
[size=medium]Beethoven [/size]– Piano Sonata No. 32 in C Minor (Op. 111) [1821]
If a poll was taken as to which Piano Sonata was the most profound in the entire repertoire it is my suspicion that this sonata, Beethoven’s final, would take first prize. By this time, completely deaf, Beethoven’s music had become introverted and emotionally explosive, but at the same time meditative and far reaching. It is in this music that feeling of Romanticism in music truly begins even if Beethoven is bracketed as a Classicist. In two long movements, Beethoven’s final sonata explores harmonies that would later influence all Romantic composers, and even modern composers. I even suspect sometimes that great jazz composers were influenced directly or indirectly by this sonata. A piece such as this cannot be completely understood in one listen. I don’t even completely hear its full potential, but great music can never reach its full potential if its potential is limitless. Again I wholeheartedly recommend Maurizio Pollini’s recording of this sonata. However, if you are new to Beethoven’s piano music do not start with this piece. Start with the 8th Piano Sonata.
[size=medium]Franz Schubert[/size] – Impromptus for Piano Set 1 (D. 899) [1826]
With Schubert we begin to hear complete Romanticism in music. There is a sense of complete inwardness in Schubert’s piano music. The impromptus almost feel like meditative thoughts about life and love and sometimes death, but most of all the impromptus reveal a picture of a poet speaking his most private thoughts. There’s even a deep insecurity in these works, a beautiful insecurity. The structure of each piece is bounded by the emotions which string them together, unlike a metaphysical form such as a sonata or rondo. Murray Perahia did an absolutely wonderful recording of this for Sony in the 1980s.
[size=medium]Schubert [/size]– Piano Sonata No. 21 in B-flat Major (D. 960) [1828]
Schubert’s piano sonatas were neglected for nearly a century. The reason for this is they are perceptively empty. That is empty of superfluities. They are not ornamented, and they don’t wow the listener like a Beethoven Sonata. They are very finely tuned and pensive compositions, filled with unparalleled melodies. But overall there is a sense of simplicity in the sonatas which he wrote. This simplicity is deceptive. I often judge a pianist’s ability on how they interpret a Schubert piano sonata. This is because there is so much open space for a performer’s mind and heart to reveal itself. I love Schubert’s final sonata over all his others, but his final five are worth listening to. The last sonata seems to accept the death, which its composer knew was coming soon. As a reference listen to Alfred Brendel’s latest recording. However, for a more painful reading try Sviatoslav Richter’s recording on Regis.
[size=medium]Fryderyk Chopin[/size] – Ballade No. 1 in G Minor (Op. 23) [1831]
Chopin’s name is synonymous with solo piano music. Most of what he wrote was in fact for solo piano. His first masterful achievement for the solo piano was his first Ballade. The Ballade was a form which Chopin perfected in the late 1820’s as a slow, passionate piece with multiple parts in 6/8. This was one of the pieces which prompted contemporary composer Robert Schumann to declare Chopin’s genius. I consider this piece a great starting point for any piano collection. I love Arturo Benedetti Michelangeli’s recording of it for Deutsche Gramophone.
[size=medium]Chopin [/size]– Nocturnes for Piano (Op. 27) [1835]
These two Nocturnes are Chopin’s finest in the genre. The Nocturne, meaning piece to evoke the image of night, are usually meditative and introspective. The genre originated with Irish composer John Field, but it is with Chopin that the genre peaked. I cannot over stress the greatness of fellow Pole Arthur Rubinstein in this repertoire. For this piece look no further than Arthur Rubinstein; this may be the only recording of the work, you’ll ever need.
[size=medium]Chopin [/size]– Piano Sonata No. 2 in B-flat Minor (Op. 35) [1837]
Chopin’s Piano Sonatas are very different from Beethoven’s or Schubert’s. There is an underlying sense of a program to this sonata in particular. The program essentially is “death.” Within this sonata is Chopin’s most famous music, the famous 3rd movement, a funeral march which every person hears in their lifetime. I recommend Arthur Rubinstein once again for this piece.
[size=medium]Chopin[/size] – Ballade No. 4 in F Minor (Op. 52) [1843]
This is considered by the majority, Chopin’s greatest achievement. It probably is, and it stands as the greatest single movement work of piano music of 19th Century. In around 10 minutes Chopin manages to summarize the feeling of Romanticism in Paris with a nocturnal glow. Unlike most pieces I mention in this list, I have to stress that I feel Krystian Zimerman’s is the only recording I believe which truly expresses the piece honestly. It is the slowest version ever recorded, but it doesn’t feel slow. It feels thoughtful. Listen to this piece and be completely immersed into the world of Chopin.
[size=medium]Robert Schumann [/size]– Davidsbundlertanze (Op. 6) [1837]
When I think of the greatest piano music, Schumann’s pops up in my mind before anyone else’s. More than any other composer, Schumann reveals his most private thoughts in his piano music. Even thoughts one may be ashamed of revealing. What I mean by this is, there is a sense when listening to Schumann’s piano music that you are hearing the thoughts of a disjointed insane individual. Some of his piano music is little dribs and drabs connected together by an underlying emotional premise. It is this flaw, if you will call it a flaw, which makes the music more appealing to me. Davidsbundlertanze is not the music of an outward genius, but a flawed human being seeking refuge in his own music. It is an eighteen part journey. I have come to love Murray Perahia’s recording of this piece.
[size=medium]Schumann[/size] – Fantasiestucke (Op. 12) [1837]
The opening of this piece is one of the most subtly inviting introductions of any piece. This eight movement piece is one of the high points of Romantic piano music. It should be listened to as one piece though it is often performed as eight separate pieces. Murray Perahia’s recording is once again my favorite!
[size=medium]Schumann[/size] – Kreisleriana (Op. 16) [1838]
When the young Johannes Brahms first got hold of this piece he knew it was time for him to meet the older composer. Kreisleriana is arguably Schumann’s greatest work for solo piano. It is an eight movement fantasy loosely based on a literary figure on the German Romantic movement. Harmonically, Schumann continues to explore uncharted territory. I appear to be repetitious in my recommendations, but I prefer Murray Perahia’s take on this piece over any other.
[size=medium]Schumann [/size]– Fantasie in C Major (Op. 17) [1838]
It’s a safe bet when one listens to any piece of Schumann piano music written prior to 1840. His first decade as a composer was arguably his best. While he wanted to be a master composer of the piano sonata, Schumann admittedly was not. The Fantasie in C Major was the closest Schumann ever came to writing a piece of Beethovenian grandiosity and poise. He contemplated calling it a Sonata, but due to its loose nature he settled on the title Fantasie. And while the piece was initially written in memory of his idol, Beethoven, the piece was eventually dedicated to his great contemporary Franz Liszt. Maurizio Pollini does my favorite version of this piece.
[size=medium]Franz Liszt [/size]– Piano Sonata in B Minor (S. 178) [1851-53]
I’m going to take a lot of heat when I say this, but I have a very strong opinion of the Liszt Piano Sonata in B Minor. First of all, I consider the piece to be light years ahead of anything else Liszt ever composed and because of this I hesitate to recommend anything else he wrote as an essential piano work. The other thing I will take heat for is the fact that I feel the Liszt Sonata is the greatest of all piano sonatas, even surpassing Beethoven’s in overall conception. More than any other composer of the Romantic, Liszt was an innovator of harmony. Richard Wagner is often credited with harmonic innovations which were explored by Liszt years prior. In the Liszt Sonata we not only hear many of these harmonic inventions in their earliest state, but we also hear a brilliantly structured piece which flows like no other. There are at least six different motives which reappear in different contexts. This is the piece is dedicated to Robert Schumann, in return for Schumann’s dedication to Liszt attached to his very own Fantasie in C. It is in part this sharing of dedication, which makes it attractive to display both pieces on one single CD. For years I appreciated Martha Argerich’s classic recording of this work, however I’ve grown to consider it a bit capricious. I strongly recommend trying Arnaldo Cohen’s fantastic recent recording for bis.
[size=medium]Johannes Brahms [/size]– Piano Sonata No. 3 in F Minor (Op. 5) [1853]
I look at this piece as the last great piano sonata of the Austro-German tradition. Composed at just age 20, Brahms shows a great sense of maturity here. It is a long sonata in five movements. The second movement is among the first pieces the budding composer was to play for his mentor Robert Schumann. Upon hearing this piece, Schumann declared Brahms the heir to the greatest composer the world has ever known: Beethoven. My favorite recording of this piece is one of the longest on record. It is performed by Antti Siirala on the record label Ondine.
[size=medium]Brahms [/size]– Intermezzi (Op. 117) [1892]
Brahms' late piano music is of an entirely different mind than his early works. They have an autumnal and contemplative nature. Avant garde composer Arnold Schoenberg dared to end Brahms’ reputation as a conservative composer by describing these later piano pieces as harmonically revolutionary. And revolutionary they are. They almost seem to come from nowhere. It’s an indescribable feeling. The best way to describe it I guess is that music seems to ripple out from a single stroke. Brahms called his opus 117 “three lullabies to my sorrows.” They are indeed very somber works. Radu Lupu’s classic account for Decca is an easy first choice.
[size=medium]Leos Janacek [/size]– Piano Sonata “From the Street” [1905-06]
There’s an interesting history with regard to this piano sonata. The third movement was destroyed by the composer in a fit of rage. One will never hear how the piece was resolved for the composer. But one doesn't need to to be fulfilled by this piece. This fifteen minute work was inspired by the murder of a Czech civilian protesting German dictatorship. It is extremely passionate and while it was written in 19th Century style, I regard it as the best Piano Sonata to be written in 20th Century. For a great recording of this work look no further than Janacek’s very own student Rudolf Firkusny.
[size=medium]Claude Debussy[/size] – Images for Piano Books 1 and 2 [1905-07]
Debussy’s Images rank among the greatest pieces of piano music ever composed. Without getting into too much detail, each of the six pieces represents an “image.” The first piece in the series is entitled “Reflections in the Water.” And in my humble opinion it is the great five minutes of piano music composed in the 20th Century. Debussy’s music involves the sustain pedal more than it had ever been used before. He preferred letting the notes drone, creating a sense of a hammerless piano. In fact he once commented that he thought even Beethoven was not a great piano composer. He felt Beethoven’s use of pianistic texture was based too heavily on the instrument’s percussive capability. What he may have overlooked is the fact that through most of Beethoven’s life, the piano did not have a modern sustain pedal and therefore the instrument’s percussive capability was even more of a substantial element of the piano’s texture. Debussy claimed to be influenced substantially by Schumann, Chopin, but most of Liszt. For a great recording of the Images, I recommend Arturo Benedetti Michelangeli.
[size=medium]Debussy [/size]– Preludes for Piano Books 1 and 2 [1907-12]
Like the images, each piece here represents an idea or a picture. The music is extremely impressionistic and is linked to paintings by Monet, Seurat and others of the time. The two books consist of twelve pieces each, totaling in twenty-four. Some of Debussy’s most beautiful melodies are to be found here. Again I recommend Arturo Benedetti Michelangeli’s recording.
[size=medium]Maurice Ravel [/size]– Gaspard de la nuit [1908]
This is the most virtuosic piece in the whole list. Very few pianists are capable of performing it. Like Debussy it shares an impressionistic style, but the texture is less enveloped by the pedal. It could almost be describe as pointillistic. Ravel left behind very few piano pieces, but what he did leave behind was some of the finest of the Century. Gaspard de la nuit is based on a poem by Aloysius Bertrand, but the composition soon overshadowed its original inspiration. My favorite recording of this piece is Ivo Pogorelich’s on Deutsche Gramophone.
[size=medium]Alexander Scriabin [/size]– Piano Sonata No. 10 in C Major “Trill” (Op. 70) [1912-13]
Scriabin is probably the least known composer on this list, but his piano music is some of the most interesting and unique. His final sonata is possibly his finest. It is in one movement and is extremely difficult to understand. I could not make a list of important piano works without mentioning Scriabin at least once. I love Mikhail Pletnev’s recording of this on Virgin Classics.
[size=medium]Sergey Rachmaninov[/size] – Piano Sonata No. 2 in B-flat Minor (Op. 36) [1913]
There are two versions of this piece. One is the original version (which I prefer) and the other is a version which Vladimir Horowitz revised. The latter version was accepted by the composer as the final version of this piece. However, I prefer hearing the Sonata in its unabridged context because I know that is how the composer originally conceived it. This piano sonata is incredibly difficult to play, but very enjoyable to listen to. Rachmaninov’s finest piano music was written for piano with Orchestra accompaniment, but his second piano sonata is one of my favorites in the repertoire. I love Zoltin Kocsis interpretation of this piece.
[size=medium]Sergey Prokofiev [/size]– Piano Sonata No. 6 in A Major “War Sonata No. 1” (Op. 82) [1939-40]
You may notice the Russians are now dominating the scene. In the early to mid 20th Century Russia was king of piano music, both in the composers it produced and the performers it produced. A Russian friend of mine once said to me that Russia thrives under horrific circumstances. He’s probably right. Prokofiev’s greatest works were composed around the time of World War II, under the dictatorship of Stalin. He wrote a trilogy of Piano works nicknamed the War Sonatas. My favorite of these three is his first in the trilogy, the A Major Sonata. It is these three sonatas which brought the piano sonata form back into the limelight in the mid 20th Century. For any of these three piano sonatas I prefer to hear Sviatoslav Richter’s interpretation, since he knew the composer intimately and debuted much of his work, including the Sonata mentioned.
[size=medium]Dmitri Shostakovich [/size]– Preludes & Fugues (Op. 87) [1951]
In a sense we come full circle here. This superb work was inspired by Bach’s Well-Tempered Clavier. It is the most substantial documentation of piano music by the most substantial composer born in the 20th Century. Shostakovich was taken aback when he discovered the budding pianist Tatiana Nikolayeva, while judging a competition of pianists performing Bach’s music. He immediately set to work on 24 preludes and fugues for this young pianist to play. The music which came out of this circumstance is truly magnificent and is an even greater revelation after you are familiar with Bach’s Well-Tempered Clavier. For a wonderful recording of this work you must try Tatiana Nikolayeva, the pianist whom the composer intended the music for in the first place. Her recording for Melodya, but now distributed by Regis is even better than her last recording for Hyperion records.
[size=small]A few footnotes:[/size]
[size=small]I did not include such keyboard masters as William Byrd or Francois Couperin because I don’t feel their style lends itself well to the piano. That is just my opinion.
Another thing is that this is just an overview. You can practically recommend any of Beethoven's Piano Sonatas or any of Chopin's piano music, etc. I tried to be as selective as possible.
Also you may notice Murray Perahia is the most recommended pianist on my list. This is true, though he is certainly not my favorite. I tried to recommend interpretations that I thought would be a great introduction to the many recordings available.
Lastly, you may wonder why I took my time out and wrote such a long thing. I did it for a few reasons. First and foremost, I am studying to achieve my Masters in music history and plan to write notes like this for the rest of my life. I suppose this is really practice. However, I love starting forums for discussion involving classical music. It is my life and my passion. I hope you enjoyed this list and the comments included and look forward to your input and additional recommendations![/size]
