Good 20th C pieces to learn

[dana_minmin]

Hi, I'm preparing a diploma exam with my teacher but not exactly in the stage where I'm choosing my exam repertoire. Both my teacher and I think it'd be better for me to get more exposure to pieces before committing to any of the exams. I always want to do Rachmaninoff if I'm going to take an exam, but my teacher says Rachmaninoff, Scriabin, Ravel, Debussy... don't count as they're not really into 20th C. I guess my teacher is referring to Prokofiev and Stravinsky. If that's the case, then I don't have idea on interesting 20th C pieces to play. Can you suggest some? Atonal music would be too much for me 

I learned/ am learning:

some Bach P&F
Mozart and Haydn Sonatas
Beethoven moonlight and pathetique
some Chopin etudes Op.10
Chopin nocturnes 27/2, 48/1, polonaise 26/1
Liszt Liebestraum
Schubert-Liszt standchen and des madchens klage
Rachmaninoff prelude 32/5


P.S. I'd be dead if my teacher sees this post 

[worov]

Some Prokofiev suggestions.

Some Shostakovich preludes :

Some Lecuona :

Some Samuel Barber :

Some Gershwin :

These should keep you busy for a while. If you want more, don't hesitate to ask. I will post more.

[kriatina]

How about some pieces by Ferruccio Busoni,
Richard Strauss, Jean Sibelius, Khachaturian?

Good luck from Kristina.

[patrickd]

How about Medtner

[g_s_223]

Bartók is one of the great masters of C20 piano literature, although less commonly seen on pianist's solo programmes than one might expect. Consider some of the Six Dances in Bulgarian Rhythm from Mikrokosmos Book 6:

And if you really like a workout, then the Allegro Barbaro could be it:

[j_menz]

Be brave - play something by someone who is actually still breathing!

[dreaminbach]

I studied Samuel Barber's Nocturne Op. 33 last semester.... I wasn't initially so hot on the idea of learning a 20th cent. piece, but I really ended up enjoying it. It sort of blurs the line between tonality and atonality, without being too out there. Very haunting and beautiful.

[patrickd]

What about some Kurtag.

[j_menz]

What about some Kurtag.

Atonal music would be too much for me 

While I don't necessarily agree that atonal music in totality would be beyond OP, I doubt very much that Kurtag is a good entry point.

[virtuoso80]

Some good suggestions. I would add trying out some Hindemith to see if you like it. He's a very direct composer capable of both great beauty, and great ugly:

https://www.youtube.com/watch?v=dhV79upVmvo
https://www.youtube.com/watch?v=zoIPU5bY0kU

[patrickd]

While I don't necessarily agree that atonal music in totality would be beyond OP, I doubt very much that Kurtag is a good entry point.

Good point.

[nikolasideris]

There's always this, from American composer Scott Miller (still breathing, btw... )

and

(Second youtube video (No.5) is my personal favorite).

They are intriguing, composed after 2000, yet quite approachable I'd like to think. I'm quite biased since I'm the publisher here, and the performer, but I would like to add that prior to meeting Scott and his 5th prelude, I was not aware of anything he'd written. And I was captivated by that prelude, and then the other ones... So I guess this counts for something, no?

[j_menz]

They are intriguing, composed after 2000, yet quite approachable I'd like to think. I'm quite biased since I'm the publisher here, and the performer, but I would like to add that prior to meeting Scott and his 5th prelude, I was not aware of anything he'd written. And I was captivated by that prelude, and then the other ones... So I guess this counts for something, no?

Indeed it does. And you've made a sale. 

[nikolasideris]

Indeed it does. And you've made a sale. 

YAY! Thanks!

I do hope to get in the post office in a few hours, so you'll be having some great customer service!

Really, though, if anyone has any questions for anything I (as a composer and a publisher), or any other composer (from EMF) do, by all means ask away. I've been a member here for quite a while, albeit never really active, but I'd like to start changing that little by little...

[dana_minmin]

Wow, thanks so much for the pieces. I'll be busy for quite some while. Have a quick check with the links, that Lecuona piece sounds very interesting. What's the name of that piece? I discovered another interesting Lecuona piece when I was looking for the names.

Lecuona - Damisela Encantadora

[worov]

The Lecuona piece I posted is "Malagueña", excerpt from the Suite Andalucia.

[indianajo]

I did the Lecuona Maleguena about fourth year, the original version: Edward B. Marks Music 9677-7. there is also a simplified version from the same publisher. A great melody that spans most of the keys. 
A little easier but still melodic is Enrique Granados Playera, Op 5 No 5.
Hector VIlla-Lobos Le Polichinelle Edward B. Marks Music #10293.  Not too dissonant. 

[worov]

Villa-Lobos is one of my favorite mdern composers. I love "Polichinelo". I didn't mentionned it because I thought this might be a bit too advanced. Anyway here it is :

[outin]

Some Shostakovich preludes :

Kabalevsky wrote some very nice preludes as well...Most are too advanced for me but I have been reading some of them and hope to play many later...

[patrickd]

Leos Janacek wrote some great pieces in the early 20th century.
 
Here is his piano sonata

[evitaevita]

Leos Janacek wrote some great pieces in the early 20th century.
 
Here is his piano sonata

It will be great if you go for this sonata!
Paradoxically, I've never listened to it before, but it's a very nice piece.

[ted]

Something by David Thomas Roberts:

[invictious]

As suggested above, I would recommend Bartok's Dances in Bulgarian Rhythm. Most people choose to play a few selections from the set to adhere to the time limit, giving you tons of flexibility. I personally played all of the Dances. They were definitely a great fun to learn and to play!

[symphonicdance]

why not take a look at the syllabus, and pick out the composers you will see their pieces in all of diploma/associate, licentitate and fellowship levels.  Prokofiev, Bartok, Hindemith, Copland,  Debussy, Ravel are the usual suspects. But of course you should start with the easier ones.

[nikolasideris]

why not take a look at the syllabus, and pick out the composers you will see their pieces in all of diploma/associate, licentitate and fellowship levels.  Prokofiev, Bartok, Hindemith, Copland,  Debussy, Ravel are the usual suspects. But of course you should start with the easier ones.

If I understand the OP correctly, it seems that the teacher wants something less 'timid' (in terms of musical language) than Ravel of Debussy...

[g_s_223]

Hmmm. It doesn't do too much harm (as a performing artist) to be pushed out of one's comfort zone from time to time. Take some time to listen to some post-Romantic music, some can be quite special:

I think it perfectly reasonable that any (higher) diploma candidate student should be able and willing to perform to a high standard anything from the 18th to 21st century. Specialism as a practicising professional is perfectly fine thereafter, of course.

[dana_minmin]

why not take a look at the syllabus, and pick out the composers you will see their pieces in all of diploma/associate, licentitate and fellowship levels.  Prokofiev, Bartok, Hindemith, Copland,  Debussy, Ravel are the usual suspects. But of course you should start with the easier ones.

If I understand the OP correctly, it seems that the teacher wants something less 'timid' (in terms of musical language) than Ravel of Debussy...

I always like Rachmaninoff and Ravel, and yes I've looked into the syllabus. My teacher thinks Rach and Ravel are not really into 20th C :-(

[nikolasideris]

I always like Rachmaninoff and Ravel, and yes I've looked into the syllabus. My teacher thinks Rach and Ravel are not really into 20th C :-(

20th century is SO diverse that you get Philip Glass along with Ives, along with Stravinsky, along with Debussy, along with the Beatles... you get the idea...

However, in terms of music education usually 20th century means something more dissonant, without necessarily being 'newer'. This is why Rach, Debussy, Ravel, etc are not what your teacher is looking for...

The whole idea is for you to open your ears more (they could be very open, for all I know... I don't know you, so there's no judgement here), and learn new sounds, new aesthetics and so on, in terms of educating yourself. After that you will be free to go back to wherever you wish to.

Same goes to composition classes. Most people do NOT actually enjoy working on very dissonant idioms, but it's a part of the whole process of learning the tools and the craft behind composing!