Cool piece, but his later works for piano (Chaînes, En Vers, Pour le piano…) are better. His musical language in this work (and even in his Violin Sonata from the same period) is less interesting in the sense that he was too much under the influence of Pierre Sancan (1st mov) and Henri Dutilleux (3rd mvt, he picked up the characteristic motif from Dutilleux’s Choral et Variations, 3rd mov of his own piano sonata). In that way, I absolutely wouldn’t say it’s a masterpiece, but still interesting because he was mastering his musical skills he learned from studying the language of the french contemporary composers from his time.
I totally agree! The sonata was indeed heavily influenced by those French pieces and more. I think Miyoshi established his own musical language around 1980 when En Vers was composed, and 24 Préludes Chaînes was still on the process of seeking his way. It is always fascinating to trace the composers’ compositional trajectory, isn't it.
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Miyoshi is probably one of the best Japanese compoosers I've come across, musically interesting and fresh without sacrificing musicality.
What an absolute masterpiece. So glad I came across it!!
I am glad that you enjoyed it! It is a magnificent sonata, isn't it. Incredible that it is his debut work for solo piano as a composer.
Where did you find the score?ty for the reply
Cool piece, but his later works for piano (Chaînes, En Vers, Pour le piano…) are better. His musical language in this work (and even in his Violin Sonata from the same period) is less interesting in the sense that he was too much under the influence of Pierre Sancan (1st mov) and Henri Dutilleux (3rd mvt, he picked up the characteristic motif from Dutilleux’s Choral et Variations, 3rd mov of his own piano sonata). In that way, I absolutely wouldn’t say it’s a masterpiece, but still interesting because he was mastering his musical skills he learned from studying the language of the french contemporary composers from his time.
I totally agree! The sonata was indeed heavily influenced by those French pieces and more. I think Miyoshi established his own musical language around 1980 when En Vers was composed, and 24 Préludes Chaînes was still on the process of seeking his way. It is always fascinating to trace the composers’ compositional trajectory, isn't it.
Pianist Tomoe Kawabata you’re right !!