I typed "new piano sonatas 2023", because I got tired of listening the same ones from past centuries over and over again. And this came up. I like it so far.
Listen to the following piano sonatas: George Benjamin Henri Dutilleux Elliott Carter Carl Vine 1-3 (he may have a 4th one I don’t remember) Aaron Copland Lea Auerbach Most of these were written in the latter half of the 20th century. Lea’s and Carl Vine’s late sonatas were written in the early 2000s. Composers don’t really write sonatas that much anymore for better or for worse.
This is sooo good it's harmonically adventurous yet doesn't scare away from being really melodic at times; the textures in the first movement are an absolute treat as well Mvt. 2 is incredibly groovy, the rhythms hit in just the right ways And the 3rd is incredibly orchestral in its composition, those soundscapes are insane
I honestly think that this is a wonderful work. Its hard to categorize what should be recognized as 21st century "absolute music". I think this piece encapsulates it perfectly: 100% original, interesting harmony, form is perfect, melodies are exciting and mysterious. Wonderful.
This is incredible work. There’s so much contemporary concepts here that is also endearing to the modern audience. I hope I can learn this piece someday.
As a composer of mostly pedagogical music (hey, I am handled by a respectable publisher, and I make enough in royalties that I can always afford guacamole on my burrito bowl), one of my favorite pastimes is to come here and see these things that young composers post, and they are usually ridiculous - things that are way over their head. or five minutes on two chords. Now., you may have a doctorate in composition; I don't know. (I have never had a composition lesson in my life, but unlike some of these "composers" I stay in my limitations.) I'm too busy listening to this damn thing to look you up. I am amazed. Thoroughly modern, in the best sense of the word. Your use of recognizable motives make the piece listenable and enjoyable from beginning to end. I don't hear Debussy as much as I hear some influences of Ravel and Liszt's "Jeux d'eau a la Villa d'Este" in the first movement, interesting Ginastera-ish rhythmic shifts in the third movement, and a very dark and unique sound in the third movement. I THINK YOU HAVE A VIABLE REPERTOIRE PIECE HERE. Is it published? I would play this thing. And I think it is within the capabilities of my 64-year-old hands with pain issues. (You seem to have avoided chains of octaves.) This should be published - even if you upload it to Sheet Music Plus. I would recommend this to my publisher, but it is beyond the capabilities of our target market, and she has limited the number of "outside" composers. You have a hit. I hope that you are able to publish and distribute it.
Do you see this as viable pedagogical music, or as actual "art music"? I'm interested to know exactly where you place it. (You seem to make a distinction, because you refer to yourself as a pedagogical composer, but you also call this a viable "repertoire piece".
I’ve just found this piece up in my suggestion from RUclips. It’s the best suggestion ever. Love the color and rhythmic patterns of this piece. You’ve gotten a new subscriber.
The first two movements lead really well into the last one. That final chord progression is a nice statement too. I get a sense of possibility with this sonata. I really liked it nice work
I'm passing by Japan, whose hobby is composing and has published videos of sheet music. Even if I say composition, I can't play instruments, I'm only making scores, so I couldn't make a piano sound like this song, so I was looking for various things. It was very helpful. I think you are a professional, but you are sophisticated. I will listen to other works. Thank you.
I like it very much. Sometimes it lacks development, but anyway this piece is very musical, authentic and complex. Especially I like unexpected harmony moves and means of expression in melody. For context and mood it reminds me Ravel and Debussy, the late impressionism era. 9.5/10. Keep it up, brother.
@@austinwgentry I have done similar things, like writing pieces without octaves for advanced students with small hands (sixths..) and I had a gifted student with no fingers on her RH, only a nub. So I wrote things with complex LH parts and single note RH parts. She could reach a tenth in the LH at the age of 10 because she had stretched and loosened that hand enough.
Спасибо, из трёх частей сонаты с ярким рисунком первая часть, отразившая фантастические реалии природы: " Путешествие капельки воды в клетке растения" Её сложнейшие биохимические превращения на процессы фотосинтеза, дыхания, транспирации, синтез органики. Всё очень интересно.
Возможно у меня синдром поиска глубокого смысла, но я всё же напишу этот комментарий. Эта соната очень похожа на человеческую жизнь. Первая часть показывает то, каким этот мир видит ребёнок -- для него он полон тайн и причудливых, порою непонятных для него вещей, от чего мир воспринимается только ещё интереснее, чем он есть на самом деле. Вторая часть показывает жизнь человека в самом расцвете сил, его юность и молодость. В этом возрасте мы не задумываемся над тем, что нас ждёт в будущем, а живём настоящим, проживая жизнь здесь и сейчас. При этом, порою, не замечая за общим фоном городской суеты и повседневной рутины, того, насколько стремительно жизнь проносится мимо нас. Так незаметно проходят годы, и в итоге наступает старость, о чём и повествует третья часть. Здесь можно почувствовать именно то самое гнетущее чувство страха приближающейся смерти. В начале третей части человек как бы смотрит на себя в зеркало и к нему приходит осознание того, что жизнь уже почти закончилась, что в любой из последующих дней жизнь может просто оборваться. После кластерные аккорды в самом нижнем регистре показывают как бы, ёканье сердца уже итак изрядно изношенного ( нет серьёзно у меня в этот момент при прослушивании аж холодный пот на руках выступил), смерть уже "стучится в двери". После появляются интонации из первой части, а в качестве сопровождения фигурации на подобие тех, что были во второй части -- человек вспоминает своё прошлое, -- детство и молодость, -- жизнь словно проноситься перед глазами. Ну а аккорды нотами бревис в конце -- это уже как будто весточка с того света. Человек теперь уже на небесах (хотя по ощущениям от музыки -- скорее в лимбе), в нашем мире от него осталась лишь память о нём. Конечно, я понимаю что описанная мной картина далеко не является универсальным портретом каждой человеческой жизни, многие умирают безболезненно во сне и в окружении близких. Но я попытался описать те чувства и образы, которые вызвала эта музыка именно у меня. (Лайк поставил и подписался, произведение действительно очень не обычное и интересное по своей задумке)
1 часть in Es (завершается in B), 2 часть ми минор, 3 часть снова in Es и модулирует в си мажор)) Все три части представляют три разных регистра - верхний в первой, средний в скерцо (2 части), нижний в третьей))
*Really* pretty piece, and I mean it in the best way possible. You incorporate ideas and techniques that I've always thought to be underutilized (like living only certain notes while letting the other ring and using low register clusters, both in the third movement. I love exploring these kinds of possibilities and sounds on the piano.) and did so with elegance, style and playfulness. The only criticism I could make is that each movement feels too much like a miniature, I would gladly hear more development (unless it was your intention not to do so) Also, what soundfont are you using?
Wow, really fascinating! I absolutely love the part at 10:37. Such an incredible soundscape and imagery. How exactly do you produce these playbacks? If I'm not wrong, this is musescore sheet music, but how do you have spots like 11:13, where the decresc. to niente only seems to affect the top stave? Thanks in advance!
I think it’s only possible in MuseScore 3, you can separate dynamics by staves through the Inspector. It actually descrescendos to ppp, but it almost sounds like it goes all the way to niente.
I don’t know how well that would work out; it was really meant to be experimental will the timbres of the piano - I don’t think it would translate well to an orchestra
@@Organic_Organist yeah its more of indirect debussy influence probably through lineage rather than full on direct influence of debussy also reminds me of botw soundtrack at times
I'll say this, I think the third movement could have strayed from the 8/4 a bit more (maybe just adopt 10/8 in some repetitions?), but I still love the clusters in it. Also, no juicy 10ths in this low register? I always think they are one the best things. Nonetheless, awesome piece overall!
As a concert pianist / composer myself, I have to be the obligatory comment who asks: “where can I purchase the sheet music?” But seriously, how and where can I get the sheet music?
@@austinwgentry Okay, I use that too but for some reason the sound quality on this video is way better than when I use Musescore. Btw, congratulations on the the beautiful composition!
In the last movement, I find it impossible to figure some of the cluster chords for sure. Some of them within the staff are clear enough, because the lines help you see where the accidentals are, and which notes they affect; but I am talking about the ones which are lower in pitch, so that all notes require leger lines. Because leger lines go only through the noteheads, that means that you have all the accidentals hanging in empty spaces like bunches of grapes, and without lines to guide the eye, I find it impossible to know for sure which notes they apply to. I believe this makes the music harder to play properly than it needs to be, and I believe it is necessary to revise the notation in some way to make it clearer. I suppose you could put those chords up an octave so that they go within the staff, and put an 8va sign underneath - but that would spoil the visual shape of the line of clusters where others higher in pitch occur, and that could be fixed, I suppose, by writing all the clusters up an octave, and having a long 8va apply to them all - but that might put some of the higher clusters up into leger lines, and we'd face the same problem there. What else could we do? You could write footnotes naming the notes in a cluster, and this might work well if the exact same cluster appears a number of times (and it does look as if that could be the case, as far as I can see; but if there are many different clusters in leger lines, the score would get crowded with lots of leger lines. I'd be tempted to try something that is definitely unorthodox, but it would clear the matter up, and that would be to extend the leger lines to the left so that they go through the accidentals, too. I believe that would clarify which note each accidental applies to, and the clusters would then be as readable as the ones in the staff. I think that is the way I would go if I had written this. You may or may not like this idea, or other solutions I mentioned above - but I do believe something needs to be done about this if you want the score to be readable without ambiguity. Thank you.
Effortlessly virtuosic, though almost to a fault. Molto chiaro. I would love to hear this with a more human touch. Take this with a grain of salt, I'm a sucker for the gushy romantic stuff. Edit* in hindsight my take doesn't do justice to what I think.
![Seungmin "그렇게, 천천히, 우리(As we are)" | [Stray Kids : SKZ-PLAYER]](http://i.ytimg.com/vi/kAzmhLHePqU/mqdefault.jpg)
Get the sheet music here: www.musicnotes.com/marketplace/sheetmusic/MK0033716
This is amazing! Incredibly well-composed :0 This was such a fresh breath to me :D
I typed "new piano sonatas 2023", because I got tired of listening the same ones from past centuries over and over again. And this came up. I like it so far.
Listen to the following piano sonatas:
George Benjamin
Henri Dutilleux
Elliott Carter
Carl Vine 1-3 (he may have a 4th one I don’t remember)
Aaron Copland
Lea Auerbach
Most of these were written in the latter half of the 20th century. Lea’s and Carl Vine’s late sonatas were written in the early 2000s. Composers don’t really write sonatas that much anymore for better or for worse.
@@Scriabin_fan Carl Vine does have a 4th sonata
@@Scriabin_fanId add Yedida's sonatas as well
are you sure you done listening to 20 century stuff, or you just don't like it?
I also have composed a sonata...or now 102 in the style of baroque although.
This is sooo good
it's harmonically adventurous yet doesn't scare away from being really melodic at times; the textures in the first movement are an absolute treat as well
Mvt. 2 is incredibly groovy, the rhythms hit in just the right ways
And the 3rd is incredibly orchestral in its composition, those soundscapes are insane
I honestly think that this is a wonderful work. Its hard to categorize what should be recognized as 21st century "absolute music". I think this piece encapsulates it perfectly: 100% original, interesting harmony, form is perfect, melodies are exciting and mysterious. Wonderful.
Wow... I am a teacher and well try to introduce this to my students... Thanks for composing, recording and uploading.
One of the most unique original composition I've come across! I absolutely love this piece
The first movement sounds like what a crystal ball is made out of. Hopefully that makes sense, but anyway! Absolutely brilliant piece!!!!
Loved this!!! Definitely will be purchasing. So underrated.
Beautiful fairy tale! Amazing composing techniques ❤
This is incredible work. There’s so much contemporary concepts here that is also endearing to the modern audience. I hope I can learn this piece someday.
As a composer of mostly pedagogical music (hey, I am handled by a respectable publisher, and I make enough in royalties that I can always afford guacamole on my burrito bowl), one of my favorite pastimes is to come here and see these things that young composers post, and they are usually ridiculous - things that are way over their head. or five minutes on two chords. Now., you may have a doctorate in composition; I don't know. (I have never had a composition lesson in my life, but unlike some of these "composers" I stay in my limitations.) I'm too busy listening to this damn thing to look you up. I am amazed. Thoroughly modern, in the best sense of the word. Your use of recognizable motives make the piece listenable and enjoyable from beginning to end. I don't hear Debussy as much as I hear some influences of Ravel and Liszt's "Jeux d'eau a la Villa d'Este" in the first movement, interesting Ginastera-ish rhythmic shifts in the third movement, and a very dark and unique sound in the third movement. I THINK YOU HAVE A VIABLE REPERTOIRE PIECE HERE. Is it published? I would play this thing. And I think it is within the capabilities of my 64-year-old hands with pain issues. (You seem to have avoided chains of octaves.) This should be published - even if you upload it to Sheet Music Plus. I would recommend this to my publisher, but it is beyond the capabilities of our target market, and she has limited the number of "outside" composers. You have a hit. I hope that you are able to publish and distribute it.
i have a whole playliszt of things that composers on youtube make (good ones) if you want
@@erwinschulhoff4464 I would like that list.
Do you see this as viable pedagogical music, or as actual "art music"? I'm interested to know exactly where you place it. (You seem to make a distinction, because you refer to yourself as a pedagogical composer, but you also call this a viable "repertoire piece".
one of the most beautiful things I have ever heard
This is music
In my eyes, this can sit around the same dinner table as Gaspard de la nuit. Mesmerizing, remarkable, truly genius.
I’ve just found this piece up in my suggestion from RUclips. It’s the best suggestion ever. Love the color and rhythmic patterns of this piece. You’ve gotten a new subscriber.
Intriguing and innovative. I like it.
I think you're a genius. Absolutely terrific!!
I love this. Reminds me of a long rainy weekend, while playing Chrono Trigger😂
Wonderful
Love it🎉 Maybe live version next?
Love your harmonic language! Created some nice textures here
This piece is amazing! I love the harmonies and the textures.
fantastic
I absolutely love the second movement
Beautiful!
this is amazing 🎹
This is so good, I'm really impressed!
so good...
The first two movements lead really well into the last one. That final chord progression is a nice statement too. I get a sense of possibility with this sonata. I really liked it nice work
Really really cool Austin
I'm passing by Japan, whose hobby is composing and has published videos of sheet music.
Even if I say composition, I can't play instruments, I'm only making scores, so I couldn't make a piano sound like this song, so I was looking for various things.
It was very helpful. I think you are a professional, but you are sophisticated. I will listen to other works. Thank you.
Fascinating
Very delicate personally imagined
Really beautiful harmonic language. Reminds me a little of Ravel and with contemporary elements. Great work 🎶
omg i need to play this
i bought it !!
8:37 I love how you used clusters to simulate a large percussion instrument, such as a gong or a gigantic timpani.
A gong perhaps, since timpani are tuned.
Smashed dat subscribe button as hard as I could
💖💖💖💖💖
Любовь с первого звука! Великолепно!
Wish I could record this
i really like this
I like it very much. Sometimes it lacks development, but anyway this piece is very musical, authentic and complex. Especially I like unexpected harmony moves and means of expression in melody. For context and mood it reminds me Ravel and Debussy, the late impressionism era. 9.5/10. Keep it up, brother.
Someone’s been studying thematic transformation 😉. This is really impressive though.
I make similar music. But this is.. An enigma. Beautiful!
so glad I clicked on this!
It's like a chaconne
Wonderful.
Last movement reminds me of Rzewski.
This is sooo goooood😂😂😂
This evokes Prokofiev after playing retro Japanese video games.
That's pretty nice. The beginning reminds me of the OST from Megaman Battle Network 3 where you enter the Secret Area
Fascinating piece with some really nice textures. Is there any reason for the range limits for each movement?
It was just a way for me to be more creative with each of the movements, I thought having a movement in each range of the piano was a cool concept
@@austinwgentry I have done similar things, like writing pieces without octaves for advanced students with small hands (sixths..) and I had a gifted student with no fingers on her RH, only a nub. So I wrote things with complex LH parts and single note RH parts. She could reach a tenth in the LH at the age of 10 because she had stretched and loosened that hand enough.
Stunning.
And the last mvt is anxiety-inducing (in the best way),
But what does it all mean?
Third movement is very impressive! but i think maybe notate that left hand as tone cluster will help better for the performer?
computer game entered our world and learned to play piano ❤
Terzo tempo geniale
Beautiful. One more subscriber. I'm also a composer too of classical music.
Спасибо, из трёх частей сонаты с ярким рисунком первая часть, отразившая фантастические реалии природы: " Путешествие капельки воды в клетке растения" Её сложнейшие биохимические превращения на процессы фотосинтеза, дыхания, транспирации, синтез органики. Всё очень интересно.
Ligeti but from heaven?
Возможно у меня синдром поиска глубокого смысла, но я всё же напишу этот комментарий. Эта соната очень похожа на человеческую жизнь.
Первая часть показывает то, каким этот мир видит ребёнок -- для него он полон тайн и причудливых, порою непонятных для него вещей, от чего мир воспринимается только ещё интереснее, чем он есть на самом деле.
Вторая часть показывает жизнь человека в самом расцвете сил, его юность и молодость. В этом возрасте мы не задумываемся над тем, что нас ждёт в будущем, а живём настоящим, проживая жизнь здесь и сейчас. При этом, порою, не замечая за общим фоном городской суеты и повседневной рутины, того, насколько стремительно жизнь проносится мимо нас.
Так незаметно проходят годы, и в итоге наступает старость, о чём и повествует третья часть. Здесь можно почувствовать именно то самое гнетущее чувство страха приближающейся смерти. В начале третей части человек как бы смотрит на себя в зеркало и к нему приходит осознание того, что жизнь уже почти закончилась, что в любой из последующих дней жизнь может просто оборваться. После кластерные аккорды в самом нижнем регистре показывают как бы, ёканье сердца уже итак изрядно изношенного ( нет серьёзно у меня в этот момент при прослушивании аж холодный пот на руках выступил), смерть уже "стучится в двери". После появляются интонации из первой части, а в качестве сопровождения фигурации на подобие тех, что были во второй части -- человек вспоминает своё прошлое, -- детство и молодость, -- жизнь словно проноситься перед глазами. Ну а аккорды нотами бревис в конце -- это уже как будто весточка с того света. Человек теперь уже на небесах (хотя по ощущениям от музыки -- скорее в лимбе), в нашем мире от него осталась лишь память о нём.
Конечно, я понимаю что описанная мной картина далеко не является универсальным портретом каждой человеческой жизни, многие умирают безболезненно во сне и в окружении близких. Но я попытался описать те чувства и образы, которые вызвала эта музыка именно у меня. (Лайк поставил и подписался, произведение действительно очень не обычное и интересное по своей задумке)
1 часть in Es (завершается in B), 2 часть ми минор, 3 часть снова in Es и модулирует в си мажор))
Все три части представляют три разных регистра - верхний в первой, средний в скерцо (2 части), нижний в третьей))
*Really* pretty piece, and I mean it in the best way possible. You incorporate ideas and techniques that I've always thought to be underutilized (like living only certain notes while letting the other ring and using low register clusters, both in the third movement. I love exploring these kinds of possibilities and sounds on the piano.) and did so with elegance, style and playfulness. The only criticism I could make is that each movement feels too much like a miniature, I would gladly hear more development (unless it was your intention not to do so)
Also, what soundfont are you using?
I am using the soundfont that comes with MuseScore 3.
Primo e secondo tempo anche geniali, un po' Genesis e Satie, molto belli
the last movement is pretty neat nice usage of quintic and quartal harmony throughout
minimalists here!
Wow, really fascinating! I absolutely love the part at 10:37. Such an incredible soundscape and imagery.
How exactly do you produce these playbacks? If I'm not wrong, this is musescore sheet music, but how do you have spots like 11:13, where the decresc. to niente only seems to affect the top stave? Thanks in advance!
I think it’s only possible in MuseScore 3, you can separate dynamics by staves through the Inspector. It actually descrescendos to ppp, but it almost sounds like it goes all the way to niente.
@@austinwgentry I see, thanks! Hopefully they'll also add this into Musescore 4 :)
Reminds me a bit of Yuri on Ice
Very very nice
第三樂章是一次突破創新嗎，好像沒看到你曾經有過類似的風格
movement 2 is like scriabin 5
Can I get your permission to try to make an orchestrated version of this? Just as a fun personal project
I don’t know how well that would work out; it was really meant to be experimental will the timbres of the piano - I don’t think it would translate well to an orchestra
Amazing work! I can definitely hear the influence from Debussy in this sonata.
More like raatavara-lite
@@Organic_Organist yeah its more of indirect debussy influence probably through lineage rather than full on direct influence of debussy
also reminds me of botw soundtrack at times
I'll say this, I think the third movement could have strayed from the 8/4 a bit more (maybe just adopt 10/8 in some repetitions?), but I still love the clusters in it. Also, no juicy 10ths in this low register? I always think they are one the best things. Nonetheless, awesome piece overall!
Influence from Ravel?
練習が追いつかない
It is play by a computer right?
yes!
Звучит очень свежо
El Minimalismo sigue vigente décadas después de su aparición.
Hello. This piece is work of genius. How old are you? At what age did you start composing? Do you have perfect pitch? I ask for personal curiosity
Thank you! I am 19 at the time of writing this. I think I started composing at around age 7. And yes, I do have perfect pitch.
@@austinwgentry Congratulations!!!!!!
As a concert pianist / composer myself, I have to be the obligatory comment who asks: “where can I purchase the sheet music?”
But seriously, how and where can I get the sheet music?
The sheet music should be out soon
@@austinwgentry Very good. Please come back and comment here to let me know when. I'm deadass serious.
Oh I will
@@tfpp1 I have asked the same question, and he has written more than this.
@@MrRicksStudio Yes, I'm aware. But this is one of his better works.
I was thinking you should make the left hand more interesting.
What app do you use to write this down in/play the music?
MuseScore 3
@@austinwgentry Okay, I use that too but for some reason the sound quality on this video is way better than when I use Musescore. Btw, congratulations on the the beautiful composition!
Very unique, I wish I could hear a human play it.
In the last movement, I find it impossible to figure some of the cluster chords for sure. Some of them within the staff are clear enough, because the lines help you see where the accidentals are, and which notes they affect; but I am talking about the ones which are lower in pitch, so that all notes require leger lines. Because leger lines go only through the noteheads, that means that you have all the accidentals hanging in empty spaces like bunches of grapes, and without lines to guide the eye, I find it impossible to know for sure which notes they apply to.
I believe this makes the music harder to play properly than it needs to be, and I believe it is necessary to revise the notation in some way to make it clearer. I suppose you could put those chords up an octave so that they go within the staff, and put an 8va sign underneath - but that would spoil the visual shape of the line of clusters where others higher in pitch occur, and that could be fixed, I suppose, by writing all the clusters up an octave, and having a long 8va apply to them all - but that might put some of the higher clusters up into leger lines, and we'd face the same problem there.
What else could we do? You could write footnotes naming the notes in a cluster, and this might work well if the exact same cluster appears a number of times (and it does look as if that could be the case, as far as I can see; but if there are many different clusters in leger lines, the score would get crowded with lots of leger lines.
I'd be tempted to try something that is definitely unorthodox, but it would clear the matter up, and that would be to extend the leger lines to the left so that they go through the accidentals, too. I believe that would clarify which note each accidental applies to, and the clusters would then be as readable as the ones in the staff. I think that is the way I would go if I had written this.
You may or may not like this idea, or other solutions I mentioned above - but I do believe something needs to be done about this if you want the score to be readable without ambiguity.
Thank you.
Effortlessly virtuosic, though almost to a fault. Molto chiaro. I would love to hear this with a more human touch. Take this with a grain of salt, I'm a sucker for the gushy romantic stuff. Edit* in hindsight my take doesn't do justice to what I think.
I smell debussy
At first I thought there was a mistake of playing at least an octave higher than written
Bof !!! On a déjà entendu ce genre de musique des milliers de fois. Banal et sans originalité.
Try some actual criticism instead of stupid negative comments like this
No interest