Piano Masterpieces: Music you’ll want to listen to and play—beloved classic works

Eight Pieces, Op. 84: No. 3, FugueGabriel Fauré

Fauré: Fugue in A minor; Vladimir Valjarevic

Despite employing the fugue form, this piece possesses a flowing beauty and delicate depth.

Composed in 1869, it captivates with a tightly interwoven four-voice texture.

The clarity of the subject and the interplay among the voices create the impression of watching an elegant social dance.

The modulation from A minor to A major is striking, and the refined grace characteristic of French music shines through.

At its premiere in April 1903 by Ricardo Viñes, its subtle expressivity was highly praised.

This work is recommended for those who wish to become acquainted with traditional classical forms or who are captivated by the elegance of French music.

scramble crossinghashimoto kouichi

scramble crossing

This piece dynamically captures the hustle and bustle of the city, with a rhythmical, energetic melody that leaves a strong impression.

Built with 6/8 time and irregular meters, it skillfully depicts the ebb and flow of people at a busy intersection through music.

Featured on the album “I Still Love the Piano! ,” it was composed with Shibuya’s scramble crossing in mind, achieving an exquisite balance between melody and accompaniment.

Despite its brisk tempo, it allows for richly expressive performance, making it perfect for recitals.

Blending elements of classical and pop, its contemporary flair makes it stand out on stage.

It’s also recommended as a recital repertoire choice for boys looking for a cool piece.

Piano Sonata No. 2 “Fantasy” in G-sharp minor, Op. 19Aleksandr Skryabin

Richter plays Scriabin: Sonata no. 2, Op 19 (movement 1)

Piano Sonata No.

2 “Sonata-Fantasy” in G-sharp minor is a work composed in 1897 by the Russian composer Scriabin.

Compared to his First Sonata, it shows an evolution in compositional technique and language, and one can begin to hear the sense of flight, exaltation, and sensuality that would later become hallmarks of Scriabin’s music.

Songs Without Words, Book II, Op. 30, No. 1: MeditationFelix Mendelssohn

Barenboim plays Mendelssohn Songs Without Words Op.30 no.1 in E flat Major

This work, notable for its slow and gentle melody in E-flat major, is one of the pieces from the Songs Without Words published in Bonn in May 1835.

Evoking the atmosphere of quiet meditation, it combines rich lyricism with relatively modest technical demands.

Cast in ternary form, it features a coherent structure and simple yet profound emotional expression, making it a valuable teaching piece for developing a pianist’s expressiveness.

It is an ideal choice for those looking to broaden their repertoire or seeking a calm, reflective piece.

Livia Rév’s 1986 recording received France’s Grand Prix du Disque and is highly acclaimed for its delicate interpretation.

Songs Without Words, Book III, Op. 38, No. 4: HopeFelix Mendelssohn

Barenboim plays Mendelssohn Songs Without Words Op.38 no.4 in A Major

This is a charming piece with a calm, approachable melody.

Carefully selected from the album Songs Without Words, it features a graceful tune in A major that resonates deeply.

While tranquil, it carries an air of hope, with the right-hand melody and left-hand accompaniment blending beautifully.

There is little hand crossing, and the score is simple, so with steady, unhurried practice, you will be able to play it confidently.

Published in 1837 and intended for home performance, this work offers a joyful way to practice while refining delicate expressive skills.

Start by firmly grasping the melodic line, then gradually deepen your expression to cultivate a rich musicality.

Songs Without Words, Book 4, Op. 53 No. 2 “Floating Clouds”Felix Mendelssohn

Barenboim plays Mendelssohn Songs Without Words Op.53 no.2 in E flat Major

While the structure—melody in the right hand and accompaniment in the left—is simple, its flowing lines evoke clouds drifting across the sky, making it a beautiful piece.

Although considered intermediate in difficulty, careful, unhurried practice will certainly make it attainable.

Included in the album Songs Without Words, the work captivates with its graceful atmosphere and poetic expression.

It calls for the rich expressiveness characteristic of the Romantic era and a delicate touch, yet since its publication in 1841 it has remained a beloved classic.

With its gentle melody and rhythm, it’s a calming piece well-suited to home performance.

Songs Without Words, Book 4, Op. 53 No. 4, Sorrow of the HeartFelix Mendelssohn

Barenboim plays Mendelssohn Songs Without Words Op.53 no.4 in F

From the piano collection Songs Without Words, whose delicate, introspective melodies touch the heart, this piece stands out for the serene beauty of its Adagio.

Its gently flowing line carries deep sorrow and melancholy; published in 1841, the work remains calm while containing powerful emotional expression.

As the right hand sings a graceful melody, the left hand supports it softly, like a heartbeat.

Suited to a composed, reflective performance, it is recommended for those who want to fully savor the allure of Romantic music and value nuanced expression.

Despite its simple structure, it offers rich musicality.