Poem-Sonatas For Piano – Massimiliano Motterle

Going inside a sonata through Liszt, who upset its form, moving through Scriabin, who transformed it and so arriving to Berg who destroyed it. This implies that the listener definitively leaves the warmth of the already known structure, represented by other famous examples of sonatas, to climb a more steep and complex trail that returns step surprise and intensity at every step.
Beginning with Liszt and closing with Berg is a musical and existential path, an eternal research for renewal and a rebellion against the “paternal” rules of the history of music although it seems to formerly respect their principal teachings.
So the first step is Liszt, with his sonata in B flat, just the one with which the composer decided to upset the principle of the sonata form, conscious of the fact that in the year of its composition it was already outdated. He condensed the aspect of exposition, development and resuming in a single movement that treats the instrument as a continuously expanding symphonic orchestra.