At the beginning of the 1950s, a new generation of unconventional and revolutionary composers was emerging. The French pianist Bertrand Chamayou introduces us to works by composers who we now count among the leading figures of New Music, and who never ceased to surprise us with their ideas: John Cage, György Ligeti, Luciano Berio and Olivier Messiaen turn the piano into a percussion instrument and an experimental laboratory for new tonal and rhythmic effects. Karl Amadeus Hartmann, on the other hand, recalls the horrors of the Nazi dictatorship in his sonata “27 April 1945”.