there are lots.
First, define counterpoint. I personally think counterpoint begins when there are at least two different phrases at the same time, period. So there is counterpoint in Haydn's and Mozart's piano works.
To some people, music is contrapuntal only when there are some kind of imitation (canon or fugue)...

Anyway, famous examples (I assume that by piano you meant "from 1750 to today", so I won't include Sweelinck's fantasia or Bach's WTC):

Beethoven, Hammerklavier, the fugue section in the last movement
Liszt, Sonata in B-minor
Franck, the Fugue from the Prelude, Choral and Fugue

There are also Reicha's 36 fugues, who are quite a curiosity. I remember one with repeated notes as a subject, which sounded very avant-garde.

edit :

The second one (n18)

 

Take any of Godowsky, that crazy Lithuanian. Any work. He wrote counter voices all the time. You'll need a very powerful left hand to play his works.

 

What are some piano works that don't use counterpoint?

 

Here's one.

 

Try the beginning (and main) melody of this sonata. Left hand and right hand bounce off of each other.

 

 

It woul be difficult to compose a piece devoid of counterpoint with several voices anyway.

 

Early Organum ftw.

 

 

Anything Germanic - counterpoint is their particular province from earliest times. All polyphonic music has counterpoint in the same way that a church hymn in SATB arrangement is an exercise in counterpoint - simple, but CP, all the same. It is just that the counterpoint is given such a high place in German music. Some of it grows out of the German composers temperament i.e. to create a serious music. North German Organ music (Buxtehude and Bach grew out of this atmosphere) is another reason - the Baroque organ is divided into two manuals (keyboards), plus tons of stops for different sounds, and then also the pedalboard (foot pedals) for the bass. An instrument of this design almost dictates a linear tradition as the instrument stratifies everything so easily. Just my opine.

 

Most of Schumann, Chopin, Brahms, Debussy (often enough) -- there are tons of varieties of how to use counterpoint. Many novices think it is only the premise of 18th century 'Bach-style' - but it covers the gamut.

That rather famous Chopin Prelude No. 4 in E minor is riddled with counterpoint, all the accompaniment of the melody being not just 'chords' but a consequence of separate chromatic lines running in parallel motion. (counterpoint does not require 'opposed motion,' another often mistaken notion.)

Look at the Talk Classical thread 'every fugue ever written' - shows you that there is all kinds of counterpoint in composers music from all eras

Stravinsky's Concerto for two pianos has a prelude and fugue as its final, 4th, movement.
Ditto Samuel Barber's Sonata for piano.

There is lots of different sorts of counterpoint in various pieces throughout the Six books of Bartok's Microkosmos.

Later 20th century composers have deployed countrapuntal writing in various ways.

 

"In music, counterpoint is the relationship between voices that are harmonically interdependent (polyphony), but independent in rhythm and contour.In music, counterpoint is the relationship between voices that are harmonically interdependent (polyphony), but independent in rhythm and contour."

So yes, counterpoint in it's broadest definition, is just voices moving against each other. Anyone who goes through an early counterpoint class knows this because all the exercises are basically just chorale-like pieces.

 

heterophony exists. parallel homophony of any interval also exists, not just octave and P5 doublings.

 

^It may not be the first thing that would come to mind when one thinks of contrapuntal pieces of music, but it is contrapuntal nevertheless.

 

Ok you win. Now what kind of cheese did you say the moon was made out of!:lol:

 

My money is on Petwhac here... for the eloquent prose and convincing argument.

 

My money is on everyone else. The people who actually know some stuff about counterpoint and can recognise it in various forms such as in Chopin's prelude op. 28,4

 

Mendelssohn is often considered a master of counterpoint. I think his fugues are wonderful.

 

Oh...also Copland's Passacaglia is really cool! Wonderful example of 20th-century counterpoint. Still elements of tonality, but definitely a lot freer.

 

Schoenberg is an excellent contrapuntalist. I would rank him close to Bach when it comes to the most skilled contrapuntalists. I'm surprised he hasn't been mentioned yet.

 

Wow this Copland Passacaglia sounds like Rzeswki ! (or it's Rzewski who sounds like Copland)