Piano Sonata by A. Fiodorova, Sonata-Fantasia by V. Zagorschi, Sonata-Improvisation  by V. Rotaru and De sonata meditor by G. Ciobanu offer beneficial material for considering the issue of traditional against innovative trends in national instrumental music. The cited sonatas are now firmly established in both educational and competition repertoire of the undergraduate, graduate and doctoral students of the Academy of Music, Theatre and Fine Arts of the Republic of Moldova as well as in local pianists’ concert practice.  The single-part Piano Sonata by A. Fiodorova presents a combination of sonata-inherent qualities with variational and variable elements, it embodies the principle of monointonational style; its compositional logic is dominated by the idea of juxtaposition, and its dramatic moving power lies in the contrast of two image-bearing and emotional spheres. Their initial appearance and subsequent clashes make up unequal blocks of variating scope with every succeeding one excelling the preceding in its emotional charge. The two-part Sonata-Fantasia by V. Zagorschi grows out of contrast between the first part which is pensive and dreamy and the turbulent, vividly dynamic finale. Bright in its emotional impact, Sonata-Improvisation by V. Rotaru is a one-part composition with no defined key or meter, combining in its structure the principles of sonata form and double variations. De sonata meditor by G. Ciobanu, treated as meditations over the sonata, is filled with stylistic allusions and a peculiar interpretation of music from different epochs and styles.  All the aforementioned leads to the conclusion that the reviewed piano sonatas by A. Fiodorova, V. Zagorschi, V. Rotaru and G. Ciobanu display a number of clearly outlined trends bearing witness to the fact that national composers realize the importance of the problem of traditional and innovative approaches. One aspect of it refers to a tendency towards individualization of the creative process, which reveals itself in richness of imaginative and idealistic concepts, in plurality of compositional techniques and musical expressive means, in freshness of compositional and dramatic solutions.  Another indicative feature of the modern state of the piano sonata genre in the music of the Republic of Moldova composers is the advent of mixed genres – sonata and fantasia, sonata and improvisation, sonata and ballad. In its turn, it leads to transformation of the compositional structure of musical pieces: prevailing are individualized, non-classical treatments of the sonata form, there is on the part of composers a marked inclination to one-part constructions.  One can clearly discern stylistic variety in the approach to the piano sonata genre that is explained mainly by the composers’ priorities. Alongside predominance of neo-romantic musical orientation (evident in pieces by A. Fiodorova and V. Zagorschi) we can see examples of neo-folklore stylistics (V. Rotaru), an example of post-modernism (G. Ciobanu). We can safely arrive at a conclusion that the Republic of Moldova composers’ search in the sphere of expressive means and forms have enriched the piano sonata genre, and variety of composers’ individual projects resulted in appearance of a number of distinctive pieces of music of the genre in question.