Sonate n°3 for piano

1 Con moto 4'20''

This piano sonata, the first work of abstract music by the composer, aged twenty at the time, is characterized by 'an incisive style, studied rhythm and a very keen sensibility' (Arthur Hoérée). The first movement is based on the two-theme sonata form and is clearly influenced by Mozart, even though influences of contemporary musicians such as Bartók and Roussel can be heard here and there. With virtuosity requiring occasionally acrobatic hand shifts, this first movement often leaves room for moments of pure melody, closer to a Schubert than a Hindemith.

II Adagio 4'14''

After four questioning fortissimo chords, a melodic theme stated without accompaniment prefigures the overall style of the movement, stamped with meditation and poetry. The central part marks a break with the serenity of the first theme and evokes outbursts of dazzling colours in contrast with the initial theme. The return to the poetic feelings of the beginning brings back the spirit of meditation in this Adagio.

III Allegro marcato 4'

This very martial movement is rich in rhythmic combinations, mixing the customary ternary rhythms with irregular rhythms in 8/8 and 10/8, for example, giving free rein to the various evolutions of the main theme. This Allegro marcato is the logical outcome of this youthful work full of gaiety and joie de vivre.

1951 First performed on 16 April 1953 by Hélène Pignani at Salle Cortot, Paris.