The Piano Sonata No.3 in A minor 

Sergei Prokofiev, one of the greatest Russian composers of the 20th century, was also a gifted pianist who developed a unique approach to writing for the instrument at an early age. His works for both solo piano and piano with orchestra figure prominently in his repertoire, and I believe his series of piano sonatas are arguably the most significant since those of Beethoven and Schubert. The Sonata No.3 in A minor is one of the most popular and my personal favorite. It’s the shortest, written in a single movement, yet one of the most technically demanding with an energetic, expressive power that make it unique among his nine piano sonatas. Purely Prokofiev.

Composed in 1917, Prokofiev premiered the Sonata No.3 in A minor himself at a festival of his music held at the St. Petersburg Conservatory that same year. He added the subtitle, “From the Old Notebooks” – a collection of sketches and pieces that he had composed as a teenager dating from 1907. In a letter written in June of that year, he makes mention of Piano Sonata No. 3, saying “It will remain…in one movement: pretty, interesting, and practical”. 

We can only imagine why the teenager was attracted to the single movement form in the first place. Perhaps he was influenced by the arching Liszt Sonata in B minor and it’s ‘double function’ of one unbroken movement, in both sonata form and a multi-movement form. Surely he was well acquainted with Liszt’s work, and well aware of its compositional constructs.  Scriabin’s Piano Sonata No. 5 also comes to mind, if only in form alone. It was the first of his single movement sonatas, and he composed it in 1907, the same year that young Prokofiev wrote his sonata. But Prokofiev saw the possibilities it offered to an entirely different artistic vision, and used it to realize his own artistic expression.

After ten years, Prokofiev returned to those student writings, transforming this piece into the amazing composition we know today. And he remained true to his original intentions for the piece, even after undergoing what must have been a serious process of rigorous revision. Prokofiev juxtaposes a rhythmic Moto perpetual of the opening Allegro tempestoso with tender lyricism in the subordinate theme, Moderato. Prokofiev’s unique, acerbic wit is in full display, as is the motoric drive of this toccata-like work. After a brief development (the climax of which is marked con elevazione, with elevation), the work reprises the opening material for its brilliant conclusion. Performing this work is challenging. Indeed, pianistic difficulties…(Comments about performing?)

Prokofiev’s triumph was in creating a richly rewarding masterwork in only one movement, barely 8 minutes long. Using his craft with precision, both concise and complex, he propels the expression of youthful exuberance, urgency, and lyricism, while blending nineteenth-century Russian and twentieth-century characteristics.

All in his own distinctive voice. Purely Prokofiev!