Work Overview

Author: Masaki Nishihara (approx. 850 words)

Composed in Paris between April 9 and 30, 1956, this work consists of three movements: fast, slow, and fast. Written several years after Piano Sonata No. 2 (Op. 293), it maintains the character of a small sonata while exhibiting an even freer hand. Each movement is densely condensed, showcasing a concise and taut writing style. It has received high praise from critics and performers familiar with Milhaud's works. Irregular passages, unconventional chord voicings, and frequent leaps abound, demanding a high level of technical skill comparable to that required for a piano sonata. It is also interesting that Jean Roy commented on the work's unique writing style, which exists on a different plane from so-called 'showy' pianism, suggesting that Milhaud might have been subtly criticizing piano virtuosity that tends towards self-indulgence.

This work is dedicated to the renowned British virtuoso, Harriet Cohen. Cohen is widely known as the dedicatee of the final movement of Bartók's Mikrokosmos, "Six Dances in Bulgarian Rhythm," but she also made significant contributions as a promoter of modern and contemporary British works. The premiere took place on March 22, 1959, at a meeting of the Pacific Music Society in San Francisco, performed by Josepha Heifetz (b. 1930). Josepha, a pianist and daughter of the legendary violinist Jascha Heifetz, served as Milhaud's assistant during his time in America. Her publication, 24 Exercises for Piano (Kjos, 1982), is widely used as a long-selling textbook in the United States. In 1958, she married professional chess player and author Robert Byrne, and also worked as a lexicographer under the name Josepha Heifetz Byrne.

• 1st Movement: Décidé (Resolutely). 4/4 time. Primarily in F major (no key signature).
• 2nd Movement: Modéré (Moderately). 3/4 time. Primarily in E-flat major (no key signature).
• 3rd Movement: Alerte (Lively). 6/8 time. Primarily in C major.