This violin sonata is not strictly tonal in the proper sense of the word. Rather, it is based on successive tonal centers. Its compositional language owes much to various melodic turns borrowed from modes of limited transpositions and to a vertical or arpeggiated superposition of classified chords, generating what appears to be a kind of multi-tonality.
The end of the second movement draws its inspiration from the French motion picture The Baker’s Wife. The reoccurrence of initial elements, slightly modified and in a higher register recalls the famous final scene of the movie, when the inimitable Raimu takes out his anger at his wife ’s infidelity on the family cat. Throughout the second half, the piano - like the tocsin that emphasized the happy conclusion of the story - highlights the end of the movement.
The third movement is a playful variation on the element on which the previous movement is based.
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