While Prokofiev was familiar with the writings of Kant, he was hardly trying to encapsulate his doctrine of "things in themselves" with these two piano pieces. The title may simply be a little joke or catchall to describe the wayward natures of this eccentric pair of piano works. Both pieces are bleached of Russian sonorities, and are among the most cosmopolitan sounding efforts in Prokofiev's keyboard output.

The first, marked Allegro moderato, shows neo-classical and French influences of the time, not surprising characteristics for a composer then living in France and becoming trendsetter there himself. As in much of Prokofiev's other music from this period, the writing here is lean but muscular, and the structure is unusual. The themes are not always easily graspable, though the rather rambunctious variation that dominates the last third is quite appealing in its brashness, bringing with it a slapstick anxiety that deftly transforms into gruff heroism at the close.

The second piece, marked Moderato scherzando, is less driven and more playful. It is mostly subdued and thematically less distinct, though one charming motif—an ascending phrase punctuated by two resolute chords—appears throughout. In sum, these two imaginative pieces represent a rather dry side to this composer's multifaceted muse.

© All Music Guide