Originally conceived as the Sonata for flute and piano (1943), this work immediately became more popular in its violin version. Even today it is still more commonly encountered in concert and on recordings than its sibling, not least because violinists outnumber flutists. Cast in four movements, this sonata transcription betrays little of its grim wartime origins, mixing Prokofiev's lyrical warmth with his playful mischief.

The first movement is marked Moderato and opens with a lovely melody on violin that seems to float lazily amid the clouds. The music springs to life in a jovial bridge passage leading to the alternate theme, also a lyrical, bright melody, but one that seems to hopscotch about. Both themes are repeated then developed, though in their working out they divulge relatively little transformation, but do show a more energetic sense. A reprise and lovely coda close out the movement.

The ensuing Scherzo, marked Presto, features that typical Prokofievian drive and mischievous abandon, the piano often seeming to propel the violin along. There are two themes in the outer sections, the first busy and impish, the second carefree and a bit less breathless. The brief trio is calmer and quite lovely in its subdued lyricism.

The Andante third movement features, in the outer sections, a lovely soaring theme on violin, which is just as beautiful when taken up by the piano. But it is the deliciously exotic middle section that seduces the ear: the violin's somewhat jazzy lilting theme receives a beguiling, almost Gershwinian response from the piano's upper register, forging a truly memorable melodic creation.

The finale, marked Allegro con brio, opens with a chipper melody whose festive character seems to turn to chuckles with the appearance of a bouncy second theme. An angular third melody soon appears, and there follows some imaginative development of the material and a reprise. The coda is ecstatic in its joy and wild abandon.

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