Four-hand piano music thrived for many years as a form of home entertainment. Its popularity reached its peak before the advent of radio and recording, since, for many people, the only way to make the acquaintance of much music was by playing it themselves in special arrangements that were usually merely serviceable rather than inspired. But there is also a small, but interesting, repertoire that does not consist of arrangements or transcriptions of orchestral, chamber or ballet music. Poulenc's contribution to this genre is this sonata, an early work, written in 1918. It has been alleged that Poulenc had a pulchritudinous piano student, and that he arranged some of the piano voicing in order to allow him to come into more intimate contact with her than might have been proper.

In three movements totaling six minutes in duration, this "sonata" might have been so called by Poulenc with tongue in cheek. Although it follows the basic outline of the classical sonata, it has none of the usual development. In any event, it is a delightful work from beginning to end. There is a rough-edged exuberance, coupled with a melodic simplicity that reveals two of the more important influences on Poulenc, namely Satie and Stravinsky.

The first movement opens with a pulsing motor rhythm and exuberant melody, with tangy, crashing chords giving further rhythmic vitality. The contrasting second subject is delicate and gentle. A return to the opening activity closes the "Prelude". The second movement is marked "Rustique" and opens with a swaying figure that soon becomes the accompaniment for a folklike melody. The "Final" is a very sprightly dance with occasional reappearances of the first movement's spicy flavor.

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