Prokofiev gave opus numbers to works as soon as he started them, which explains why the sixth, seventh, and eighth piano sonatas are listed successively. They were completed in different years through the World War II era and are collectively often called the "war sonatas," although technically this sonata was completed before Germany's invasion of 1941 brought the Soviet Union into the war. It was premiered by the composer, first privately, then on Radio Moscow, and finally in live concert by Sviatoslav Richter. Critics (and party officials) were puzzled and even outraged by what they saw as its brutality. It is in fact the largest, most emotionally powerful, and most "Romantic" of Prokofiev's sonatas. It starts with a unifying motto played with great force, a four-note descending pattern in thirds which outlines at once both the A major and minor chords. Thus uncertainty of mode and the cross relation between C natural and C sharp energize the entire work. The first movement is an explosive treatment of this idea, with the motive hurled back and forth in extreme registers of the piano, one of Prokofiev's most turbulent movements.

The second movement is a slowish scherzo with a theme that seemingly tries to capture the common Prokofiev mood of playful irony in the way it skips over the keys atop staccato accompanying chords. But despite the irony, it is far from carefree. The third movement is a sad waltz. The finale brings back the turbulence and the first movement and pounds to a violent statement of the main major/minor idea of the sonata.

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