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, s...