Sonate prokofievienne

Sonate prokofievienne is one of Gilberto Mendes’s final works for piano. Composed at the age of 89, it represents an explicit homage to what Mendes himself described as one of the “greatest Russian composers,” Sergei Prokofiev. Known for his rhythmic vitality and melodic invention, Prokofiev left a profound mark on twentieth-century music — a legacy Mendes both admired and, in some respects, echoed in earlier works (notably in Fuga Dupla). Sonate prokofievienne may thus be understood as a musical salutation to a spiritual mentor. Substantial in scope (approximately 15 minutes), the work crowns a series of tributes Mendes had begun in preceding years, including Recado a Schumann and Sonate Mozartiana — though here, the homage takes a more expansive and developed form.

Despite its title, Sonate prokofievienne is no slavish imitation. Rather, it reimagines the concept of the sonata in a free and creative dialogue with Prokofiev’s idiom. The structure appears cyclical, possibly in multiple contrasting sections or movements — likely a fast–slow–fast sequence, as suggested by the 16-page manuscript — though the exact movement divisions are not explicitly marked. Mendes integrates several stylistic features associated with Prokofiev: angular, motoric themes reminiscent of the Russian composer’s Seventh Piano Sonata; sharply dissonant yet fundamentally tonal harmonies; dry fourth-based accompaniment figures; and bold use of polytonality. Rhythm is a key element throughout, with percussive ostinatos, displaced accents and incisive gestures recalling the spiky drive of Prokofiev’s toccatas.

However, the piece avoids direct quotation. It is an homage in spirit, not a paraphrase. Mendes evokes Prokofiev’s world — its sardonic humour, glittering virtuosity, and stark contrasts between lyricism (as in Visions fugitives) and violence (as in the famous Toccata in D minor). Yet his voice remains clearly his own, particularly in the carefully wrought dramatic arc leading to a brilliant finale. There may be hidden references for the attentive listener — a rhythmic allusion to the Classical Symphony, perhaps, or a melodic nod to The Love for Three Oranges — but such allusions remain subtle, embedded as respectful subtexts rather than overt citations.

Sonate prokofievienne was hailed as an impressive achievement for a composer approaching ninety, testifying to Mendes’s continued artistic vitality. It was premiered at the 2011 Festival Música Nova in Santos by pianist Caio Pagano, a long-time friend of the composer. Pagano’s dynamic performance highlighted the modern edge and structural sophistication of the piece. Critics praised Mendes’s ability to absorb Prokofievian traits without descending into pastiche. They also noted the sonata’s mirror-like relationship to Sonate Mozartiana, composed a few years earlier: after saluting Mozart, the Enlightenment’s voice of clarity, Mendes turned to Prokofiev, the ironic modernist — thus completing a cycle of homage across centuries.