Prokofiev was especially active as a pianist during his years in the United States. The titles of numerous reviews seem to refer as much to his compo… - Boris Berman

Prokofiev had a particular talent for creating a fully identifiable mood within the first notes of a piece, passage, or theme.

In spite of the many valuable books available today, the state of Prokofiev scholarship cannot be considered adequate: suffice it to say that the detailed catalogue of his works has not been updated since it was published in 1961. At present, there is no edition of the Prokofiev sonatas free of errors. I have tried to do my best in pointing out some obvious mistakes, as well as certain doubtful readings. Many questions cannot be answered with certainty, as the manuscripts for some of the sonatas have been lost; those that have survived are not easily available for inspection. To get to some of them, I was fortunate to have the help of Russian colleagues in overcoming the restrictions of the current gatekeepers in Russia.

Prokofiev’s music is usually based on a firm sense of tonality. Whatever tonal uncertainty and ambiguity one experiences, mainly in developmental passages, they are mostly short-lived.