In appraising my music the critics wrote a good deal of nonsense; for example, the best of them maintained that the finale of Sonata No. 2 made him think of 'a herd of mammoths charging across an Asiatic plateau.'
Compared with the conservatively homogeneous music of the First Sonata, the Second astonishes with its huge variety, even incongruity, of styles, presented in a paradoxical, carnival atmosphere.
The strong contrasts typical of this sonata manifest themselves as early as its opening, when the impatient, Schumannesque first theme is interrupted by harsh dissonances and a recurring chiming motive in the left hand.
This [second] movement is one of Prokofiev’s toccata-like scherzos. Its building blocks are a short ostinato motive and rhythmically uniform non legato chords, with continually moving middle voices.
The key to the success of this [second] movement lies in rhythmically steady playing. The tempo does not need to be very fast, but the pulsation of the eighth notes should remain unaffected by the difficult jumps in the left hand.
Steadiness of tempo is essential in the performance of this finale [fourth movement]. Do not start it in a faster tempo than you can sustain in the technically challenging passages later.