Piano Sonata No. 8 is the concluding work of the 'War Sonatas' trilogy, characterized by its large-scale outer movements and a graceful slow movement. While the main themes of this work were conceived as early as 1939, in parallel with the other two sonatas, many sections were revised, new themes were added, and the key itself was changed from C major to B-flat major before its completion in September 1944 in Ivanovo, a city northeast of Moscow. Furthermore, the initial conception of a four-movement structure evolved into a three-movement form over five years.

The premiere took place on December 30, 1944, the same year of its completion, in the Grand Hall of the Moscow Conservatory, performed by the renowned pianist Emil Gilels. Gilels, in his recollections, described the work's character as follows: “In 1944, Mr. Prokofiev offered me the premiere of his new Sonata No. 8. Practicing this work captivated me. Sonata No. 8 is a profound work, demanding immense emotional tension, and in its development, it combines symphonic breadth, intensity, spaciousness, and charm through lyrical episodes.”

For the combined achievements of this work and Symphony No. 5, Prokofiev was awarded the Stalin Prize Second Class in 1946.

Movement 1 (Andante dolce)

B-flat major, 4/4 time. The opening with a slow movement is an entirely new characteristic for Prokofiev's piano sonatas. This concept recalls Beethoven's Moonlight Sonata. However, while Beethoven's first movement consists of a short ternary form typical of a slow movement, Prokofiev's first movement significantly differs from this precedent by being in a large-scale sonata form. It is said that someone criticized this movement to Richter, the first performer of Piano Sonata No. 7, saying, “What old-fashioned music, surely you don't want to play this?” Yet, Richter himself, on another occasion, insightfully praised it, stating, “It is a somewhat difficult work to understand, but that is due to its richness.”

The first theme, carried by the bass played in the lower register, slowly draws a broad arch over four measures. It is written contrapuntally in four voices, with the arch ascending and descending along with the two inner voices, demonstrating Prokofiev's contrapuntal ingenuity. After a reverse arch follows (this melody is an adaptation from the film score The Queen of Spades), the music shifts to E-flat major, and a melody with an upward arch similar to the first theme is played. (It should be noted that commentaries, both in Russia and abroad, often interpret one of these arches as a “second theme,” suggesting that this movement has three themes. However, the author believes that these are merely motives, not “themes” in the sonata form sense, given that their tonality is retained in the recapitulation.) Subsequently, the first theme is clearly re-established, followed by a transitional section with movement, leading to the appearance of a recitative-like second theme in G minor. Some authors identify elements of Russian folk music, specifically “weeping songs,” here.

Marked Allegro moderato, the lengthy development section, beginning with toccata-like runs, features successive variations of previously introduced motives, transforming the gentle mood of the exposition into something sharp, poignant, and even broadly passionate.

In the recapitulation, the two themes return almost conventionally in B-flat major, concluding with a poignant coda that seems to re-emerge from the development section.

Movement 2 (Andante sognando)

D-flat major, 3/4 time. A minuet movement in variation form. The marking “sognando” means “dreamily.”

Its dreamy and beautiful theme is directly adapted from the “Minuet” in the incidental music to the play Eugene Onegin (Op. 71). Prokofiev expanded the original piece, which was in a simple ternary form, developing the theme here in the form of variations. The opening theme first appears in D-flat major, then in D major, a semitone higher. Interestingly, this semitone ascent is not maintained in subsequent variations; in the first variation, it appears only in D major, and thereafter, the theme develops solely in D-flat major.

Movement 3 (Vivace)

B-flat major, 12/8 time. A lively finale in rondo-sonata form with an extended middle section. It begins with a theme characterized by frequent leaps based on triads. This rapid and brilliant character likely evokes a tarantella. Furthermore, the sudden and wide-ranging shifts in register imbue the theme with a lively sharpness reminiscent of his early miniatures.

Interrupting the rondo-sonata form progression, a middle section in D-flat major appears. Based on a crisp, staccato ostinato theme in the bass, it gradually increases in dynamic intensity and registral breadth, reaching a climax before receding again. This characteristic, though differing in time signature, recalls the first movement of Shostakovich's Symphony No. 7, which features a gradual approach of the melody against a constant snare drum rhythm. Despite being a piano solo piece, the compositional style, with its persistent low-register repetitions and intense climaxes structured in a symphonic manner, inevitably evokes the fierce war raging at the time of its composition.

The recapitulation reintroduces the theme from its middle, with a denser texture and increased dynamic brilliance compared to the exposition, concluding joyfully and festively.