Work Overview

• Publication Year: 1966
• First Publisher: Salabert
• Instrumentation: Two Pianos or Two Harps
• Total Performance Time: Approximately 14 minutes

Composed in 1964. Dedicated to Countess Pastré (Lily Pastré, known as La Comtesse Pastré), who is counted among the leading patrons of 20th-century art. It is a product of a period when many substantial works, still widely performed today, were composed, such as the “Trio for Flute, Oboe, and Piano” (1961) and the “Sonata for Flute and Harp (No. 1)” (1964). It was premiered on December 11, 1965, at the Concert du Triptyque, by Elisabeth Fontan-Binoche on harp and the composer on piano. The initial title of the work was “Sonatine pour harpe et piano,” but it was changed to “Sonatine pour deux harpes (ou deux pianos)” upon publication. It is also interesting to note that a two-piano performance by Michèle-Elise Quérard and the composer was released on LP (Inedits ORTF 995019) in 1971, and in 1975, crossing the then “Iron Curtain,” the two-harp version was recorded by Soviet virtuosos Vera Dulova & Natalia Shameyeva.

Composed of three movements: fast, slow, fast.

First Movement: Allegro (C minor)

Sonata form. Centered around a shaded first theme and a second theme with striking blue notes, the development section introduces new motifs that organically intertwine, creating a three-dimensional expansion. In the recapitulation, the first theme returns, extended to twice its original note value, carried by beautiful arpeggios. This is a conventional technique consistently employed by Damase in many of his works.

Second Movement: Andante (G major)

A typical slow movement. The subtlety of modulation shines through its graceful expression.

Third Movement: Presto (C major)

Rondo form. The rondo theme, though involving leaps from a seventh to a tenth, is fluent and develops with varied vivacity. Careful consideration is given to the coordination, interplay, and collaboration between the two instruments, maintaining an exquisite balance and classical dignity throughout. It can be considered a masterpiece that is easy to play and listen to, deserving of widespread popularity as a two-piano repertoire piece.