Yuja Wang and Kavakos Leonidas at Carnegie Hall in 2014.
From All Music:
Ravel's so-called "posthumous" sonata, rather than having been penned from beyond the grave, is of course an early work not published until 1975, long after the composer's death. Not to be confused with Ravel's much better known G major sonata from 30 years later, which melds blues with neo-Classicism, this compact, one-movement sonata in A minor from 1897 adheres to the classic exposition-development-recapitulation-coda sequence. It shows the strong influence of Fauré and Franck, yet also uses a harmonic and melodic language Ravel would later make his own in his Piano Trio and String Quartet. The first theme, heard without introduction, is sinuous and dreamy; the second theme, brought in after a short piano solo, is smoother, broader, and at times vaguely Oriental, while still almost passing for Fauré. The coda, after a condensed recapitulation, is particularly chromatic, as if it were plucked from Franck's more famous violin sonata.