The Piano Sonata No 2 in G major is the shortest and lightest in tone of the three—Hindemith himself thought of it as a sonatina. Whereas the first sonata requires a player of considerable power and authority, No 2 is consciously laid out within the compass of amateurs, clear in form and texture and with many passages in two- or three-part counterpoint. Two short, concise movements—the first as clear as Clementi, with contrasting subjects but no development as such, and then a tiny wisp of a scherzo—preface a more serious-sounding third movement which begins with gravely melodious slow music. It soon turns out, however, that these soulful strains are merely the introduction to the cheerful rondo-finale, alternately strutting and ambling in motion. Eventually the movement slows again, and a brief epilogue ends the sonata on an unexpectedly sombre note.
from notes by Malcolm MacDonald © 2013