Gerhard Frommel rejected vapid pre-war Nationalism and Schoenberg’s dodecaphony, finding his voice in individuality and tradition. His highly contrasting Piano Sonatas are rooted in a blend of romanticism and the rhythmic propulsion of Stravinsky, articulated with tenderness in No 1, clownish grotesquerie in No 2, and sensual impressionism in No 3.
"The mysterious, fantastical environs of Piano Sonata No. 1 in F sharp minor, in all its neo-romantic splendour eventually yields to the eerily sharp harmonic phrasing of the second sonata—Op. 10—which in many ways serves as the antithesis to the first composition. Finally, Piano Sonata No. 3 beguiles with its numinous expressions, channeled effectively through the dancing fingers of pianist Tatjana Blome. A rapturous sojourn."