The four sonatas in this first volume of his violin music exemplify the two periods of his creativity. They document Antheil's musical evolution from the percussive First, to the Dadaist-cubist Second and the more neoclassical Third. A hiatus of 25 years separate these early scores from the so-called Second Violin Sonata (i.e. his Fourth Sonata), composed in 1947-48, which is clearly a more classically structured composition. While the three pieces composed between 1923 and 1924 (the Third) emerged from a pervasive influence of Stravinsky's early masterpieces, the Fourth Sonata is more under the spell of Prokofiev and Shostakovich. To Antheil, the Russians served, paradoxically, as models for a possible American music, mostly because they did not give up tonality, they knew too well how to handle (and hide) folkloric material and they could at the same time counterbalance what Antheil considered the pernicious influence of Schoenberg's twelve-tone.

• 1. Sonata For Violin and Piano No. 1 (1923) - I. Allegro Modera
• 2. Sonata For Violin and Piano No. 1 (1923) - Ii. Andante Moder
• 3. Sonata For Violin and Piano No. 1 (1923) - Iii. Funebre, Len
• 4. Sonata For Violin and Piano No. 1 (1923) - Iv. Presto
• 5. Sonata For Violin and Piano No. 2 (1923) - Allegro
• 6. Sonata For Violin and Piano No. 3 (1924) - ( Allegro Moderat
• 7. Sonata For Violin and Piano No. 4 (1947/48) - New Second Vio
• 8. Sonata For Violin and Piano No. 4 (1947/48) - New Second Vio
• 9. Sonata For Violin and Piano No. 4 (1947/48) - New Second Vio