Probably not even the greatest Strauss enthusiast would place the Sonata, Op. 5, the third he wrote for the piano, with the best of his early works, such as the Cello Sonata, Op. 6, Serenade for wind instruments, Op. 7 and, above all, the Violin Sonata, Op. 18 which concludes this period. Yet, the obvious Beethovenian references of its first movement notwithstanding, the Piano Sonata belongs with the rest as part of the legitimate legacy of Brahms, Schumann and other German composers of absolute music including, in the Scherzo, Mendelssohn. Dating from 1880-81, it is, indeed, a remarkable piece, not least for its sheer self-confidence.
Although, like the other works mentioned without a hint of the originality that was to erupt in Don Juan, the Sonata is strong, virile, with a firm sense of form, and forceful harmony. The sleeve says these are Gould's last recordings, made in New York during September 1982, and it is characteristic that he should have been involved with such an unobvious part of the repertoire. The playing, if rather coolly recorded, is magnificent, in fact perfect in its absolutely decisive clarity. Also dating from 1880-81, the Pieces, Op. 3 are less stimulating than the Op. 9 Stimmungsbilder, although Strauss's piano writing is as fully competent as in the Sonata, and the results are agreeable to play or hear, if nothing more. Gould's performances are resolutely immaculate, with fewer vocal contributions than in Op. 5.'