The sonatina is based on conventional textural gestures (such as Alberti bass) and on classical architectural models. Movement one (Allegro con spirito) is a sonata form with two themes, homogeneous in terms of expression. The next two movements, in rondo form, are a lyrical Adagio cantabile and a witty Vivace& abounding in dance rhythms and distinctive motifs. The Vivace is the most extensive section. Since the prime version of the twelve-tone row used in the Sonatina comprises two three-note cells organised like major triads, many quasi-triadic harmonies result. In the second movement, fifth ‘steps’ in the bottom part even suggest a dominant-tonic relationship between the successive harmonies. The whole is Neoclassical in spirit and filled with undeniable charm. It amply demonstrates that the use of twelve-note technique did not hinder Koffler’s invention and creative imagination. The technique was a means to an end, but not the end of his artistic design.

The Sonatina was premiered by Leopold Münzer during his May 1930 recital at Lwów’s PTM hall. He remained the chief performer of this piece also later (Alfred Plohn, ‘Leopold Muenzer’, Chwila, 19 May 1930, 9). Subsequently, the work was also taken up by Edward Steuermann and the highly talented teenage pianist from Lwów, Maciej Striks.