¹ Correction: bar I, fourth note should be B, as in Ex. 2b

² Comparison with Barraqué shows that Boule's rhythmic cells have a way of fitting together more neatly (indeed, of seeming virtually bar-line-orientated) so that durations present far less of a problem–hardly any problem, in fact, in the First Sonata, of which Charles Rosen gives a meticulous account on a recent disc (CBS 72871). But the wor's rhythms, even in the free sections of the second movement, barely rise above the functional, and all Rosen's persuasive nuances and fluency cannot banish the impression of an imaginative work that is rhythmically impaired to the point of triteness. (Rosen's recording also includes an authoritative account of the Third Sonata, Trope/Consullation-Miroir, a work with which he has long been associated.)