Evocation is so named because several of the musical elements presented on the first page evoke (inspire) things that happen later in the piece. The piece opens with what the composer calls a "question" phrase, first with six notes, then expanded to nine, then to forty-one notes, each time faster as well. This is followed by a short passage of chords. A connecting passage follows, very chromatic, starting in the high range, and slowly coming down to lower notes. The next new element is a three-note figuration (first time: d-f-e) which is developed at length. A new figuration evolves, and fragments of the "question" phrase appear in the pedal (slowly), then hints of the chordal phrase that followed it. As this winds down, part of the chordal section returns (this time easier to recognize). A new figuration (two-note chords) and a new theme (in pedals) appear briefly, followed by a variant of the chromatic high-to-low connecting passage from earlier in the piece. The three-note figuration that followed it before returns, but now slowed down greatly. Finally, the "question" phrase returns, and two soft echoes of the second presentation of the "question" bring the piece to a beautifully intimate conclusion.

—The GCNA