Like so much of my music, each movement of Sonata is a reaction to a specific piece by a different composer. The first movement, for example, found its inspiration in The Winds of Autumn by John Pozdro, while the second movement owes a debt to Émilien Allard's Image No. 1. Thus, this piece is an outgrowth of specific moments in other composers' works, moments which I find captivating and worthy of further elaboration. At times, I do this because of my awe and respect for the other works (as in the case of the Pozdro and Allard pieces). It is my way of extending the enjoyment I have received from them. At other times, the piece that inspires me has a great moment but is altogether unsatisfactory as a whole. I find in those pieces that I want to revel in the striking moment and discard the rest, which is why I compose a new piece inspired by it (as in the case of the third movement). In this work, I strove to comment on three very different stylistic influences in hopes that they would balance each other out.

The first movement is a five-part rondo, with the form ABABA. The opening motive returns in various guises to signal some of the new sections. The A sections are unstable, volatile, and highly charged. The B sections are based on the first melodic motive of the A section; the character now, however, is stable and withdrawn. The sections never return verbatim but are subject to development and the addition of new material.

The second movement opens with a supple melody. The middle section features an ostinato based on a part of the melody (similar to what happens in the first movement). This ostinato is pushed into the highest register of the carillon before it finally breaks apart, taken over by broken-chord figuration in the hands and scalar passages in the feet. The increasing tempo drives the section to some climactic chords, followed by a return of the opening melody, this time accompanied by trills in the top octave of the carillon.

The final movement is in two large sections, with a form of ABACBCB Coda. The music is more tonal and traditionally melodic than the previous movements. The A sections use the whole-tone scale. The B sections have a melody in the pedals, while the C sections feature a march-like octatonic melody in octaves in the higher register. The pentatonic scale, always just below the surface throughout the movement, finally breaks through in the coda with rapid manual figurations and scalar outlines in the pedals. Hopefully, this makes for a joyous conclusion.