I've called this work a sonata as it complies, up to a point, with traditional models. More importantly, it aims to explore a range of contrasting ideas across its four movements, differentiated by character and tempi, but also united by cross referencing and transformation. The language results, at least in part, from a syntax developed from responses to landscape and ecology in recent works but this work is not the result of a conscious response to extra musical stimuli. In that sense, it can be described as an abstract work.