Sonata No. 1 The Adagio movement begins the work with a modern sensibility. Through the ebb and flow of this first movement contains elements of traditional counterpoint. Cyclical in nature, the sonata’s first movement flows effortlessly into the dark brooding (with unintentional echoes of Prokofiev) second movement. Rhythmically and harmonically simplistic on the surface, the Largo movement, upon further analysis a deeper complexity appears. The first theme of the A section is the product of the serialization of the dedicatee’s first name, a process whereby letters of the English alphabet are assigned numbers from 0-11, the letters of the musical alphabet are also assigned numbers from 0-11, thus a codex is formed. From this codex, one may transform names and words into pantonal melodic ideas; which, can then be harmonized to conceal the true origins of the melodic form. The final Allegro movement, is the most harmonically and rhythmically complex of the work. It takes a drastic light neo-romantic tone that is in complete contrast to the preceding movements. This final movement explores more of the upper registers of the piano ending the work with an air of weightlessness and sparkle.