With its vigorous, often three-tone based themes and simple harmony, this is music which lets diversion take the lead. Nothing is at risk here but the music itself, which is almost cheeky in its immediate simplicity.
As the title indicates, this is a work which draws on the sonata and the concerto. It is a kind if concerto in a chamber format in which the solo voice emerges both holistically and integrated in the ensemble and as such plays both with and against the five other instruments. The work har three movements, fast-slow-fast, which are played without an intermission. The first movement has three parts: the first part presents three clearly defined themes which are then handled concertante in the second part, after which the first two return in the opposite order in the third part. The second movement is far more contemplative in mood and has a more recitative melodic system, while the third movement clearly has the character of a rondo. It has six divisions ABACAD with an introduction and a coda, and B and C appear to pursue the triplet-based theme from A, while D presents new material. The movement concludes with the close-cropped introductory subject. This music was written for Øystein Baadsvik in 1992.