With the curious designation "sonata for solo keyboard," as if an accompanying violin or flute could even contemplate keeping up with C.P.E. Bach's almost schizoid writing, this work is more a dramatic fantasy borrowing certain elements of sonata form. Any idea of thematic unity is completely abandoned; instead, this is an example of the composer's music of sentiments (Empfindungen), and violently shifting sentiments they are. The mood changes literally from phrase to phrase, sometimes raucously outgoing, sometimes pathetic and whimpering. The lack of bar lines intensifies its improvisational nature, and places the work beyond the ken of most amateurs of the time. The work does fall into three movements, each following its predecessor without pause. The opening Allegro is highly dramatic; the central Adagio is often stately or pensive, but does allow the occasional outburst; the final Allegro assai is even more turbulent than the first movement. At least one contemporary critic regarded this sonata as a "musical monstrosity," but the work remains fresh and compelling to modern ears.

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