It seems curious that Elgar's output of works for the organ is so small considering that much of his formative musical experience was from the loft, first by deputizing for his father at St. George's Church and later succeeding him as organist. The few examples that exist do show Elgar to have a firm understanding of the instrument's potential, along with his own individuality and imagination stamped upon them. The Sonata in G could be termed an early work, although the composer was almost 40 at the time. Typical Elgarian melody is not as obvious as in other works, but it is well-crafted, concise, and imaginative; it leads one to wish that Elgar had produced more in that genre, especially after he had totally developed his musical character and idiom.

In the first movement a bold, confident first subject initially bears a striking resemblance to Handel's "and He shall reign forever and ever more" from the Messiah, but swiftly branches out. The second subject, although nobilmente, does not possess the typical Elgar character denoted by that word, but seems to bear some of the influence of early Wagner. A fragment from the first theme emerges near the end and leads to a development section that is brief and subtle. The recapitulation is conventional enough. A powerful statement of the opening bars leads to the coda. The lighter second movement is more of an intermezzo than a scherzo. In ABA form, the first theme has a relaxed, strolling air; the second has a somewhat Celtic feel with its Scottish snap. The noble and expressive third movement's main melody hints at mature Elgar and Lohengrin-period Wagner. An enharmonic modulation (key of B flat to F sharp) leads to the middle section. After the repeat of the first theme, the coda features the two themes played in polyphony. The restless opening of the fourth movement recalls early Romanticism when it vies between G minor and major; proceeding in perpetual animation that leads to a transformation of the lyrical theme of the preceding movement, now at a less solemn canter. The third subject is extroverted and terse, with all stops pulled out. As in the first movement, the development is concise. In the recapitulation, the first theme emerges in the higher register and noble second theme is transformed into a march. A powerful coda over sustained pedals brings the work to a close.

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