chorale prelude, the passacaglia and the fugue, which are descended from baroque music. Their union with his earlier compositional ideas led to the emergence of what has been described as his "symphonic style", displayed in most of his seven symphonies for piano solo and three symphonies for organ. The first piece to apply the architectural blueprint of this style is his Fourth Piano Sonata (1928–29), which is in three sections: An opening polythematic movement; An ornamental slow movement (labelled as a nocturne); A multi-sectional finale, which includes a fugue. Sorabji's symphonic first movements are related in their organisation to his Second and Third Piano Sonatas and the closing movement of his First Organ Symphony. They have been described as being based superficially on either the fugue or the sonata-allegro form, but they differ from the normal application of those forms: the exposition and development of themes are not guided by conventional tonal principles, but by how the themes, as the musicologist Simon John Abrahams says, "battle with each other for domination of the texture". These movements can last over 90 minutes, and their thematic nature varies considerably: while the opening movement of his Fourth Piano Sonata introduces seven themes, his Second Piano Symphony's has sixty-nine. There is still a "dominant theme" or "motto" in these polythematic movements that is given primary significance and permeates the rest of the composition. The nocturnes are generally considered to be among Sorabji's most accessible works, and they are also some of his most highly regarded; they have been described by Habermann as "the most successful and beautiful of [his] compositions", and by the pianist Fredrik Ullén as "perhaps ... his most personal and original contribution as a composer". Sorabji's descriptions of his Symphony No. 2, Jāmī, give an insight into their organisation. He compared the piece to his nocturne Gulistān and wrote of the symphony's "self-cohesive texture relying upon its own inner consistency and cohesiveness without relation to thematic or other matters". Melodic material is treated loosely in such works; instead of themes, ornamentation and textural patterns assume a preeminent position. The nocturnes explore free, impressionist harmonies and are usually to be played at subdued dynamic levels, though some of the later ones contain explosive passagework. They can be stand-alone works, such as Villa Tasca, or parts of larger pieces, like "Anāhata Cakra", the fourth movement of his Tāntrik Symphony for Piano Alone. Sections