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I'm not sure if minimalistic is quite the right term here, it doesn't sound minimalistic to me. It sounds more like Chopin to me than minimalism. Even when the notes repeat, there's still motion in either the melody or bass. And I'm not saying that it sounds a lot like Chopin, it doesn't. But it definitely doesn't sound minimalistic, especially not in Section B. It certainly is an emotional and melancholic movement, which contrasts nicely with the dramatic Allegro first movement. I happen to have started working on a sonata myself, my first piano sonata attempt in 2 years. My last one, Piano Sonata no. 5 was attempted in 2019. And like my Piano Sonatas 1-3 before, it never got finished because I either lost the material with the tragedy of my older computer becoming unusable mid-update and my dad not recovering the compositions like I asked him to(Piano Sonatas 1 and 3) or they ended up being slightly tweaked Mozart duplicates without me even intending it(Piano Sonatas 2 and 5). And I'm torn on whether I should just restart the numbering of my piano sonatas, keeping the birthday piece that is Piano Sonata no. 4 as Piano Sonata no. 4 or number this as Piano Sonata no. 6 because of it being the sixth time I start a piano sonata. But that's for another post. I like what you have composed so far of your sonata and it's amazing to me how fast you are composing this sonata. I mean, 3 days between your first movement and this movement? I could never compose a sonata that fast. Maybe an Etude or Prelude, but that's about it. It takes me at least a month on average to compose something on the scale of a sonata or really almost anything 5 minutes or longer in length.

Probably. The examples I heard never really added up to much. There was usually a pedal drone and the forward driving force was a heavily reverberated drum beat, a bigged up simple melody in a minor key or equivalent mode, and a few trick effects. Non-professionals who composed 'epic' chunks were rarely composers in the sense of understanding the structures and mechanics of music. Mostly they'd been conned by sample houses' superlatives and seductions into buying libraries of semi-orchestrated chunks, riffs, loops - stuff to be put together like Lego. Those houses would assure the buyer that they'd be the greatest composer since Beethoven or John Williams. Many never bothered to learn to read music. So after putting together a few 3-4 minute epics they ran dry and faced with "learning music" gave up. Two points though - there are without doubt competent composers who have 'done epic'. That's how it started. And, with the non-professional, dilettantes who won't entertain intelligent study, at least they've had a brush with music.