Nat's strong technique and rich sonority suited the larger-scale Beethoven sonatas admirably. However, he was far from a bravura pianist - indeed, although his concerto has some formidable technical difficulties, it avoids the classic virtuoso approach, and instead tries to be what Nat himself described in a radio interview as a concerto for "piano within the orchestra". He summed up his approach as "Tout pour la musique; rien pour le piano", which might be translated as "Everything for the music, nothing for the piano". His compositions reveal a composer who has a talent for framing simple melodic lines in imaginative harmonies, best illustrated by the slow movement of his piano concerto. His orchestral style is reminiscent of the style of Ravel, with a notable fondness for percussion instruments. Beside the concerto and solo piano works, he composed chamber music and an oratorio.