Piano Sonata No.2  was written in 1985. It is composed of 3 movements in the traditional tempo setting of Allegro-Adagio-Presto, for a total duration of 12 minutes.

Many composers  in the 1980s were captured by the idea of polystylism. I have employed polystylistic techniques in a number of my symphonic and chamber works.

This Sonata absorbs and blends various, often distant, and even uncombinable components:

Mozart stylizations with dodecaphony, Jazz with ethnic elements, alongside echoes of Chopin, Boulez, Stravinsky, Skryabin, and Ravel.

I would define the aesthetics of this piece as "logic of absurdity" and "absurdity of logic", where reality and illusion become reversible dimensions.

In this Sonata, the integrity of the world is reflected in the broken mirror of colliding stylistic and rhythmic algorithms.

Pauses play a particularly bright role forming a parallel sonic dimension, similar to the dark matter of the Universe. They may be solid or fluid, massive or weightless, dense or transparent. Some pauses are notated with dynamic indication and specific articulation. A sign of sforzando, attached to the pause, may look quite eccentric, but it conveys to a pianist a very important message.

Alongside with stylistic experiments, I was aiming at creating virtuosic and innovative piano textures, based on abrupt register shifts, broken passages, unusual fingering, polyrhythmics and polydynamics. In the 2nd movement, written on 4 staves, I attempted to create a tangible illusion of two pianists, playing simultaneosly: one performing a stylized Mozart Adagio, while the other one engaging in atonal pointilistic improvisation.

Polystylism is very communicable and can easily catch the attention of different audiences, as I witnessed in performing this Sonata in Weimar, Boston, Paris and Kiev, Moscow and Tel-Aviv.