The first two piano sonatas (No. 1 in C major, 1997, and No. 2 in D minor, 1998) share many similar features in their general outline, Neo-Classical style and proportions. They have different moods, though: jolly and serene in No. 1 (let aside the strange chromatic inflections in the Scherzo and the development of the first movement); serious and pensive in the harmonically more advanced No. 2 (with the exception of its lyric and ecstatic slow movement, which is a set of variations on a Romanian carol). Their finales differ, too: No. 1 ends with a humorous set of variations through the cycle of fifths, while No. 2 ends with a developed and rather dramatic rondo-sonata, and the second composition is first of all remarkable for its marked and terse cyclic construction.
Most of the twelve piano miniatures, composed between 1987 and 2003, are various types of canons with a Baroque feel, more or less developed, yet not deprived of emotional content, e. g. the grave Prelude, or the strange, modulating Perpetual Canon (No. 9), reminding of the preludes and fugues by Shostakovich. Not far from the world of these miniatures are the 7 Variations in F major on an original theme (1996), a simple and lyrical piece.
Finally, "Sacred Metamorphoses" (2012) is a huge Romantic suite of various forms treated in variational style and based on three themes from Symphony No. 3 by Camille Saint-Saens. The very intimate, profound, contemplative and somewhat melancholic character of this music suggests deep introspection, akin to a sort of religious music without ritual or words (note for example, among other similar rhetorical devices, the unfinished final cadence in the last movement, ending in transcendent silence).