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The article is devoted to the study and understanding of a set of ideas typical for works of Ivan G. Sokolov (1960) at the turn of the centuries. After an experimental conceptual period in the late 1980s and mid1990s – the composer tends to "natural" music, as he calls it. The study of the Sonata for Cello and Piano (2002) shows his ―natural‖ music based on the traditions, as it can be noticed in melodic curves and movements order (I-IV), appealing to the familiar styles of previous days. The selected musical elements represent a set of topoi, which are common for musical art of the 19 and the first half of the 20 centuries. The basis of such composition can be seen in the scientific attitude, which means the research "the movement of thoughts" (Sokolov) of other composers, particularly, of Shostakovich, Prokofiev, Rachmaninoff. As a result, the ―simplicity‖ of musical language presents a consequence of ―naturalness‖, which is understood as something habitual and recognizable. The dialogue with ―beloved precursors‖ (Boris Pasternak) moves the composer’s individuality to the periphery, where appears in the simultaneous existence of intertextual layers, classical forms, minimalistic interpretation of time and space, ―weakened‖ energetic intensity. The conceptual element moves to another level within the bound of ―natural power of musicmaking‖ (Sokolov). Keywords—musical art of the late 20 – early 21 centuries; Ivan Sokolov; simplicity; ―natural‖ music; conceptuality; polystylistics; intertextuality; dialogue; author’s individuality

qNaturalq Music of Ivan G. Sokolov: Sonata for Cello and Piano