The Piano Concerto No. 2 by Žiga Stanič is conceived as a single-movement composition. It is characterized by the prominent use of extended piano performance techniques and piano preparation, as well as the preparation of various orchestral instruments and electroacoustic elements that are closely connected to the prepared piano. A central thread of the performance technique highlights the piano as a percussion instrument, integrated with the orchestra’s percussion section. As in many of his works, Stanič also employs orchestral onomatopoeia, aleatoricism, and an anti-dramatic tension that oscillates between the absurd and the tragic. The theme of undefined tonal lines, shaped by both fixed and shifting sonic planes, creates a psychoacoustic effect on the listener—virtuosic and elusive. Stanič, as in the majority of his oeuvre, aims toward polystylism or at least polymorphism in compositional structure, as this most faithfully reflects the era we live in: a time of overwhelming information, in which the individual searches for identity and ultimately merges with and identifies through this very flux.