A common cultural myth in the Soviet Union was that gender equality had been reached. However, the opposing forces of this myth and sociocultural reality created a phenomenon known as the double burden: the expectation of "gender equal" professional work and "womanly" domestic work. As a composer, Zara Levina approached the double burden through her compositional style, which she described as "a simple melody with elements of accumulated knowledge." Though discouraged from doing so, Levina refined her style to look and sound simple, veiling layers of complexity in composition and performance beneath. In this paper, I argue the third movement of Levina's Sonata No. 2 for Violin and Piano highlights how her deceptively "simple" compositional techniques are a musical expression of the double burden which subtly rejects the cultural myth of gender equality in the Soviet Union.