«Scenarity» as the Basis for the Formation of the Drama Genre in K. Tsepkolenko First Piano Concerto

Abstract

The article reveals the peculiarities of creating the dramatic form of the Concerto-Drama for Piano and Orchestra. The paper substantiates the principles of dramatization of the composer’s piano concerto from the position of her creative method — her own genre concept, namely “scenario development” of musical material and general stylistic foundations of her creative work. The internal dramatic effect of the concerto is achieved thanks to the through development of musical images in the concerto-drama thanks to thematic bridges that unite all three parts into a single performance, in which the relief and convex script-fabula layers of the work are literally perceptible, revealing to the listener a world of emotions and vivid feelings. The article shows that the composer, developing the concerto genre in a dramatic turn, uses playful methods of form-making to enhance the dramatization of his works. In the orchestra part she widely uses the competitiveness of the individual instruments and orchestra groups, in the climactic moments the texture is saturated by poly-linear multi-layered semantic structures. The composer makes innovative use of piano cadenzas that appear on the crest of the hero’s emotions, appearing in various structural sections of the concerto and serving as unifying material that binds together the dramatic plot of the concerto. The individual project of the work based on the script featured development of the drama is decisive in the composer’s concerto-symphonic works. Here the composer acts as another function that emerged in connection with the application of the script development method, namely that of the director of the musical process, who shapes the musical material taking into account its texture, temporal and spatial forms.