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

Xia Ming
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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.
“情景”是K. Tsepkolenko第一钢琴协奏曲戏剧体裁形成的基础
本文揭示了钢琴与管弦乐队协奏曲戏剧形式创作的特殊性。本文从她的创作方法——她自己的体裁概念,即音乐素材的“情景发展”和她创作作品的一般风格基础的角度,论证了作曲家钢琴协奏曲的戏剧化原则。协奏曲内部的戏剧效果是通过协奏曲戏剧中音乐形象的发展而实现的,这要归功于将所有三个部分统一为一个表演的主题桥梁,其中作品的浮雕和凸出的脚本-寓言层是字面上可感知的,向听众揭示了一个充满情感和生动感受的世界。文章指出,作曲家以戏剧化的方式发展协奏曲体裁,运用俏皮的形式创作方法来增强作品的戏剧化。在管弦乐部分,她广泛运用了个体乐器和乐团的竞争力,在高潮时刻,织体被多线性的多层语义结构所饱和。作曲家创造性地运用了出现在主人公情绪顶峰的钢琴装饰曲,出现在协奏曲的各个结构部分,并作为统一的材料将协奏曲的戏剧性情节联系在一起。以剧本为基础的作品的个人项目,在作曲家的协奏曲和交响乐作品中具有决定性的作用。在这里,作曲家扮演着另一个与剧本发展方法的应用相关的角色,即音乐过程的导演,他考虑到音乐材料的纹理、时间和空间形式来塑造音乐材料。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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