The Piano Phenomenon in Karmella Tsepkolenko’s Creativity: From Content to Record

The study is focused on the main works of the piano creativity by Carmella Tsepkolenko. This concerns her Concerto-drama No. 1 and Concerto-drama No. 2 for piano and orchestra, which are seen as one megastructure that is open to further continuation. The compositional techniques used in them are described. It has been found that the presentation of musical material by means of modern notation gives the performer the opportunity to more clearly define his own attitude to the work and opens wide prospects for a unique interpretation. The role of the piano in Carmella Tsepkolenko's work is emphasized as a leading tool for searching for new means of self-expression and communication with the listener. It has been established that the rejection in avant-garde music of traditionally established principles of notation and changes in the organization of sound material, as well as its presentation on paper, took place under the influence of deep crisis phenomena of the 20th century and changes in society's consciousness. Emphasis is placed on the inevitability of establishing empathic connections between the author and the performer, taking into account the specifics of the presentation of the musical material. It was established that Carmella Tsepkolenko's individual compositional style is characterized by the use of not only traditional means of notation, but also the wide use of such types of modern compositional techniques as atonality, aleatorics, pointillism, sonoristics. The main feature of the composer's individual compositional style is characterized — the presence of obligatory scenario development of each work. The general orientation of Carmella Tsepkolenko's work towards theatricality in music of all genres is emphasized. It is proven that in order to create a convincing artistic image, the author sometimes turns to the artistic medium so-called Performance, which requires certain acting skills from the performer. The expediency of using a performing gesture as a special artistic tool that enhances the emotional impact on the listener is substantiated. Emphasis is placed on the need for performers to familiarize themselves with the basics of modern musical notation in educational institutions.