THE UNIQUE EXPERIENCE OF ALEXANDER TCHEREPNIN’S GENRE INTERPRETATION

This article is the first attempt to examine one of the most original works by A. Tcherepnin - the piano cycle “Four Romances”, op. 31. The cycle is presented in the context of the Russian composer’s piano heritage. Its uniqueness is manifested, on the one hand, by the instrumental interpretation of the genre, vocal by nature (such interpretation has its own romantic traditions) and, on the other hand, by the demonstration of this tradition within the framework of the cyclic composition. The substantive concept of the work, according to the author’s view, consists in a consistent and multidimensional assertion of the conversational structure. The focus of the article is on the genre-stylistic dialogue, which ensures not only the process of cycle formation, but also the aesthetic-semantic, dramaturgic and compositional aspects of this composition. In addition, the dialogic nature of the cycle is confirmed by the characteristics of the composer’s style, which combined late romantic and avant-garde features in his work in the context of a fusion of chamber and virtuoso-concerto composing. The article is addressed primarily to performers, which does not exclude the combination of historical and analytical observations.

ROMANCE FOR PIANO, PIANO CYCLE, ALEXANDER TCHEREPNIN, GENRE-STYLISTIC DIALOGUE, RUSSIAN MUSIC OF THE 20TH CENTURY