THE PIANO CONCERTO AS A SYNTHESIS OF SOLO PERFORMANCE AND ORCHESTRAL THINKING

Abstract

The article examines the specificity of the piano concerto as a form of performance interaction in which the
solo part is realized through orchestral thinking, ensemble sensitivity, and a coherent artistic conception. The following
research methods were employed: analysis and synthesis of scholarly literature on the subject, genre and stylistic
analysis, comparative analysis, and generalization. Research findings. The study demonstrates that the piano concerto
should be regarded as a distinctive form of performance interaction in which the solo part unfolds in constant
correlation with the orchestral texture and therefore differs from other genres of piano music not only in its virtuosity,
but also in the need to conceive the work on the scale of the whole. It has been established that orchestral thinking is a
key condition for the interpretation of the solo part, as it directs the pianist toward an aural grasp of the score, an
understanding of timbral logic, dramaturgical development, and the function of the piano within the overall formal
design. It is shown that the holistic performance conception of the piano concerto is shaped through ensemble
interaction among the soloist, the conductor, and the orchestra. On the basis of the analyzed studies and the author’s
own generalization, the following interpretative principles have been identified: the integrity of the artistic conception,
orchestral hearing, ensemble coherence, the proportionality of expressive means, and dialogic interaction. The
conclusions emphasize that the artistic completeness of the piano concerto is achieved when solo individuality is
realized not in isolation, but within a unified score-based, dramaturgical, and ensemble conception. The novelty of the
study lies in considering the piano concerto as a form of performance interaction through the unity of solo performance,
orchestral thinking, and ensemble integrity, as well as in generalizing the interpretative principles that ensure artistic
balance between the pianist and the orchestra. Prospects for further research are associated with the study of individual
performance strategies in relation to the orchestral score.