Composer-performing practice of a pianist as a way to comprehend the figurative-emotional range of a musical work

The article discusses one of the methods for comprehending the content of a musical work through the interaction of the pianist's composing and performing practice. No one can deny that the listener “gets” a work only “from the hands” of the performerpianist, and if the composer is not a pianist, then the audience in the hall will inevitably receive the product of joint creativity. That is why it seems appropriate to talk about the fact of a single composing and performing practice, without special emphasis on the composing or performing component of the creative process. When such an intratextual structure as the figurative-emotional series of a work is brought to the fore, the line between the composer and the performer becomes even more blurred. Of course, one cannot speak of replacing one with another - each has its own field of activity -but it seems to be quite adequate to assert the presence of some creative conglomerate. Of course, in every piece of music there are many components that must be observed by the performer unconditionally: size, key signs, etc. This article will focus specifically on the figurative and emotional content of the work. As you know, each performer expresses the vision of a musical work in his own way. From the side of performing practice, a detailed analysis of the Second Piano Concerto by Ekaterina Prikhodovskaya was carried out. It is interesting that the composition in question was created practically “in a dialogue” between the authors of the article - the composer who wrote the concerto for piano and orchestra, and the pianist for whom this concerto was written and dedicated. The compositions of Anna Okisheva are considered as a composer's activity. On the example of her own works, Anna Okisheva gives an associative analysis, using works of art and literature as an addition to the figurative-emotional range. The uniqueness of this method lies in the fact that the performer, being a composer, already has an idea of the figurative and emotional content. In this example, we clearly see the process of “encryption” and “decryption” of a musical composition. Together and separately, these works demonstrate a fairly extensive representation of the figurative and emotional range. Thanks to the appeal to related arts (in particular, literature and painting), a more accurate and versatile formulation of the fan-shaped model of the creative process occurs (it was specified earlier). So, there is an inseparable, perhaps invisible at first glance, interconnection between composing and performing practice. Comprehension of the figurative-emotional range of a musical work -in fact, its content - is indeed the right way to create an incentive for cooperation between the composer, performer and listener (even taking into account time distances).