Abstract
<jats:p>The article aims to identify the dramaturgical and compositional features of the one-movement piano sonata in the oeuvre of Nikolai Kapustin, using two compositions – Sonata No. 3, Op. 55 and Sonata No. 8, Op. 77 – as examples. The article examines two types of interaction between the sonata form and the multi-movement sonata cycle, which are rooted in the Romantic tradition and receive a unique reinterpretation in the composer’s works. Based on an analysis of composition, dramaturgy, and thematic material, the study reveals the mechanisms of “compressing” the cycle into a single sonata form (Sonata No. 3) and “expanding” the sonata form to the proportions of a cyclic composition (Sonata No. 8). The scientific novelty of the research lies in the fact that, for the first time in Russian musicology, it provides a comprehensive analysis of Kapustin’s two one-movement sonatas through the lens of the synthesis of classical and jazz principles of formal organization. This introduces new analytical data regarding the specifics of the composer’s sonata thinking into scholarly discourse. The study proves that Kapustin creates two fundamentally different yet complementary variants of the synthesis of the sonata form and the sonata cycle, each of which enriches the one-movement sonata genre with new expressive possibilities resulting from the interaction of the classical tradition with the jazz idiom.</jats:p>