Аңдатпа
Tles Kazhgaliyev’s Konzertstück for piano and chamber orchestra represents a significant example of Kazakh chamber-orchestral neoclassicism, in which a compact concert form is enriched with original textural, timbral, and dramaturgical solutions. The aim of the article is toidentify the historical-stylistic and structural-dramaturgical patterns in the evolution of the Konzertstück genre in the nineteenth and twentieth centuries and to determine the specific features of its neoclassical interpretation in the work of Tles Kazhgaliyev.The results of the analysis reveal a distinctive interpretation of the concert principle based on the textural pulsation of the strings, ostinato formulas, sharp register shifts, and a clearly articulated contrast between tutti and quasi solo, which together form the dramaturgical foundation of the piece. The piano does not function as a traditional Romantic soloist but rather as a structural and energetic component of the orchestral texture. Sonoristic techniques, extended string performance methods, and timbral contrasts play a crucial role in creating a multilayered sonic space. These features reflect the characteristic aspiration of the Kazakh compositional school of the 1970s to synthesize European genre models with national intonational thinking.The scientific novelty of the study lies in considering Kazhgaliyev’s Konzertstück as a stage in the evolution of the genre situated at the intersection of concert and chamber-orchestral traditions and realizing a model of reduced concertness. As a result, the work is shown to be among the early examples of a neoclassical reinterpretation of the concert genre in Kazakh music, which contributed to its further multidirectional development. The study has practical value for performers, educators, and scholars investigating contemporary processes in Kazakh academic music.