Object of the following study is the first solo piece for piano by the Bulgarian composer Julia Tsenova – “Keyboard Triptych” (1996). It is analyzed from an interpretative point of view, as an artistic and a pianistic challenge. The analytical approach is the core and also the keystone in the text and it shows the integrant connection between the continuity of the form and the performer’s flair, to create an impact in Tsenova’s music. Composed in a period of different creative quests, “Keyboard Triptych” by Julia Tsenova is a work that combines three contrasting by character pieces, intertwined by different compositional techniques into one whole. Created in the second half of the 90s, this piece has different cultural influences and traditions, compositional-stylistic lines represented in the piece and are also extended to the next solo pieces written in the same period – “Musica Solitudinis” and “Four Prayers”. Strong expressiveness, lyricism, richness of emotional states, specific sensibility to metro-rhythmical organization and improvisation and, last, but not least – manifestation of the deep nature of the instrument – are all ingredients of Julia Tsenova’s original style, and they also deservedly display her individual importance in the Bulgarian contemporary music.
Keywords: Julia Tsenova; triptych; keyboard; interpretation; pianistic expression; Trinity