Mastering the methods of musical drama is one of the key conditions for becoming a professional musician. The ability to correctly calculate the algorithms for changing the tempo and dynamics for preparing and entering the climax requires to comprehend a musical text and its internal content in the context of composer’s creativity and historical background, melodic, harmonic, textural, and structural analysis of the opus’ structural components. The standard in such a situation is the performance of the most vivid prime episode of the composition in the loudest possible dynamics. However, the author of the paper, having analyzed a number of different well-known musical opuses, came to conclusion that in some cases, composers themselves offer pianists a sharp drop in dynamics in the opposite direction, which allows them to subsequently realize the creative idea with doubled sound power. This led the researcher to conclusion that this method is also applicable where a change in dynamics is not provided (including in his own performing practice), which made it possible to introduce the defi nition of “mirror” climax М into scientifi c use and offer several examples of its application.

Keywords: Mirror climax, dynamics, caesura, musical drama.

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