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The purpose of this article is analysis of possible versions concerning the interpretation of the Antonin Dvorak’s concert for cello with orchestra, h-moll or. 104, their origin and influence on the manner of performance. Moscow and Leningrad schools are taken as an example. Schools of S. Kozolupov and O. Strimer represent vividly different views on means of theory and interpretation. In my opinion, the most colorful and controversial on the matter of interpretation are the following representatives of the music schools: M. Rostropovich as a representative of the S. Kozolupov views and D. Shafran for O. Strimer school. These cellists are interesting not only because of their vivid difference in the vision of theory and interpretations of music works, but also by the fact that they have made a lot of effort to popularize the cello and bring it to the level of solo instrument as high as the violin and piano. The methods of this research consist of historical, empirical, practical, interpretive-comparative approaches, which are based on examination of performance versions through the prism of the pedagogical schools influence on the aspects of the art-technological plan. The scientific novelty consists in the lack of material on the comparison of interpretative versions of the concert for cello A. Dvorak h-moll op. 104 performed by Soviet cellists Mstislav Rostropovich and Daniil Shafran, in terms of the influence of "school" on technical techniques and artistic vision of the work, which is considered as an example, in his genre, of the most striking combinations of deep lyricism, drama and the need for a masterly skills of instrument proficiency. It’s one of a few favorite concerts of the Romantic era among the soloists of cello. Thus, it contains a broad background for an interpretative analysis. Conclusions. Comparison of interpretative versions, as a method of performing analysis contributes to a vivid representation of the artistic content of the work, helps to find its own style combining already used technical and agogic techniques of the performance with new artistic views.

ВПЛИВ ВИКОНАВСЬКОЇ ШКОЛИ НА ІНТЕРПРЕТАЦІЮ ТВОРУ (на прикладі віолончельного концерту А. Дворжака)