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The purpose of the article is consist of identification andsummarization the disparate little-known facts of the creative communityof Sergei Prokofiev with Gregory Pyatigorsky and Mstislav Rostropovich,which preceded the creation of the „Concerto for Cello and Orchestra”op. 58 and „Symphony Concert for Cello and Orchestra”, op. 125. Theauthor is determining the reasons of the transformation from the soloconcert genre into a genre of a symphony-concert, taking into account thehistorical and biographical aspect. The research methods are based on theuse of various research approaches. The method of complex musicologicalanalysis is used, synthesizes historical and theoretical aspects andcombines disparate, little-known facts of biographical information. Thecomparative method involving such methods as analysis, synthesis,comparison, allows to reveal the features of the performance interpretationof the works. Axiological approach is the basis where the value criteria ofinterpretation versions are formed. Structurally analytical method is thebasis where the logic of a statement of a material and conclusions ofresearch is formed. The empirical method allows to carrying out the studyof the proposed topic at a practical level. Scientific novelty consists ofargumentation of the fact that the creative community of the composer andperformer is one of the determining factors in the formation of theimmanent properties of the work. For the first time, the development of thecello concert genre in the works of S. Prokofiev was proposed intoanalisys through the prism of the creative tandems of the composer withG. Pyatigorsky and M. Rostropovich. This perspective of the comparativeanalysis of works represents an understanding of the basis for thetransformation of the genre of a solo concert into the genre of a symphonyconcert. The conclusions highlight the importance of creative interactionbetween the composer and the performer. The base from the analysis ofthe two works a namely „Concert for cello and orchestra” op. 58,dedicated to G. Pyatigorsky and its late edition, known as „SymphonyConcerto for Cello and Orchestra” op. 125, dedicated to M. Rostropovich, generalize the specifics of the composer’s creative tandem withperformers, substantiates the hypothesis about the transformation of theConcert genre model (romantic concert model) into the ConcertSymphony (synthesis of the baroque and romantic model). The communityof S. Prokofiev with G. Pyatigorsky and M. Rostropovich enriched themany-sidedness of the composer’s ideological and compositional designthanks to a wide range of methods of translating the musical material thatthese soloists owned.

Genre modifications of concerts’ cello by S. Prokofiev as a display of commonwealth from composer and performers