Abstract
Sergei Prokofiev’s Violin Concerto No. 1 in D-dur Op. 19, is one of the most significant works in the evolution of the 20th-century violin concerto’s evolution. In this opus, the composer uniquely reimagines the classical concerto model, integrating it with harmony, rhythm, and orchestration techniques that were innovative for their time. The objective of this research is to identify the specific features of the interaction between traditional and innovative elements within the Concerto’s artistic conception and to define its role in the genre’s historical development. The study addresses the question of determining the extent of departure from the classical violin concerto model and justifying the composer’s innovative approach to the genre. The methodological framework of the study includes historical-stylistic analysis, holistic, and comparative analyses, which allow the Concerto to be examined as a complete artistic system within the context of early 20th-century aesthetic processes. The study found that Prokofiev’s innovation is evident in the transformation of concerto dramaturgy specifically in the shifts in the cycle’s tempo and imagery, the role of the leitmotif, the development of an arch-shaped compositional structure, the chamber orchestration and the specific nature of its interaction with the soloist. Simultaneously, it is noted that while presenting new intonational and figurative content, the composer retains the genre characteristics of the classical concerto. Overall, Concerto No. 1 Op. 19 is presented as a work that establishes a new conception of the concerto thinking, bridging 19th-century traditions and the aesthetics of musical modernism. The practical significance of the research lies in a deeper understanding of the stylistic transformation of the violin concerto and its subsequent evolution, as well as the potential application of the results in further genre studies, pedagogical practice, and performance interpretation.