Abstract: The article is devoted to the research of a nettlesome problem which is still on the fringes of the interest of Russian and foreign scientists. The problem is related to the idea of the genesis and development strategy of Romanticism aesthetics in the sphere of violin performance. The topic under research is assonant not only to the current research trends but also creative searches of composers and performances who address to romantic tendencies in art. Virtuoso violinsts is one of a typical type of an artist of Romanticism whose creative work was fully actualized through that musical instrument. In this regard, the author of the present article sets a task to define particularities of their style of performance and composing which were predermined by their instrumentalism. The object of the research is the creative work of leading European virtuoso violinists of the 19th century such as Niccolò Paganini, Henri Vieuxtemps, Henryk Wieniawski, Pablo de Sarasate and Heinrich Wilhelm Ernst. The author's analysis of specialized literature has shown that such literature does not provide full but often contradictory information about the leading European violin musicians and composers of the 19th century as well as the main development trends. As a result of her theoretical research, the author defines innovatory particularities of virtuoso violinists' performance and composing. Those particularities were actively spread in the art of violin playing and musical art in general. The author also discovers some unknown facts from the history of violin playing that allow to see the role of violin plyaing in the global musical process in a different light as well as to create a better and more evidential picture of the European violin art of the 19th century.  

Abstract: The importance of the present research is caused by the growing popularity of the romantic music genre and orientation at romantic styles and trends demonstrated by contemporary composers and players. In this regard, it is very important to appeal to the creative life and work of the most brilliant representatives of the romantic movement in music, Polish violinist and composer Henryk Wieniawski. Remarkable and spectaculous and at the same time philosophical compositions of Wieniawsky opened the door to new discoveries, heights and directions for the development of the violin art, thus helping to develop the genre of violin concert. The subject of the research is the two compositions of Henryk Wieniawski in the genre of violin concert as the brightest example of his creative style. The author of the article makes an attempt to draw attention of modern music teachers and players to the composer's intention and profound conceptual solutions, in particular, in his Second concert. The research is based on the integrated theoretical and practical approach and the method of comparative analysis of these two Henryk Wieniawski's violin concerts in terms of the research subject. The scientific novelty of the research is caused by the fact that the author describes parameters for the comparative analysis of the two violin concerts composed by Henryk Wieniawski from the point of view of their concent and style. As a result of the research, the author makes conclusions about the development of the Polish composer's style and way of thinking, peculiarities of his expressive means and symphonization principles. The results of the research can be important for further researches of the creative life and work of the Polish composer and violonist Henryk Wieniawski as well as encourage further studies of European romantic art. 

Abstract: The present article is devoted to the creative work of one of the most famous Belgium musicians Henri Vieuxtemps whose unique gift for music came in full force in his compositions and performing art. Despite the important role of Henri Vieuxtemps' activities in the development of violin music, his achievements in the sphere of concert genre are still not recognized the way they should be. In this regard, the author of the present article decides to make Henri Vieuxtemps' violin concerts as the object of the research. The subject of the resaerch is the peculiarities of the musical language of his violin which was based on the synthesis of virtuosity and symphony in the concert genre. The present article is aimed at defining inventive features of Henri Vieuxtemps in the genre of violin concert, which are being viewed from the point of view of style, form making and principles of 'symphonization' of musical dramatic composition. The research is based on the complex theoretical approach combining historical and stylistic, comparative musicological and genre methods of analysis. For the first time in the academic literature the author of the present article gives evaluation of Henri Vieuxtemps' innovations in the sphere of violin concert in terms of principles of symphonic development. It is proved that the principles of musical development used by the composer demonstrate his attribution to the lyrical dramatic (monological) type of symphonism, which become apparent at the level of his dramatic composition and expressive means. The author of the article concludes that the main peculiarity of Henri Vieuxtemps' musical thinking is his creation of lyrical epic images of the romantic nature. As a result of the research, the author describes Henri Vieuxtemps' unique interpretation of thegenre of violin concert through synthesizing virtuosity and romanticism with dynamics of symphonic development. 

Abstract: This article examines the issue of style definition in the work of the renowned XIX century Belgian violinist-virtuoso and composer Henri Vieuxtemps. The subject of this research is Henri Vieuxtemps’ concerts for violin with orchestra, reviewed from the position of determination of the “symphonization” principles of the musical dramaturgy of these oeuvres. The theoretical analysis is conducted on the First, Fourth, and Fifth violin concerts, in which, based upon synthesizing the virtuoso-romantic and symphonic origins, the composer vividly expounds the principles of dramaturgical development that reflect the essence of musical aesthetics of the Romantic era. The scientific novelty is defined by several factors: based on the analysis of his compositions, this article is first to give the typology of style coordinates of the work of Henri Vieuxtemps; the author introduces the details of the peculiarities of the musical dramaturgy of his concepts, which allow substantiating the conclusions about the innovative aspects of the interpretation of the violin concert genre in the work of Henri Vieuxtemps. As a result of the conducted research, the author creates an analytical base, which contains the conclusions on the maneuvers of symphonization of the musical dramaturgy of Vieuxtemps’ violin concerts.