Abstract: The research subject of the article is the peculiarities of performing Sergei Prokofiev’s Piano Sonata No.6. This composition is a part of the “war” piano tiad and reflects the essential traits of the late period of the composer’s work. Special attention is given to the question of the character of the performer’s interpretation requiring an active, creative participation of a performer on the recreation of the author’s idea. The authors emphasize the necessity to pierce into the sense layers of the performed composition, which helps to deepen the current interpretations and rethink the life and creative work of Sergei Prokofiev. The authors analyze the performer from the position of the theory of music, phenomenological and hermeneutic approaches developed in the works by L.O.Alopian and Z.V. Fomina. The authors detect the peculiarities of the individual idiom of Prokofiev. The authors demonstrate the ability of a pure artistic genius to go beyond the limits of socio-historic and cultural dependances and to express supratemporal, timeless senses in his work. The analysis of the Piano Sonata No.6  in the context of Prokofiev’s late works reveals significant evolution of his piano style speaking for spiritual and creative search of the composer. 
 

Abstract: The research subject of the article is the peculiarities of performing Sergei Prokofiev’s Piano Sonata No.6. This composition is a part of the “war” piano tiad and reflects the essential traits of the late period of the composer’s work. Special attention is given to the question of the character of the performer’s interpretation requiring an active, creative participation of a performer on the recreation of the author’s idea. The authors emphasize the necessity to pierce into the sense layers of the performed composition, which helps to deepen the current interpretations and rethink the life and creative work of Sergei Prokofiev. The authors analyze the performer from the position of the theory of music, phenomenological and hermeneutic approaches developed in the works by L.O.Alopian and Z.V. Fomina. The authors detect the peculiarities of the individual idiom of Prokofiev. The authors demonstrate the ability of a pure artistic genius to go beyond the limits of socio-historic and cultural dependances and to express supratemporal, timeless senses in his work. The analysis of the Piano Sonata No.6  in the context of Prokofiev’s late works reveals significant evolution of his piano style speaking for spiritual and creative search of the composer.