Abstract
Not to intend of giving detailed analysis of the Concerto the paper considers its intonational and style dramaturgy in the context of a broad sphere of the problems: genre of concerto in the classical-romantic tradition and in contemporary music, the problem of soloist («hero») and orchestra («society», «mass», «crowd»), the role of the performer, Valery Popov, in the history of creation of the work, solo instrument and widening of its possibilities, metamorphoses of classical conflict dramaturgy in newest music, avant-guard search after new sonoriries.