The dissertation is devoted to the understanding of Bela Bartok 's piano work as a unique style system based on the unity of the Hungarian national tradition and individual authorial thinking. One of the criteria of this unity is performing activity of the classic of musical culture of the twentieth century, together with the research component, which played a fundamental role in the context of the evolution of his piano style. Most of Bartok's piano works were written in the early and experimental periods. B. Bartok's "tendency" to primary and romantic genres, program cyclicity is traced; constant interest in creating children's repertoire. The evolution of the artist's piano style is seen as a movement from the romantic paradigm – through folklore – to the neoclassical synthesis. This movement is easily traced "by ear" due to changes in the system of musical and linguistic resources (rhythm, harmony, musical form, texture, melody). As a result, the sound image of the piano, which received the stylistic attribution of "Bartok’s", also changed. The basic quality of the artist's piano style is a national character, shrouded in the resources of the latest technique of musical composition. Auditory analysis of the performance style of B. Bartok-pianist led to the conclusion that, unlike many members of the romantic tradition, he uses pedal effects very sparingly, preferring a clear and distinct pronunciation of all elements of the facture. Thus, Bartok's piano writing style is an expression of innovative thinking, in which the performing component of his own abilities played a key role. The works for piano and orchestra by Bela Bartok, on the one hand, clearly demonstrate the evolution of the composer's work, and on the other - are an encyclopedia of various performance and technological techniques of playing the piano. The essence of Bartokov's pianistic means should be found in the field of national folklore, because it is the folk style of instrumental and vocal music that has been studied in detail by the composer in order to involve these techniques in his work. As a result, the soundscape of his piano and orchestra pieces embodies the identity of the Hungarian national worldview. At the same time, they reflected the European thinking universality, which led to the "sounding piano image " of the 20th century created by B. Bartok.
