The aim of this article is to outline theoretical and methodological aspects of shaping concertmaster's interpretational skills through hermeneutic. The research objective is a retrospective analysis of philosophical and musicological literature on hermeneutic issues and concertmaster's performance. The author studies the works of Hans-Georg Gadamer, Whilhelm Dilthey, Paul Ricoeur, Friedrich Schleiermacher, Gustav Shpet, Evgeniy Yurkevich and other philosophers who worked at hermeneutic as well as musicologists specializing in concertmastership such as Evgeniy Shenderovich, Gerald Moore, Ivor Newton, Kurt Adler, etc. As a result of the research, main basic methodological principles of concertmaster's work have been formulated as well as practical recommendations for collaboration in ensemble have been given. Artistic methods providing efficient shaping of skills to conduct a complex analysis of ensemble compositions have been specified. The results of the research have led that the following is necessary: Holistic comprehension provided by the subjective and the objective collaboration; Comprehension of the principles how rational (logical) and irrational (intuition, anticipation, compassion, sympathy) procedures interact; Recognition of the "text" as a sign coded subject for interpretation; Comprehension of the dialogueness of ensemble performance (the dialogue between the modern and the past, the author and the interpreter, the co-interpreters; Comprehension of multiple interpretations which is possible upon condition of the interpreters being developed and intelligent personalities; Consideration of the main principles of hermeneutic: retrospective study of musical compositions based on reconstruction of their sense and meaning; Actualization of the musical composition i.e. its consideration within the modern context and intercultural communication; The principles specified above are basic in order to comprehend concertmaster's interpretational skills which can be formed throughout the following: Analysis of multilevel contextual relations between the vocal and the instrumental composition with the piano involved (style, genre, sociohistorical, historical and cultural contexts etc.); Elicitation of emotional and contextual characteristics of the composition; Studying of composer's and poetic texts if available (its semantic and thematic structures); Recognition of compositional and dramatic program of the composition; Elicitation of the roles of solo piano pieces: preludes, interludes, postludes; Search of the techniques of ensemble performance implementation.
