The article highlights the methods of working on a Ukrainian piano concert with students-pianists in the lessons on "Instrumental Performance (Piano)" in higher education institutions. The stages of the formation and development of the Ukrainian piano concert are presented: the end of the 20s-30s of the XX century – the origin and formation, the 40-60s – the development period, the 80-90s – the heyday of the concert genre. The best examples of this genre in the works of domestic composers of the past and the present are analyzed, namely, piano concerts by L. Revutsky, M. Skorik, V. Ptushkin. It has been proved that the positive qualities of the piano concerto No. 2 of L. Revutsky consist in the organic development of Ukrainian classical traditions, in the deep embodiment of elevated, cheerful moods, lyrical-excited pathetics, and strong-willed images. The piano concerto No. 1 by M. Skorik is characterized by an artistic-figurative emotionality combined with brilliant virtuosity and is designed for vivid external effects. Marked by neoclassical style, M. Skorik’s concert is built on the free competition of a virtuoso pianist with an orchestra and refers to the type of concerts with relatively equal parts of solo and orchestra. When performing the interpretation of the first part of the piano concert of V. Ptushkin, the main attention is paid to the nature of the performance of the main themes, namely the contrast and dialogue between them. It was found out that acquaintance of students-pianists in the instrumental performance classes with the genre of the Ukrainian piano concerto expands the knowledge of future music art teachers in developing this genre in our country. Processing the best examples of piano concerts by composers of the past and the present develops a sense of ensemble playing among students, influences timbre hearing, introduces composers' innovations in the fields of style, musical language, means of shaping, as well as a wide emotional palette of musical images. The concerts focused on the functions of a soloist and orchestra, the artistic content of works, shaping, composer innovations in the field of musical language.