The relevance of the study is due to insufficient knowledge of the creative heritage of Sergei Bortkiewicz against the background of constant trend towards increased interest in his work, as well as nature of his perception from modern composers of performers, critics and general public. The main objective of the study is to deepen the information on the performance of Sergei Bortkiewicz’s works by pianists in the first half of the twentieth century, whose names are most often found in his epistolary heritage and in scientific studies devoted to him. In addition, it is necessary to identify the most repertory and popular works of the composer in this historical period and expand the circle of names of famous performers of his music. The methodological basis of the study consists of the following methods: historicism, necessary to characterize a certain period in the composer’s activities and to process documents; systematic for systematization and evaluation of the performance activities of Sergei Bortkiewicz; descriptive, auxiliary method for reviewing and describing various sources. The article describes the concert life of the piano works of a musician in the first half of the twentieth century, as well as the aspect of perception of the composer’s works by his contemporaries. Based on the analysis of archival materials, the fact of the wide geography of the distribution of the composer’s works in the first half of the twentieth century: from Europe to Australia and America was established. By studying the archival newspapers, the most repertory and frequently performed works of the composer were identified: First Piano Concerto for Piano and Orchestra, Op. 16 in B Flat Major, First Piano Sonata, Op. 9 in B Major, as well as GavotteCaprice Op. 3, No. 3, etudes from Op. 15 and Op. 29, preludes and other miniatures, which became, in modern language, “hits” of radio concerts of the time. Among the performers there are a lot of obscure or quite unknown musicians in our time, such as Hermann Gopppe, Maria Neuscheller, Madeleine Kokorescu, Ethel Bonavia and many others. The appeal of the famous Ukrainian pianist Lyubka Kolessa to Sergey Bortkiewicz’s music was confirmed. Also, according to the information from the studied materials, the place of the composer’s works in the repertoire of such famous pianists as Maurice Rosenthal, Paul Wittgenstein, Hugo van Dalen and Paul de Conn. Their appeal to the music of Sergei Bortkiewicz testifies to the popularity of his works among the leading pianists of the time. Conclusions : the study of materials from German, Austrian, Dutch and Australian newspapers of the first half of the twentieth century, as well as from the letters of the composer himself, made it possible to identify the place that occupied the artist’s creative heritage in the cultural space of the first half of the twentieth century. The extensive performing geography of Sergei Bortkiewicz’s music indicates an interested perception of the composer’s music by his contemporaries.