One of the components of the rich and long-lasting Moldovan-Ukrainian musical relationship is composer creativity, aimed at enriching both our cultures. It should be emphasized that the creative relations of figures of both cultures at all times were exclusively friendly and based on partnership. Of course, the creative dialogue of artists – both direct and indirect – began long before its formalizing in 1937 by launching the branch of the Union of Moldovan Composers within the Odessa organization of the Union of Composers of Ukraine. In the last century, the relations were concentrated mainly on the educational and pedagogical sphere and connected with the names of S. Vorobkevych, H. Muzychenko (Muzychescu), and M. Kazanli. One of the aspects of mediated creative dialogue is the appeal to Ukrainian composers concerning the Moldovan theme. In the XIX century, it was manifested in The Memoirs of the land of Moldova, op. 85, J. Rukgaber, 48 folk Romanian songs by K. Mikuli. The same aspect is deepened by an appeal to national poetry, for instance, in the romances by S. Vorobkevych, E. Mandychevsky, based on the poems of V. Alecsandri, O. Vlahutse, M. Eminescu, G. Cosbuc, etc. One of the most frequent aspects of creative connection is the study of Moldovan folklore by Ukrainian composers, such as L. Gurov, M. Vilinsky, M. Zavalishina, H. Kompaniets, S. Orfeev, L. Revutsky, V. Smekalin, Yu. Fomenko and others. Therefore, the next step of the folklorist style is the creation of multi-genre compositions, based on folklore themes; we would like to mention M. Vilinsky’s 3 Suites for the symphony orchestra, cantata Moldova, as well as the symphonic picture In Moldova by V. Gomolyaka, The Fantasy by H. Dranenko, The Rhapsody on Moldavian Themes by V. Zolotarev, The Moldavian Sketch by O. Kamenetsky, The Six Moldavian Melodies for violin and orchestra by M. Kopytman, The Poem on the Themes of Moldavian Folk Songs by H. Lapshynsky, The Dance on the Moldavian Theme by S. Lyudkevych, etc. Along with symphonic genres, chamber and instrumental ones were developed by V. Grudin, O. Dashevsky, L. Kolodub, V. Syrokhvatov, etc. The compositions of D. Kitsenko belong to both, the Ukrainian and Moldavian cultures. Organizational work was associated with the formation and development of musical institutions lead by L. Gurov, M. Zavalishina, and others. The presentational aspect was intensified in the second half of the XX century by the participation of composers of both nations in cultural and artistic events such as Days of Culture, plenums, congresses, festivals, etc. Even a cursory analysis shows that the most intense creative ties between our composers were developed in the 1930s and 1950s. However, this topic is far from fully being researched and remains relevant nowadays