THE GENRE MODELS OF RUSSIAN SACRED CONCERT ON THE BOUNDARY OF THE XIX-XX<sup>th</sup> CENTURIES
In the historical development of Russian sacred concert genre, the «boundary» epoch from the end of the XIX<sup>th</sup> to early XX<sup>th</sup> century remains by comparison scantily explored. In opinion of the author of represented article, widely practiced thesis of musicological works about ostensibly loss of composers' interest for mentioned genre during the indicated epoch demands an undoubted correction. This affirmation is argued by purposeful analysis of variety archives materials (first of all published in periodical press of «The Silver Age»), and edited or manuscript scores of choral concerts which are dated by the 1890-1920s and belong both to Russian masters of «the second line» (V. Lirin, V. Fateev, M. Skripnikov) and the prominent composers of our country (S. Rachmaninov, Victor Kalinnikov, A. Nikolsky, A. Grechaninov, M. Ippoli-tov-Ivanov, C. Cui). The researcher characterizes the principal genre models represented in sacred concerts of the «boundary» epoch (classicist, classical-romantic, late-romantic), and the features of personal realization conformably to the named models. The «transitional» specificity of concert genre historical-evolutional development in the treated epoch (on the way to the next flowering in the 1980-1990s) is noted by the author.