Genres of English Sacred Music in the Work of J. Rutter as a Continuation of the Tradition of the English Revival of the 20th Century

The purpose of the research is to determine the stylistic purpose of J. Rutter's compositions, made in different years, but united by a spiritual genre indicator, which since the beginning of the last century has distinguished the multi-genre productions of English composers, from E. Elgar to B. Britten, W. Walter, M. Tippett and Rutter's teacher - J. Tavener. The methodological basis of the study is the intonation approach, as it was noted in the works of B. Asaf'ev's followers in Ukraine (see the publications of D. Androsova, O. Markova, O. Muravska, A. Sokolova), as well as based on the development of choral performance of the Odessa school (the works of V. Lugovenko, H. Shpak, other scientists). The scientific novelty of the work is noted in the originality of the presentation of the meaning of the stylistic diffusions of the choral heritage of England of the 20th century, from non-classical sections to the post-avant-garde eclecticism of the break of the 20th-21st centuries and the basic understanding of the national church expressive component in them, which provided and provides an independent stylistic taste with a corresponding typological combination, corresponding to the playful mosaic of post-avant-garde and post-post-avant-garde today. Conclusions. The stylistic eclecticism of the neo-baroque buildings of the past century and the neo-Gothic trends of the beginning of the 21st century is based, firstly, on the religious and practical assimilation of the products of the English Renaissance of the 20th century as the second Celtic Renaissance on the lands of Britain-England against the background of the existence of post-Victorian trends towards the Irish-British Orthodox origins of national culture. And, secondly, the validity of the spiritual and choral work of England at the beginning of the 21st century and within its limits the nomination of such masters as J. Tavener and J. Rutter related by the circumstances of their life and work to the neo-gothic tendencies of "absorption" of artistic self-sufficiency by the compensatory social need for compositions is indicated , which stand on the "borderline" of the spiritual-applied and spiritual spheres and in which the antithetical directions of styles and types of creativity are concentrated, up to the triumph in the works of J. Rutter of the fullness of popular thinking in the perspective of the seriousness of the spiritual glory of chorale-anthems.