Abstract
The genre of piano concerto by Russian composers of the second half of the 20th and the beginning of the 21st centuries is considered in the aspect of embodying sacred themes. The compositions of A. Karamanov ("Concerto No. 3 'Ave Maria'", 1964), S. Gubaidulina ("Introitus", 1978), A. Lubchenko (chamber concerto "Prayer Song", 2006), and I. Sokolov (concerto, 2020) are analyzed. Conclusions are drawn regarding the general and individual characteristics of the works, their dramaturgy, hidden meanings, and the use of musical expressive means. The scientific novelty lies in the analysis of concertos by A. Lubchenko and I. Sokolov not previously presented in musicology.
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