Abstract: This article focuses on the Sixth "Liturgical" Symphony of Andrei Yakovlevich Eshpai, one of the brightest representatives of the national and world musical culture of our time. The composition is considered from the perspective of sacrality, which fully determines its artistic and constructive patterns and dramatic perspective.
The scientific novelty of the work is due to the subject of research itself, which was first used in relation to this work. To study the phenomenon of sacrality, it was necessary to use an interdisciplinary approach, including system-structural, comparative, semiotic, and hermeneutic analysis methods. Close attention was paid to considering the properties of musical texture as the main indicator of the spatiotemporal organization of musical material. The connotative and denotative properties of the musical syntax turned out to be analytically significant. No less important was the role of intertextual interactions that determine the text's language mechanisms and reveal its content’s plan.
It was established that the phenomenon of sacrality, responding to the aesthetic attitudes of the master, is implemented comprehensively—as a conjugation of philosophical, mythological, and spiritual-religious discourses, each of which has its own system of signs. The functioning of sign systems at the syntagmatic and paradigmatic levels of the text lead to linguistic differences in the instrumental and choral sections of the symphony, revealing phenomena of semantic multiplicity, polychronicity, ensuring the end-to-end formation and development of the liturgical idea. As a result of such interactions, the genre space of the symphony is formed, which is a synthetic, universal, communicative concept.

Abstract: The article attempts to analyze the genre stylistics of Andrei Eshpai's symphonic painting "Suvorov's Crossing the Alps" - a composition combining traditions and innovations. The composer's interest in historical and patriotic themes and the personality of the commander A.V. Suvorov is emphasized.
The compositional and dramatic features of the work, revealed through the specifics of language modeling, are chosen as the subject of the study.
Awareness of picturesqueness as the main genre-forming factor made it possible to concretize the type of symphonic painting, to identify signs of theatricality in the text. Special attention is paid to programming as the key to understanding the plot of the essay. The author analyzes the language models of the text in the most detail from the perspective of the interdependence of the content and genre-stylistic components.
The scientific novelty of the research lies in the musical material under study, which has not been studied before.
The research process allowed us to draw conclusions about the uniqueness and individual author's interpretation of the work.
It was found that the methods of concretization of the content of language models confirm the presence of a theatrical code not only in the compositional logic, but also in the text of the work itself.
The antinomic nature of language models was discovered. Antinomianism in combination with transformational poetics, the high-wave principle of development allowed us to conclude that the combination of signs of symphonism and picturesqueness in the compositional and dramatic solution of the composition determines the universality and synthetism of the composer's thinking.