Abstract: The article continues the author's research on the phenomena of symphonic creativity of Andrei Yakovlevich Eshpai, an outstanding master of modern Russian musical art. The composer's selected opuses are considered in the aspect of intertextuality, which is one of the most in-demand in the humanities, including in musical science. Due to the variety of existing scientific interpretations and the availability of a wide range of research perspectives, this aspect of the study seems to us particularly relevant. The article attempts to comprehend intertextuality as a significant, but not the only form of dialogue functioning in the musical and textual space of Eshpay's compositions, and thus apply a differentiated approach to such an ambiguous phenomenon as intertextual dialog interactions. Within the framework of this work, it seems necessary to turn to Mari folklore as one of the fundamental axiological guidelines of the composer's work. The object of the study is quotations from Mari folk songs used in the Second Symphony "Praise the Light!", as well as in the Third and Eighth Symphonies dedicated to the memory of his father, Ya.A. Eshpai. When studying the mechanisms of integration of Mari folklore into the author's text and identifying strategies for the functioning of the corresponding textual elements, an integrated approach was used, including a system-structural method, as well as methods of comparative and semiological analysis. As a result of the research, the role of intertextual strategies in the implementation of artistic concepts of symphonic compositions is revealed. It is established that the cited material concentrates the deep content and has significant potential for its deployment, activating the processes of mutual influence and contrast. The transformative effect of the folklore component on the linguistic mechanisms of texts and on their compositional and dramatic solutions is significant. At the same time, intertextual dialogue is realized through intonation transformations as well as through timbre-textured and harmonic "voicing" of folk melodies. At the same time, the composer's careful attitude to quotations turns out to be a very remarkable stylistic marker.
In conclusion, it is emphasized that the intertextual dialogics of the texts of symphonic scores is close to the phenomena of stylistic synthesis. Strategies of this type become one of the clearest indicators of the author's style. They define the poetics of the genre and create a unique aura of Andrei Eshpai's works.

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.