Abstract: The article is devoted to musical works on the theme of the seasons, created in the late XX – early XXI century on the basis of already existing well-known masterpieces on this eternal theme. The purpose of the study is to analyze the writings of previous years in comparison with new, updated works on the theme of the seasons. The subject of the study is the musical and stylistic features of the interaction of the original source and the new composition. The object of the research is the compositions on the theme of the seasons by modern composers, written on the basis of masterpieces of past eras: A. Raskatova «The Seasons. Digest», M. Bronner's «The Seasons. A wreath to Tchaikovsky», M. Richter «The seasons. Recomposed», transcription of A. Piazzolla's tango cycle «The Seasons in Buenos Aires», created by L. Desyatnikov, ballet «The Seasons» by V. Martynov, which traces the technique of stylization and quoting. The study used a comparative analytical, historical and theoretical methods. The main conclusions of the study are: the appeal to musical masterpieces of past eras in the context of postmodernism is not a rare phenomenon. Composers recreate ancient genres, music-making practices. A musical masterpiece preserves the enduring values inherent in its idea. He becomes a kind of standard for creating new, relevant works for his time. In this context, the eternal theme of the seasons harmoniously fit into the new cultural paradigm of the late XX – early XXI century. The immortal masterpieces of A. Vivaldi, P. Tchaikovsky, A. Piazzolla have received a new life in the conditions of modern composing and performing arts. The scientific novelty of the research lies in the fact that some of these works are analyzed for the first time in the context of a dialogue between different centuries.

Keywords: musical reflection, musical masterpiece, postmodernism, stylization, transcription, recomposition, reinterpretation, The seasons, eternal theme, dialogue of the epochs