The features of the musical embodiment of Chinese poetry in the vocal cycle "Songs of the Wayfarer" by G. Sviridov.

The article explores the dialogic nature of the musical-poetic synthesis in Georgy Sviridov’s vocal cycle Songs of the Wanderer. It examines the composer’s unique approach to creating a musical work based on ancient Chinese poetry translated by Yu.K. Shchutsky. The study investigates the interaction between Russian and Chinese cultural traditions at the levels of musical language, dramatic structure, and performance interpretation. It analyzes the symbolic semantics of the cycle’s musical imagery, the specifics of vocal declamation, and the treatment of the piano part as an equal participant in the musical dialogue. Special attention is given to the historical context of the cycle’s creation, linked to Sviridov’s evacuation to Novosibirsk in 1941–1942, which shaped a distinct emotional state of "lostness" while simultaneously fostering openness to Eastern culture. The performance history of the work, which only received its first concert realization in the 21st century, is also considered. The research employs an interdisciplinary approach combining musicological analysis with elements of cultural, literary, and performance studies. Methods of stylistic, structural-functional, and comparative analysis are used to reveal the dialogic essence of the work. Biographical and historical-contextual methods are also applied to explore the connection between the cycle’s artistic features and the composer’s life circumstances and creative evolution. The scholarly novelty of the study lies in its comprehensive examination of the dialogic nature of Songs of the Wanderer as a unique synthesis of Eastern and Western cultural traditions. For the first time, a detailed analysis of the symbolic semantics of the cycle’s musical language is conducted, revealing the interaction between vocal and piano parts as equal participants in a cross-cultural dialogue. It is established that Sviridov creates an original system of musical symbols embodying the philosophical depth of Chinese poetry without direct stylization, thereby forming a new type of intercultural dialogue in musical art. The research contributes to the understanding of Sviridov’s creative evolution, showcasing a previously unexplored facet of his compositional talent—his ability to deeply engage with a foreign cultural tradition. The study also identifies the distinctive features of the cycle’s performance interpretation, which demands a unique combination of vocal and pianistic traditions from musicians.