"Revizskaya skazka" by A. Shnitke – is one of the brightest examples of musical satire, when cognizable music becomes the base of a converse musical image. Beethoven, Mozart, Tchaikovsky, tutorial piano plays, ballet music of XIX century and city folklore – all of this was a base for musical reincarnation, "inversion" by means of mood-and-tone substitutions and figuration in song and dance genre.

"In croce" ("On the cross") by S. Gubaidulina is one of the best examples of her creativity course which leads to their definite visibleness by means of contrast of images. To attain this effect the composer uses such a basic musical contradictions as a horizontal-vertical, chromaticizm-diatonicizm, seriation-functionality, and polyphony-homophony. The idea of cross (exactly: of crossing) transfuses all the musical parameters: the timbre, the registers, duration and the form.

Suite "Echoes of the Theatre" by L. Desyatnikov - presents the world of childhood for adults. Its items are the anthology of theatrical music of a kind: operetta, ballet, melodramatic, tragic and vaudeville. This entire take place through a prism of a deep individual attitude which is seen by semantic accents on the details chiefly touched author’s soul.

For "The Concert Triptych" by V. Vlasov the picture of Hieronymus Bosch "The Last Judgment" was just an impulse not an axis of music. Within the themes chosen by the author every part of the triptych is an essence of previous generations of composer’s work. From this point of view is interesting the second part – "The Temptation", which was itself a compelling temptation of the Vivadli’s music for the author.