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The article analyzes a number of works written in the chorale «Es ist genug». The tune has received symbolic meaning in the musical culture of different eras — from the Baroque to the present day. Each composer, while preserving the original meaning of this funeral chant, interpreted it differently, which was also facilitated by the selected genres and stylistic specifics of the works. Many composers turned to the tune. Used by Bach in cantata No. 60 chorale «Es ist genug» he set a certain semantic vector (fear of death and hope for eternal life), continued by R. Wagner and received a love-romantic interpretation in the vocal cycle; tragic — in the violin concerto by A. Berg, the concept of overcoming the fear of death — in Variations on the chorale of E. Denisova. Moving along the routes of history, the chant each time revealed new meanings, continuing its way to infinity.
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