Music and Time Annotation << Back F. Liszt «Septem sacramenta». Features of Romantic Harmony in the Music for Worship M.L. Novikova To date, the later work of Franz Liszt in Russia is practically not studied, and compositions written in the traditions of music of church practice are out of the field of view of researchers. Therefore, the topic of this work is relevant, and its relevance is enhanced by the fact that the harmonic language of the late period of Liszt’s work is being studied. The subject of the study was the cycle «Septem sacramenta» (the first part of «Baptism»), created by the composer in 1878 in Rome under the influence of paintings by Johann Friedrich Overbeck with a similar name. It is interesting to trace how the romantic harmonic thinking of the master obeys the norms of the church musical style. The task of this work is based on tracing functional connections and identifying the degree of their depth at the level of higher-order functions and local functions; to focus on the application of such harmonic techniques as: chord development, functional inversion, the use of major-minor means, a variety of forms of the modulation process. Of particular importance is the introduction of the technique of functional inversion into the traditional series, which carries a huge charge of new expression and colorfulness. The most important thing is that Liszt, when creating «Septem sacramenta», followed an important rule: not to allow theatricality in a work intended for worship. Keywords: Franz Liszt, romantic harmony, the sacraments of worship, functional connections of chords, harmonic techniques. Pp. 27-32.