Подвенечная literally translates to "bridal" or "wedding". It's a beautiful and somewhat formal word, not commonly found in everyday conversation or many song lyrics.
In the song, it's used in the phrase "Мария Подвенечная птица" (Maria the Bridal Bird). This creates a striking image, suggesting purity, sacrifice, or perhaps a destined, almost ritualistic journey, adding a layer of poetic depth to the character of Maria.
Boris Grebenshchikov's "Праздник Урожая Во Дворце Труда" [Harvest Festival at the Palace of Labor] drops us into a world where everything feels a bit off. The opening lines, "Сколько мы ни пели все равно, что молчали / Поэтому мертвой стала наша святая вода" [However much we sang, it was as if we were silent / Therefore our holy water became dead], immediately set a tone of disillusionment. It's like all their efforts have been for nothing, leaving their spiritual wellspring dry.
Despite this sense of weariness and the feeling that "По нам проехали колеса печали" [The wheels of sorrow have rolled over us], everyone is still heading to this Harvest Festival. It's a strange contrast, this forced celebration in a place called the Palace of Labor, especially when the singer admits, "Мы знаем, что машина вконец не исправна / Мы знаем, что дороги нет и не было здесь никогда" [We know that the machine is completely broken / We know that there is no road and never was one here]. There's a surreal quality to the imagery too, with "В красных котлах черная сажа" [Black soot in red cauldrons] and "Под ногами прохожих холсты Эрмитажа" [Hermitage canvases under the feet of passersby]. It's a fascinating, almost dreamlike journey through a landscape that's both broken and strangely beautiful, all leading to this enigmatic festival.