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Musicology

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The mysteriological in the «Persephone» by I. Stravinsky – A. Gide: the specifi city of the objectifi cation
Julia A. Kuranova

This article is devoted to the problem of the realization of the mysteriological in the melodrama «Persephone» (1933‒1934) by
Igor Stravinsky, which was created in the neoclassical period of creativity. This attention by the composer to the mystery is typical
for the musical culture in the twentieth century. The author explores the characteristics of the two models of mystery ‒ the pagan
rite of the ancient Greeks (the Eleusinian Mysteries) and the genre of Western European religious (Christian) theater of the Middle
Ages. Particular attention is paid to some characteristic signs of each model of the mystery and their general, archetypal signs.
The Comparative Approach is elected as the main method of analysis of the work. In addition to the models of the mystery also
two literary sources are compared. It is a hymn «To Demeter» by Homer and the libretto by Andre Gide is based on the content of
the hymn. Additional properties of the models of the mysteries are revealed through symbolic motives the Dream, the Vision, the
Light and the Grain, are characterized with certain complexes of the musical means. The last two symbolic motives help to identify
the archetypal features of the two models of the mystery.
Keywords: mystery, mysteriological, model, archetypal, ideas.

Contacts: E-mail: rus.july@rambler.ru

Pp. 45-49.

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