The dissertation is devoted to the problem of mysteriality by its genesis in the Christian Cult and its manifestation in the works of O. Messiaen, in which we distinguish projections of the mysterious expression from A. Scriabin. Moreover, the latter can be traced in the piano manifestation, in connection with historically natural mystery complexes coming from byzantine mystery theatricality and preserved in the traditions of Orthodoxy and Franciscanism, identified by O. Messiaen in kinship with the Gallic beginning of the French nation.
Regarding the aspect of considering the research topic, it should be noted that O. Messiaen was influenced by Scriabin's mysteriality, which was quite sharply different from the mysterious incarnations of contemporaries, including at the highest artistic level. Russian followers in France of A. Scriabin M. Obukhov and I. Vishnegradsky were aware of this non-theatrical rite-the mystery of the Russian artist. The acquaintance of I. Vishnegradsky with O. Messiaen in 1937 determined the active transmission of information about the work of A. Scriabin – and this coincides with the time of highlighting the mission of O. Messiaen to unite the opposites of the artistic world in the works of the 1940s. For O. Messiaen, religious service was a part of his life – as an organist, he played the organ from a young age to the end. The main thing is preaching through the art and pedagogical activity of human coexistence, which predetermined the foundation of granting him the status of a saint from Catholicism posthumously.
The search for ways of spiritual improvement of the world through the revealed genre-texture indicators and Clavier techniques of expressiveness in the piano heritage of A. Scriabin, perceived by O. Messiaen – through the analysis of piano participation in the «Quartet at the End of Time» and other works is outlined. Summative and life-saving efforts are invested by artists in specially musical means of the supramusic and extra-musical program of action, which is based on the greatness of not only artistic higher giftedness, but also the ability of World salvation and transformation.
The highest achievement of the cultural interpretation of the heritage of O. Messiaen in its comparison with A. Scriabin is the identification in them of a direct touch to the liturgical basis of compositional standards, to the awareness of the two-part nature of their author's heritage as an artistic and self – sufficient product, on the one hand, and as its promotion as an applied sphere-in the «application» to something higher than the artistic sphere, on the other. The School of O. Messiaen gave a planetary resonance to the ideas of the mysterious renewal of humanity through artistic incarnations.
Keywords: mysteriality, mystery, O. Messiaen, style of culture, style in music, genre typologies.
