Thomas Mann and Paul Hindemith: the Myth of “Harmonia Mundi”
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Abstract
and ancestral memory, the 20th century artist aspires to imprint
the norms of gumanity into the image of integral existence. The
subject of artistic creativity in its spiritual and moral meaning becomes
crucial for art. The synthesis of genres, which almost the
entire 20th century is marked with, leads us out into the contiguous
ields of artistic experience. Paul Hindemith’s “Harmonia Mundia,”
presenting a dyad of symphony and opera, accumulates into
itself an enormous context of 20th century humanistic culture, part
of which is comprised by Thomas Mann’s novels “Doctor Faustus”
and “Joseph and his Brothers.” The mirror-relecting ields of
their musical legacy disclose laws and means of construction of
an artistic unity, the basis of which is formed by the myth of Harmonia
Mundi. The aim of the article is to comprehend the conception
of Paul Hindemith’s compositional conception by means
of comparison with Thomas Mann’s literary legacy. The poetics
of the mythological novel formulated by E. Meletinsky, as well
as the mythological-symbolic method of musical scores developed
by N. Beketova make it possible to ind textual and semantic
parallels between Mann’s and Hindemith’s plots. The mythological-
symbolic angle of research presents the operatic work within
the ield of co njugacy of meanings that are identical to Thomas
Mann’s landmark works. The atemporal logic of the main protagonist’s
symbolic path (Kepler = Faust) forms the German myth
of Harmonia Mundi.
Keywords: Paul Hindemith, Thomas Mann, “Harmonia
Mundi” symphony, philosophical mythological novel, existential
myth, archetype, mythologem
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References
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