Аннотация: В качестве предмета исследования рассматриваются две хронологически близкие музыкальные интерпретации мифа об античном титане Прометее: симфоническая поэма А.Н. Скрябина и хор С.И. Танеева из цикла «Двенадцать хоров для смешанных голосов на стихи Я.П. Полонского».
В статье рассматривается специфика трактовки Прометея, одного из центральных символов европейской культуры. Отмечается, что за свою долгую историю содержание мифа о Прометее интерпретировалось в широком диапазоне от бунтовщика, идущего на самопожертвование ради человечества, до вдохновенного художника-творца, открывшего людям блага культуры; от святого великомученика и пророка истинного Бога, до предводителя революционных народных масс. В результате анализа делается вывод, что в произведении Танеева центральным мотивом выступает призвание художника, идущего на самопожертвование против сил зла и невежества. У Скрябина Прометей трактован, как активная творческая энергия Вселенной, вступающая в борьбу с материей и преобразующая её.
В анализе также выявляется ряд стилевых параллелей в наследии двух композиторов, таких как, философская концептуальность, монументальность замысла и его реализации, устремленность к преображению человека через искусство, рациональные основания творчества, ориентация на западноевропейские образцы искусства.
В качестве противоположных стилистических черт отмечается принадлежность композиторов к разным полюсам охранительства и новаторства в искусстве, различающиеся подходы к использованию литературного слова. Подчёркивается влияние новаторских прозрений композиторов на пути развития музыкального искусства XX века.

Abstract: Two chronologically close musical interpretations of the myth of the ancient titan Prometheus are considered as the subject of the study: the symphonic poem by A.N. Scriabin and the chorus by S.I. Taneyev from the cycle "Twelve Choirs for Mixed Voices to the poems of Ya.P. Polonsky".
The article discusses the specifics of the interpretation of Prometheus, one of the central symbols of European culture. It is noted that over its long history, the content of the Prometheus myth has been interpreted in a wide range from a rebel who goes to self-sacrifice for humanity, to an inspired artist-creator who revealed the benefits of culture to people; from the holy great martyr and prophet of the true God, to the leader of the revolutionary masses of the people. As a result of the analysis, it is concluded that the central motive in Taneyev's work is the vocation of the artist, who goes to self-sacrifice against the forces of evil and ignorance. In Scriabin, Prometheus is interpreted as the active creative energy of the Universe, entering into a struggle with matter and transforming it.
The analysis also reveals a number of stylistic parallels in the legacy of the two composers, such as philosophical conceptuality, monumentality of the idea and its implementation, striving for the transformation of a person through art, rational foundations of creativity, orientation to Western European art samples.
As opposite stylistic features, the composers belong to different poles of protectiveness and innovation in art, and different approaches to the use of the literary word are noted. The influence of innovative insights of composers on the development of musical art of the XX century is emphasized.

Аннотация: Two chronologically close musical interpretations of the myth of the ancient titan Prometheus are considered as the subject of the study: the symphonic poem by A.N. Scriabin and the chorus by S.I. Taneyev from the cycle "Twelve Choirs for Mixed Voices to the poems of Ya.P. Polonsky".
The article discusses the specifics of the interpretation of Prometheus, one of the central symbols of European culture. It is noted that over its long history, the content of the Prometheus myth has been interpreted in a wide range from a rebel who goes to self-sacrifice for humanity, to an inspired artist-creator who revealed the benefits of culture to people; from the holy great martyr and prophet of the true God, to the leader of the revolutionary masses of the people. As a result of the analysis, it is concluded that the central motive in Taneyev's work is the vocation of the artist, who goes to self-sacrifice against the forces of evil and ignorance. In Scriabin, Prometheus is interpreted as the active creative energy of the Universe, entering into a struggle with matter and transforming it.
The analysis also reveals a number of stylistic parallels in the legacy of the two composers, such as philosophical conceptuality, monumentality of the idea and its implementation, striving for the transformation of a person through art, rational foundations of creativity, orientation to Western European art samples.
As opposite stylistic features, the composers belong to different poles of protectiveness and innovation in art, and different approaches to the use of the literary word are noted. The influence of innovative insights of composers on the development of musical art of the XX century is emphasized.