“Exsultate Jubilate” by W. A. Mozart in the Hallelujah Paradigm of European Culture and Music

Abstract

The purpose of the study is to reveal the poetic and intonation uniqueness of the motet “Exsultate Jubilate” by W. A. Mozart in the context of spiritual guidelines of the European musical art of the New Age and its halleluiah paradigm. The research methodology. The interdisciplinary, historical and cultural, genre and stylistic approaches were essential for this work. The scientific novelty of the work is determined by the fact that it is the first to summarise the poetic and intonational specificity of W. A. Mozart's motet “Exsultate Jubilate” in the context of the praise tradition of European sacred music culture and its Byzantine genesis. Conclusions. On the one hand, W. A. Mozart's motet "Exsultate Jubilate", created in the early period of the composer's work, incorporated the spiritual, ethical, genre and stylistic experience of the culture and music of the Austrian Enlightenment with its characteristic tendency to a harmoniously optimistic worldview that united the spiritual and secular genre spheres of musical creativity (including musical theatre). On the other hand, the analysed work by W. A. Mozart's work, which preceded it in the liturgical cycle "Gloria", its virtuoso fioritura nature, focused on the singing and performance capabilities of the castrato Venanzio Rauzzini, reveals contact with the hallelujah paradigm of Christian culture and music, which genetically descended to the art of Byzantine calophony and its spiritual and ethical guidelines, which formed the basis for the formation of the intonational and performing specificity of bel canto..

Key words: works of W. A. Mozart, “Exsultate Jubilate” by W. A. Mozart, motet, Italian motet, Austrian Enlightenment.