Choral creativity Gioacchino Rossini in the context of spiritual-religious researches of the Italian culture of the era of Risorgimento (on the example of Stabat mater)

Abstract

The purpose of the article is to identify the poetic and intonational features of the choral works of G. Rossini, including Stabat Mater, in the context of the specifics of the existence of spiritual genres in the cultural and historical realities of Risorgimento. The methodology of the work is based on the intonation concept of music from the perspective of stylistic analysis, as well as on interdisciplinary and historical-cultural approaches that allow revealing the spiritual-semantic and poetical-intonational features of Stabat Mater G. Rossini in line with Italian culture of the first half of the 19th century. The scientific novelty of the work lies in the fact that for the first time in cultural studies and art studies, attention is focused not only on the genre-style evolution of the composer's work but also on the idea of the spiritual unity of the nation, which is essential for his time, based on the principles of restoring Christian traditions and sacred-ethical function musical art. Conclusions. Comprehension of the multilevel quality of the Stabat mater, within the framework of which the idea of suffering on the cross and its inner empathy-comprehension becomes not only a guarantee of a person's spiritual transformation but also an anticipation of the image of Divine glory as one of the defining ones in the Christian worldview. The indicated semantic subtext of G. Rossini's work reveals its correlation not only with the deep traditions of Italian choral music but also with the spiritual attitudes of the Risorgimento and European romanticism in general.