Inno delle nazioni form of creative work cantata
Background
In December 1858, the Society of Arts in London announced their intention to hold what was to be called the 1862 International Exhibition, seen as a successor to The Great Exhibition of 1851. Wanting to include musical performances (which were excluded from the 1851 exhibition), at the suggestion of the leading music critic Henry Chorley, they solicited new works from Daniel Auber (representing France), William Sterndale Bennett (England), Giacomo Meyerbeer (Germany) and Gioachino Rossini (Italy). Rossini declined the invitation.
Roberta Montemorra Marvin (who edited Inno delle nazioni for The Complete Works of Giuseppe Verdi series) considers that the committee did not initially ask Verdi to compose a piece because of Chorley's antipathy toward the composer's works.  Nevertheless, after Rossini's refusal, in 1861 the committee invited Verdi, offering four suggestions as to form:  anthem, chorale, triumphal march (for full orchestra), or march (for wind instruments).  While honored by the request, Verdi tentatively declined, despite the intervention of fellow Italian and conductor Michael Costa, claiming his duties in preparing La forza del destino left no time available.  He promised to consider the question in February 1862, once the preparation of the opera was out of the way.Although Verdi detested writing occasional works, Marvin surmises that since Verdi was informed of the acceptance of the commission by Auber and Meyerbeer, personal pride and the chance at representing Italy at an international exhibition were the key reasons he took up the commission.
artistic creation creative composition artistic production work of art creative piece