Dmitri Stepanowitsch Bortnyansky

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Dmitri Bortnjanskyj

Dmitri Stepanovich Bortniansky ( Russian Дмитрий Степанович Бортнянский ; in German-speaking and Dimitri Bortnianski or Dimitrij Bortniansky , Ukrainian Дмитро Степанович Бортнянський Dmytro Stepanowytsch Bortnjanskyj * 1751 in Hlukhiv , Hetmanat , † September 28 . Jul / 10. October  1825 greg. In Saint Petersburg , Russian Empire ) was a mainly in Russia acting ukrainian -Russian composer with great influence on the development of German church music in the 19th century.

Life

Dmitri Bortnjanski was born in Hluchiw , the capital of the semi-autonomous hetmanate in the Russian Empire. At the age of seven he came to the court choir in Saint Petersburg as a choirboy. He became a student of Baldassare Galuppi , who directed the imperial court choir from 1765 to 1768. In 1769 Bortnjanski Galuppi followed to Italy . Here he had great success as an opera composer with Creonte (Venice 1776), Quinto Fabio (Modena 1778) and Alcide (Venice 1778).

Bortnjanski returned to St. Petersburg in 1779 and was appointed director of the court choir and a councilor by Tsar Paul I in 1796 . Under his leadership, the court choir developed into an ensemble of European standing. 1814 Bortnianski was commissioned an official version of John Chrysostom - Liturgy for Orthodox writing services throughout the Russian Empire. In his church music work (over 100 motets , cantatas and liturgical pieces) Bortnjanski combined Russian and Western elements in a polyphonic style that he had got to know in Italy. Bortnjanski also composed chamber music and piano sonatas . His piece Mnogaja leta (For many years) is also known.

Bortnjanski spoke Ukrainian, Russian, Italian, French and German. In 1882 Tchaikovsky published a complete edition of Bortnyanski's sacred works in 10 volumes.

Bortnyansky died on September 28, 1825 and is buried in the cemetery of the Alexander Nevsky Monastery in St. Petersburg.

Even if his tonal language was later criticized as "Italian" in Russia and was considered outdated, it is still popular today because it is particularly accessible and emotionally appealing.

Bortnjanski's impact in Germany

Bortnjanski's great popularity in 19th century Germany is primarily due to the effect his music had on the Prussian King Friedrich Wilhelm III. would have. He advocated that liturgical pieces from the Prussian agendas of 1829 were set to music based on Bortnjanski's models. Other works Bortnyansky his Great Doxology and Shepherd of Israel, hear ( August Neithardts processing of Ishe Cheruwimy with German text underlay), were given a place in the soon repertoire of 1843 reorganized to St. Petersburg model State and Cathedral Choir to Berlin and the bourgeois church choirs and choral societies.

I pray to the power of love in the chorale book by Gossner / Tscherlitzky 1825

The greatest (and to this day enduring) aftereffect was the insertion of a Bortnyanski melody into the military music ritual of the Great Zap . Bortnjanski originally wrote the melody for a Freemason song ( Коль славен - Kol slavs , German: "How glorious is our Lord in Zion") composed by Michail Cheraskow (1733-1807) . The song quickly became an "unofficial anthem" of Russia and was often played on official occasions; From 1857 to the October Revolution of 1917 it was heard daily from the carillon in the Savior Tower of the Moscow Kremlin . Johannes Evangelista Goßner and Johann Heinrich (Iwan Karlowitsch) Tscherlitzky backed this melody around 1824 to the chorale strophe I pray to the power of love by Gerhard Tersteegen .

literature

  • Music in the past and present , personal section, Volume 3, 2000, Col. 455-460.
  • Franz Witt (Ed.): Música sacra. Contributions to the reform and promotion of Catholic church music. Church music, E. Bote & G. Bock, Berlin 1883, p. 116.

Web links

Commons : Dmitri Bortnjanski  - collection of pictures, videos and audio files

Individual evidence

  1. ↑ Birthday and month are unknown, see the Ukrainian biographies at Arkolada and Orthodox Spiritual Center ( memento from January 19, 2012 in the Internet Archive ).
  2. ↑ Муха А. І. Композитори України та української діаспори: Довідник. Composers of Ukraine and the Ukrainian Diaspora, Handbook. Музична Україна, Kiev 2004, ISBN 966-8259-08-4 (352 pages); Retrieved October 19, 2016 (Ukrainian).
  3. ↑ Richard Taruskin : On Russian Music . Ed .: University Press Group Ltd. 2010, ISBN 0-520-26806-7 , pp. 53 .
  4. ↑ Clive Unger-Hamilton, Neil Fairbairn, Derek Walters; German arrangement: Christian Barth, Holger Fliessbach, Horst Leuchtmann, et al .: The music - 1000 years of illustrated music history . Unipart-Verlag, Stuttgart 1983, ISBN 3-8122-0132-1 , p. 96 .
  5. ↑ Isabelle de Keghel: The state symbolism of the new Russia in transition. Digital version (PDF; 3.7 MB), p. 37.
personal data
SURNAME Bortnjanski, Dmitri Stepanowitsch
ALTERNATIVE NAMES Дмитро Степанович Бортнянський; Dimitri Bortnianski; Bortniansky; Bortjansky; Dmytro Stepanowytsch Bortnjanskyj
BRIEF DESCRIPTION Ukrainian composer
DATE OF BIRTH 1751
PLACE OF BIRTH Hluchiw , Hetmanat
DATE OF DEATH October 10, 1825
Place of death Saint Petersburg , Russian Empire