Dmitry Bortniansky
Dmitri Stepanovich Bortnianski ( Дмитрий Степанович Бортнянский, in German-speaking Dimitri Bortnianski, Ukrainian Дмитро Степанович Бортнянський - Dmytro Stepanowytsch Bortnjanskyj; * 1751 in Gluchov, province Chernihiv, Russian Empire, today Hluchiw, Ukraine; † 28 Septemberjul / 10 October 1825greg. . St. Petersburg ) was a Ukrainian composer mainly acting in Russia with great influence on the development of German church music in the 19th century.
Life and work
Bortnianski was born in Gluchov in the government of Chernigov. At the age of seven he was a chorister at the Court Chapel to Saint Petersburg. He became a pupil of Baldassare Galuppi, the director of the Imperial Hofchor 1765-1768. 1769 followed Bortnianski Galuppi to Italy. He had great success as an opera composer with Creonte (Venice, 1776); Quinto Fabio ( Modena, 1778); and Alcide (Venice, 1778).
Bortnianski returned in 1779 to St. Petersburg, and in 1796 appointed by Tsar Paul I as Director of the Court Chapel and the State Council. Under his leadership, the Hofchor developed into an ensemble of European rank. 1814 Bortnianski was commissioned an official version of John Chrysostom liturgy to write for Russian Orthodox religious services in the entire Russian Empire. In his church music work (over 100 motets, cantatas and liturgical pieces ) Bortnianski combined Russian and Western elements in a polyphonic style, as he had met him in Italy. Bortnianski also composed chamber music and piano sonatas. It is also known to be piece Mnogaja leta ( In many years).
Bortnianski spoke Ukrainian, Russian, Italian, French and German. 1882 was Tchaikovsky a complete edition of the sacred works Bortnyansky in 10 volumes out.
Bortnianski died on 28 September 1825 and is buried in the cemetery of the Alexander Nevsky Monastery in St. Petersburg.
Although his musical language in Russia was " Italian" was later criticized as and was considered obsolete, it is popular to this day because it is very accessible and emotionally appealing.
Bortnyansky effect in Germany
Bortnyansky great popularity in 19th century Germany is mainly due to the effect that his music on the Prussian King Friedrich Wilhelm III. had. This worked to ensure that liturgical pieces of the Prussian liturgy were set to music by 1829 models Bortnyansky. Other works Bortnyansky, his Great Doxology and Shepherd of Israel, hear ( August Neithardts processing of Ishe Cheruwimy with German text underlay ) soon got a firm place in the repertoire of the 1843 St. Petersburg model reorganized State and Cathedral Choir of Berlin and of civic church choirs and choral societies.
The largest (and still ongoing ) aftermath, however, was the inclusion of a melody Bortnyansky in the military music ritual of the Great military tattoo. Bortnianski had the melody originally sealed for one of Mikhail Cheraskow (1733-1807) Masonic song ( Коль славен - Kol slavs, German: "How glorious is our Lord in Zion " ) is written. The song was played fast becoming a "unofficial [n ] anthem" Russia and often at official functions; from 1857 until the October Revolution of 1917 it rang daily from Carillon in the Savior Tower of Moscow Kremlin. By Johannes Evangelista Gossner and Johann Heinrich Tscherlitzky the tune was about 1824 the chorale verse I pray in the power of love by Gerhard Tersteegen been highlighted.