Bortnyansky Dmitry Stepanovich

Bortnyansky Dmitry Stepanovich

Main article: History of music in Russia

Biography

Bortnyansky Dmitry Stepanovich - Russian composer. Born October 28, 1751 in the city of Glukhov. He died on October 10, 1825 in St. Petersburg.

1748: A grandfather from the Lemk family moves from Poland to the Russian Empire

Dmitry Bortnyansky's grandfather belonged to the Orthodox Church. The Bortnyansky clan came from Lemki, as American the historian Bogdan Gorbal kindly informed the researcher of the composer's work Marina Chivaleva. Lemki is very small now, as a result of many persecution, extermination and refusal of its identification, the Eastern Slavic people, one of the subethnoses, like the Ruthenians, who live mainly in the mountainous regions of the southern Poland and. Slovakia

Professing Orthodoxy, Polish Lemki were persecuted for this. They preferred emigration to a change of faith, and so a significant part of them settled in Ukraine in the late 1740s. It is in Lemkovshchina that the village of Bortne is located (Bortne, official name - Bartne), from the name of which the surname Bortnyansky came from. It is located in southern Poland near the city of Biecz and is located in the Gorlice district of Lesser Poland Voivodeship (formerly Gorlice County). The main fishery of local residents was beekeeping, hence the name of the village (in Russian, the words "board," "board" are similar in meaning).

Lemki in their homeland and in the diaspora seriously study their history and culture. Bortnyansky entered the pantheon of this people, although he was born in Little Russia and never visited his grandfather's homeland. It was in Bortna that a monument was erected to him in August 2009 (see photo at the end of the article).

As for Dmitry's mother, Marina Dmitrievna, Stepan Vasilyevich met her in Glukhov. She was the young widow of Lieutenant Tolstoy, who remained with the baby Ivan in his arms. Her house stood in the business and shopping center of the city, rebuilt after the fire of 1748.

1758: Singer of the Court Chapel in St. Petersburg

Dmitry Bortnyansky was born in the family of a Cossack in the city of Glukhov, which at that time was the capital of Little Russia and was famous for its Singing School. After studying at this school for a year or two, a seven-year-old boy with excellent discant was sent to St. Petersburg among the ten best students and was assigned to the singers of the Court Chapel during the reign of Elizabeth, daughter of Peter I.

"The aforementioned choir... - wrote J. von Stelin, - now consists of one hundred excellent selected singers... and includes bright, gentle and strong voices... "

The singers participated in the departure of church services, in opera productions, in musical entertainments of the court - concerts - "Hermitage," accompanied the empress during her walks. Choral music was also played during the dinner parties and dinners of the August family.

The training of young singers in Capella "was carried out more by hearing and imitation than by the rules. The singing teacher and his assistants taught both large and young singers with a violin in their hands and thus directed the hearing and voice of each ^[1] the ^[1] 2.

One of the first biographers of Bortnyansky, his distant relative D. Dolgov, tells a story from the composer's childhood related to Empress Elizaveta Petrovna:

"One morning on the Bright Resurrection of Christ, little Bortnyansky, tired of a long church service, fell asleep on the clergy. The empress noticed this, and at the end of the service ordered to carry it to her half and put it to bed carefully. "

The bright talent of the young singer did not go unnoticed. Eleven-year-old Dmitry was entrusted with the part of Alceste in the opera Alceste, written by court composer G. Raupakh to the libretto by A. Sumarokov. In 1764, when the production resumed, he already performed the main male tenor part of Admet.

On April 21, 1765, on the birthday of Empress Catherine II, a small theater was built in the "First Chamber" of the palace in Tsarskoye Selo and the performance of the opera Menyaly in French took place, among the performers, young singers, was fourteen-year-old Dmitry ^[2] the ^[3]

The boy is assigned to the Shlyakhetsky Corps to teach dramatic acting, and foreign languages ​ ​ begin to teach him. But, most importantly, his successes were noted by Baldassare Galluppi himself - an outstanding European composer, "the father of the Italian comic opera," invited by Catherine II to court service. The eminent maestro appreciated Bortnyansky's abilities and spent more than three years singing, playing the harpsichord and composition with him. Leaving Russia in the summer of 1768, Galuppi strongly recommended sending a gifted young man to Italy to continue his studies. The maestro's opinion was heard, and Dmitry, as a "pensioner," i.e. at state expense, followed his mentor.

1769: Leaving for Italy with Galuppi

Many musicians trained in Italy. Venice was famous for the traditions of choral music and theaters, Naples was considered the birthplace of the best opera masters in Italy of the 18th century, Bologna was a stronghold of academic musical education and science.

At first, the young man went to Venice, the hometown of his teacher, and continued to take lessons from Galuppi for several more years. The subject of their studies was opera, various genres of cult music, vocal and instrumental compositions.

Galuppi continued to patronize Bortnyansky even when the young composer began to take the first independent steps in his work: his recommendations opened the doors of musical institutions in front of the novice musician and helped in obtaining orders.

However, Dmitry was engaged not only in studies. The young man, who was well versed in Italian, French and German, was immediately attracted as an interpreter during the hostilities during the Russo-Turkish War of 1768-1774. And he "was often... we use Count Orlov when he was in Venice for negotiations with the Greeks, Albanians and other peoples regarding military preparations... "

In 1776, Bortnyansky first tries himself as an opera composer. At the Venetian San Benedetto Theater, probably under the patronage of Galuppi, the premiere of the opera Creon took place. On the edition of the libretto, the time of the production was indicated: "autumn 1776." However, the manuscript score, which was considered lost and was most recently discovered by P. Serbin in one of the European collections, stands "1777." and contains a mention of another production, confirming the information given in 1857 in a biographical essay on D. Bortnyansky by his grandson D. Dolgov. This means that the opera was performed repeatedly throughout the season.

Whose literary work was the basis of Creon was not immediately solved, since the author's name was not indicated in the print edition. However, Moozer established that it was a remade text of a libretto written in 1772 by the Italian poet M. Coltellini for his compatriot T. Traetta to his opera "Antigone," while they were both in the service of Catherine II. For more on this , see Galina Malinina's article (PDF).

The next opera, Alcides, was also staged in Venice in 1778 at the San Samuel Theater. It is written in the famous libretto by P. Metastasio. The new composition was evidence of the full creative maturity of the twenty-seven-year-old composer, his outstanding artistic talent.

At the end of the same year, already in Modena, in the court theater of the dukes d'Este, the last, as is commonly believed, Italian opera by Bortnyansky "Quinto Fabio," written on the popular libretto by Apostolo Zeno, which took as a basis a plot from classical Roman history. The title page of the author's score states that the opera was performed during the carnival of 1779. A review in the journal Messaggiero testifies that the premiere took place earlier - December 26, 1778 - and received "high approval from the court of his lordship and unanimous applause from the audience..."

Modena turned out to be the composer's last Italian address. There is evidence that he had previously visited Bologna. We could not help but attract his attention a treasury of artistic values ​ ​ - Florence and Rome, this "eternal city." Moreover, Bortnyansky's friend, sculptor I. Martos, studied in Rome (he is known to most as the author of the famous monument to Minin and Pozharsky on Red Square), also a "pensioner," but of the Academy of Arts. Most likely, the composer also came to Livorno, where there was a Russian squadron led by A.G. Orlov.

In Italy, Bortnyansky also studied Western church music (works by G. Allegri, A. Scarlatti, N. Jommelli), got acquainted with the works of G. F. Handel, V. A. Mozart and created a number of spiritual works in Latin ("Gloria," "Ave Maria," "Salve Regina") and German Protestant ("German Impoverishment") religious texts^[4].

The German Dinner he composed suggests that Bortnyansky visited both Austria and, probably, even France, which may be evidenced by the aria written by him in 1778 into a French text.

Information about works created in the "Italian" period, their number is extremely scarce. Most likely, mainly, these were numerous motets, choral polyphonic chants on biblical texts - evidence of the soundness of the school passed by Bortnyansky under the direction of B. Galuppi.

Little is known about the works composed at the same time in the genres of chamber instrumental music. The list of manuscripts transferred to the Court Chapel after the death of the composer by his widow, Anna Bortnyanskaya, lists sixty-one compositions for different instrumental compositions. Only about twenty have survived to this day. The list of his secular vocal compositions is equally incomplete.

It is still unclear how many operas Bortnyansky actually created during his internship. According to the testimony of archival documents, the widow transferred "five Italian operas" for storage. However, there is only information about the three mentioned earlier.

What happened to the composer's "Italian" manuscripts? Are they stored somewhere in private archives and waiting in the wings or hopelessly lost? Relatively recent finds - two motets, a French aria and a canzonetta - allow the dream of a happy ending. Bortnyansky's style of creativity is the best evidence that the lessons of skill, which the maestro Galuppi generously shared with him, were grateful and successfully received.

1779: Return to Petersburg. Bandmaster of the Court Singing Choir

In April 1779, Dmitry Bortnyansky received from Russia, signed by the director of court theaters I.P. Elagin, a notice instructing him, "taking with him all the works," "immediately" "to return... to the fatherland. " The tone and content of the letter were very respectful with assurances that, if desired, the composer would be able to visit Italy again.

The composer's return to Russia and his presentation to the empress were successful. The "Italian" works presented to Catherine II made a sensation. Bortnyansky receives the post of bandmaster of the Court Singing Choir, and Baldassare Galuppi "for his work in teaching the court singer Dmitry Bortnyansky sent there" a thousand workshops were sent.

1783: Chief bandmaster of the small court of Pavel Petrovich, music teacher with his wife and children

In 1783, in connection with the departure from Russia, the Italian composer Giovanni Paisiello Bortnyansky was invited to the post of chief bandmaster of the "small court" of the heir to the throne, Pavel Petrovich. For the Pavlovsk amateur theater, Bortnyansky wrote 3 operas in French. language:

• "La fête du seigneur" (Seigneur Festival; 1786, Pavlovsk),
• "Le foucon" (Falcon; 1786, Gatchina),
• "Le fils rivel, ou La modern Stratonice" (Son rival, or New Stratonica; 1787, Pavlovsk).

He was also a music teacher for Maria Fedorovna and the children of the crown couple - including the future emperor Alexander I.

Emperor Paul I and Empress Maria Fedorovna with their children, Grand Dukes Alexander (future emperor) and Constantine. Late XVIII - early XIX century. Unknown artist. Glass, mascara. Size 11 x 16.5 cm. Copy from the silhouette of I.F. Anting. Similar work is kept in the collection of J. Weizmann, Munich.

While playing music with Empress Maria Feodorovna, Bortnyansky created many instrumental compositions: pieces, sonatas and ensembles for the harpsichord, works for orchestra, romances and songs.

The main area of ​ ​ Bortnyansky's work upon returning to his homeland was spiritual music, his first "Cherubic Song," according to M. Ritsareva, was written until 1780 (ed.: St. Petersburg, 1782), the last - in 1812.

80-90s XVIII century. in the work of Bortnyansky were the most fruitful. Almost all choral concerts, from short to present. time is known approx. 100 (including "Songs of Praise"), were created before the appearance in 1797 of the decree of imp. Paul I on the prohibition to perform concerts in the service, but almost half of them are lost. During the life of the author and with his assistance, 35 one-choir and 10 two-story concerts were prepared for publication (ed. author, 1815-1818), they underwent a significant author's revision.

In the 80s. XIX century. in the publication undertaken by P.I. Jurgenson, a number of corrections were made by P.I. Tchaikovsky. In present. time can only be restored approx. 10 concerts of B., not published by the Chapel.

1796: Director of the Chapel

The last period of creativity (from con. 90s XVIII century) was almost entirely associated with work in the Chapel, composition and publication of church music. Since 1796, Bortnyansky served as director of vocal music and manager of the choir, which was actually the position of director of the Chapel, but the official appointment to the post of director took place in 1801.

In 1796, Bortnyansky received the rank of college adviser. In the same years, he was an active member of the N.A. Lvova circle, which united enlightened figures of literature and art (G. R. Derzhavin, M. M. Heraskov, D. G. Levitsky, etc.), an expert on painting and a collector of paintings (the fate of his collection is unclear).

On January 15, 1797, Bortnyansky acquired a three-story house on Millionnaya Street. Modern address - Millionnaya street, 9.

In 1803, due to a significant rise in the street level due to the cultural layer that has grown over a long time, the composer's house was rebuilt by architect Andreyan Zakharov: the basement floor turned into a high basement, the courtyard passage was raised to the level of the 1st floor, and a balcony was built above it.

At the direction of Emperor Paul I, Dmitry Bortnyansky processed (or re-wrote) all the music of the ritual "Evening Dawn."

In 1806, Bortnyansky became a full state adviser, in 1815 - a member of the St. Petersburg Philharmonic Society.

1816: Holder of a monopoly on the publication of church music in Russia

Since 1816, Bortnyansky served as censor of sacred music. This year was marked by the Decree of St. Synod, prohibiting singing in churches on manuscript notebooks:

"The Holy Governing Synod<…> ordered the highest: in order not to introduce manuscript notebooks into use in the future, henceforth strictly forbidden, but everything that is sung in churches according to notes, must be printed and consist of either the own compositions of the director of the court singing choir, state adviser Bortnyansky, or other famous writers, but the latter compositions must certainly be printed with the approval of Bortnyansky "[5]

So Bortnyansky became the owner of a monopoly on the publication of church music in Russia, while it was forbidden to use handwritten notes.

Bortnyansky published all his own church works, which he considered worthy of publication, including 35 choral concerts for four voices and 11 two-or concerts.

In a section entitled "Different Writers of the Newly Corrected" Bortnyansky published:

• six spiritual works by his teacher Galuppi;
• one concert by Berezovsky was also heated (Do not reject me during old age),
• Sarti (Now the forces of heaven),
• Biordi (Now the forces of heaven),
• Heine (we praise God to You) and
• the famous Miserere Allegri with the Church Slavonic text: Have mercy on me, God.

Thus, Bortnyansky's editions contain some of his "corrections."

Musical works

From the end of the 18th century to 1825, Russian choral culture was rightfully called the "Bortnyansky era." Recognition and fame came to Bortnyansky during his lifetime. His choral compositions became rapidly distributed in church circles, they sounded not only in the churches of Moscow and St. Petersburg, but also in the churches of small provincial cities. During the long-term activity of Bortnyansky as director of the Court Singing Chapel, the professional level of the team significantly increased, contemporaries compared it with the choir of the Sistine Chapel. During the generosity concerts, almost all oratorios and masses were performed with the participation of the singing Capella and their repertoire was largely compiled by Bortnyansky. He initiated weekly afternoon open concerts in Capella, where the oratorios of Handel ("Messiah"), J. Haydn ("Creation of the World," "Seasons," "Return of Toby"), L. van Beethoven ("Christ on the Mount of Olives," "Battle of Waterloo"), Mozart and L. Cherubini requiems and many others were performed.

During his lifetime, Bortnyansky became known as the creator of spiritual works:

• small church chants and concerts,
• several cycles of the "Liturgy" ("Simple Singing," "Liturgy" for 3 votes, "German Dining," "Liturgy" for 4 voices, "Great Holy Dining") and the cycle of Irmos of the Great Canon of St. Andrew of Crete ("Assistant and Patron"),
• 12 backstabbers for great holidays, verses and prokimns involved.

The secular part of his work - operas, cantatas, chamber-instrumental works, romances and songs - was eventually forgotten, but interest in it returned again from the last third of the 20th century.

According to the canons of the aesthetics of classicism, Bortnyansky's works are devoted to eternal topics and ideals and hardly actualize specific national specifics. Bortnyansky's musical language complies with the standards of the classicism style: clear functionality of harmonies with the primacy of tonic-dominant relations, clarity of melodic turns based on the received movement and chord sounds, squareness and symmetry of the structure of themes, harmony of the compositional plan.

Bortnyansky's spiritual works are conditionally divided into several groups. One is the chants for daily worship, their melody lacks virtuoso passages and complex rhythmic drawings, the genre features of the minuet and march are less pronounced (Liturgy for 3 voices, irmos, one-part choirs, for example. "Taste and see," "Now the forces of heaven," "Igee cherubs").

Another group is represented by concerts. Early concerts mainly form a three-part cycle, written in major keys, their melodics use the rhythms and turns of the minuet, polonaise, march; later concerts more often constitute a four-part cycle, they are dominated by a minor mode, polyphonic techniques and forms (imitations, fugato, fugues) are more developed, lyrical-hymnical beginning and elegance prevail, which is associated with the influence of the nascent style of sentimentalism, which was characterized by the genre of elegy.

A separate group of chants is associated with treatments of ancient chants (c. 16). Interest in this genre intensified in the last years of the composer's life. Unlike Archpriest Peter Turchaninov, Bortnyansky significantly processed and reduced ancient melodies (Greek, Kyiv, znamenny, bolg. chants), so sometimes they became very far from the original source. Archpriest Dimitri Razumovsky believed that Bortnyansky used tunes from synodal editions of 1772: Irmolog, Obedod, Oktoikh and Holidays (Church singing. S. 233-235). A.P. Preobrazhensky and Archpriest Vasily Metalov believed that the composer relied on oral tradition. Compared to other works, Bortnyansky's processing is characterized by greater fret-harmonic and rhythmic freedom: they are characterized by reliance on fret variability, characteristic of the early harmonizations of Old Russian chants, irregular rhythm. The same group of chants includes "Simple Singing," written in 1814 by imperial order. In fact, the composer composed an exemplary cycle of the Liturgy, which was intended for worship both in the capital's churches, which had large choral groups, and in provincial churches, where it could be sung for 2 voices.

Bortnyansky was credited with the creation of the "Project on the imprint of ancient Russian hook singing" (appendix to the "Protocol of the annual meeting of the Society of Lovers of Ancient Writing," 1878). V.V. Stasov denied the ownership of the "Project" by the composer, S.V. Smolensky defended. The text of the "Project" sins with many errors in the field of grammar, replete with exaggerated accusatory expressions against modern Bortnyansky sacred music. Judging by the style and language, "Project" was hardly written by Bortnyansky, whose work personified "modern" spiritual music, but the idea of ​ ​ preserving and publishing samples of ancient Russian musical art is close to the composer's aspirations in those years. According to M. G. Chivaleva, the author of the "Project" could be Turchaninov, who published it under the name Bortnyansky for greater effectiveness and persuasiveness of the ideas expressed (Chivalev. S. 211).

S. A. Degtyarev, A. L. Vedel, but especially S. I. Davydov and A. E. Varlamov were influenced by his work. Already during his lifetime, the composer became a classic of choral music. He was compared with Mozart, in one of the poems he was called "Orpheus of the Neva River" ("D. S. Bortnyansky, on his beautiful house in Pavlovsk," gr. D. I. Khvostov).

The list of Bortnyansky's compositions from more than 200 titles includes works for choir, opera, instrumental concerts, sonatas, and symphonies.

After the composer's death in 1825, the archive of his manuscripts was transferred to his widow at the Court Singing Chapel. In the second half of the 19th century, this archive, according to researcher Pavel Serbin, "was squandered, many manuscripts went to antiquaries, most of the autographs were lost, including almost all of his instrumental works." Some notes remained in the European archives.

Chants for the Church

Concerts for the choir

Main article: Concerts for the choir of Dmitry Bortnyansky

Bortnyansky's work marked the onset of the classical stage in Russian church music.

• Spiritual choral concerts (55 concerts) for the four-voice choir.
• Spiritual concerts for two four-voice choirs (12 concerts).
• One-part choral concerts for a four-voice choir, for two four-voice choirs, for a trio with a four-voice choir (about 30 concerts).
• Choral "laudatory" songs (about 10 choirs).
• Arrangements of church chants for a four-voice choir (about 20 arrangements).

In the Soviet period, Bortnyansky's spiritual music was either not performed at all, or overflowed. There were poets who, instead of the psalms on which his spiritual concerts were written, inserted poems about nature^[6]

Liturgies

• for 2 voices - "Simple singing throughout Russia widespread" M., 1814 [square notation]; [Same]. St. Petersburg, 1814 [round notation];
• "Lunch for three votes" - St. Petersburg, [1815];

• Compositions on Latin and German texts, motets, choirs, individual chants written during the years of study in Italy. German luncheon//RIII (St. Petersburg). F. 2. Op. 1. No. 862 (arch.); Irmos of the first week of the Great Fifty ("Assistant and Patron"). St. Petersburg, 1834;

Studio. Choral fugue to text: Amen. The manuscript was discovered by M.P. Pryashnikova in the collection of the Court Singing Chapel, stored at the Russian Institute of Art History. On the sticker of the volume is an inscription made by a child's hand: "Dextra Domini fecit virtutem/German dinner with additions/Amen (Studio )/Muse. Op. Bortnyansky. The fugue is written for a four-voice choir accompanied by strings.

Songs of praise

• by 4 votes - No. 1-4. B. m., b. g. (ed. Chapels); No. 3. St. Petersburg, 1818;
• by 8 votes. № 1–10. St. Petersburg, 1835; No. 5. St. Petersburg, 1818;

Individual chants

• Trio with choir: "May my prayer be corrected"# 1. St. Petersburg, [1814-1815]; No. 2-3. St. Petersburg, 1814-1815; No. 4. B. m., b. g. (ed. Chapels); "Resurrection God." St. Petersburg, [1815]; "Arkhangelsk voice wailing Ti, Pure." St. Petersburg, 1817 [without decree. auth.]; "Performed These, Despot"# 1. St. Petersburg, 1818; No. 2. M., 1875; "Hope and Persona." St. Petersburg, 1842;

• 4 votes: "Now the forces of heaven" No. 1. St. Petersburg, [1810s]; "Rejoices about you." St. Petersburg, 1814-1815; "It is worthy to eat." St. Petersburg, 1815; "Praise the Lord from Heaven"# 1. St. Petersburg, [1815]; Cherubic Nos. 1-7. St. Petersburg, 1815-1816; "Good Joseph." St. Petersburg, 1816; "Rejoicing in righteousness about Jehovah." St. Petersburg, 1816; "Angel howls." St. Petersburg, 1817 [without decree. auth.]; "Our Father." St. Petersburg, 1817; "Taste and See"# 1. St. Petersburg, 1825 (p. 111111111 for f.-p P. Turchaninova); "Taste and See"# 2. St. Petersburg, 1834; "Flesh falling asleep." St. Petersburg, 1834; "We resort to Your mercy, Mother of God." St. Petersburg, 1834; "Take the body of Christ." St. Petersburg, 1834; "Thy Thy Thy Thistle." St. Petersburg, 1834; "Please please Joseph "//Party meeting. St. Petersburg, 1845. Ch. 2. No. 13 (ed. Chapels); "I will bless Jehovah for all time." M., 1875; "Praise the Lord from Heaven" No. 3//Church and Singing Collection. St. Petersburg, 1901. T. 2. PART 2. S. 124 (NO. 87); "Repentance open my doors "//Sat. spiritual music. chants different. aut. for a small mix. choir: From the Lenten Triody/Ed. E. S. Azeev. St. Petersburg, 1912. S. 7-9; "We sing to you." Rome, 19802; "Jehovah, the king will be exalted by your power." [M.], b. g.; "Let our mouth be fulfilled." [M.], b. g.; Perennial (large and small). [M.], b. g.; "Now the Forces of Heaven" No. 2. [M.], b. g.; "Glory, and now: Only begotten." [M.], b. g.; "Glory, and now: Virgo today." [M.], b. g.; "Glory to You, our God." [M.], b. g.; "Praise the Lord from heaven." № 2. [M.], b. g.; for 8 votes: "In memory of eternal" No. 1. St. Petersburg, 1815; "Broadcasting them to the whole earth" No. 1-2. St. Petersburg, [1815]; "Make Angels Your Spirits." St. Petersburg, 1815; Cherubic chant. St. Petersburg, 1815; "Your Secret Supper." St. Petersburg, [1816-1817]; "Glory to the Father and the Son and the Holy Spirit... Only-begotten Son. " St. Petersburg, 1817; "In memory of the eternal" No. 2. M., 1882; "The Grace of God Is Revealed"# 1-4. B. m., b. g. (ed. Chapels)^[7]

Opera compositions

• "Creon," staged in Venice in 1776 on a truncated libretto by Marco Coltellini for T. Traetta's "Antigone" (1772). In 2001, a copy of the opera was discovered by Pavel Serbin in Portugal.

In September 2023, it became known that Creonta buys the Bayreuth Festival, which is held in Bavaria, for performance at the Margrave Theater. Video footage of the production is expected.

• "Alkyd," ibid. 1778

• "Quintus Fabius," staged at the ducal theater in Modena in 1778. This opera, which completed the years of D. Bortnyansky's apprenticeship, was a confirmation that the young composer learned the best traditions of the Italian opera series ("serious opera" on a heroic or mythological plot) and masterfully mastered orchestral writing, as well as the virtuoso style of creating vocal parts. The large size of the three-part symphony, the performance of which involves the full composition of the orchestra, suggests that it could be conceived as an independent work. Aria "Cara dei torna in pace" to text from the libretto by V.A. Signa-Santi for the opera "Montetsuma." Her manuscript was discovered by M.P. Pryashnikova in a collection from the Yusupov library. However, this vocal work is included in the autograph of the opera Quintus Fabius. Perhaps Bortnyansky used the previously written aria in the new work. And is this not an indication of the existence of the composer's fourth Italian opera? ^[8].

It is known that fragments from Italian operas were sometimes performed in court and public concerts of the late XVIII-early XIX centuries, including during the tour of the outstanding soprano singer Angelica Catalani.

• The "Festival of the Lord," staged in Pavlovsk in 1786. Libretto has not been preserved.
• "Falcon," staged in Gatchina in 1786
• "Rival Son, or New Stratonic," staged in Pavlovsk in 1787.

After these three operas, Bortnyansky no longer composed operas, but he diligently sent the scores of three "Gatchina" comic sisters to the owners of private orchestras and home theaters, and in the 1810s some scores were even sold to anyone.

For harpsichord and orchestra

• Harpsichord sonata cycle.
• Separate compositions for clavicords and chembalo: Largetto, Capriccio, Rondo and others.
• Concerto in C major for harpsichord.
• Concerto for Chembalo and Orchestra in D major.
• Quartet in C major.
• Quintet in A minor.
• Quintet for violin, viola, cello, harp and piano in C major (1787).
• "Gatchina" march.
• Concert Symphony.

Vocal compositions

Romances and songs:

• Dans le verger de Cythere ("In the Garden of Zitera").

• Motet "In convertendo dominus" (1775) for soprano, viola and bass with accompaniment of strings and basso continuo. The manuscript is kept in the National Library of France. The title page is lost, the name and surname of the author with the date are inscribed on the musical text. The motet is four-part: the first part (Allegro) and the last (Grave-Allegro) are performed in three voices, the second (Larghetto) is written for soprano, the third (Allegretto) for viola.

• Motet "Ave Maria" (Naples, 1775) for two female voices (soprano and contralto) accompanied by strings and two horns. One of the earliest dated works of the Italian period.

• Motet "Salve Regina" (1776) for soprano accompanied by strings, two oboes and two horns. (In the same year, the composer worked on the opera Creon). Developed wind parts and recitative accompanied by accompaniment in the middle section resemble the style of an opera series. In the scene of Antigone ("Creon") there is an arioso episode, very similar to the first aria from "Salve Regina." The autograph is stored in RIII.

• Motet "Montes valles resonate." The title page of the manuscript reads: Motetto/a quattro voci, concertate/con molti stromenti/di Pietro [!] Bortniansky, 1778. The composition of the performers is very large: in addition to the four-voice mixed choir and solo voices - strings, flutes, oboes, horns, trumpets, timpani and basso continuo performed by the part called "Organi." Researcher Alexei Chuvashov found that the motet was specially written in case for St. Mark's Cathedral in Venice. The initiator of the order was the Italian composer Ferdinando Giuseppe Bertoni, with whom Bortnyansky apparently actively communicated during his stay in Italy.

• Canzonetta "Ecco quel fiero istante" to poems by Pietro Metastasio for female voice accompanied by a string quintet with two violas. A handwritten copy of the canzonetta was discovered by M.P. Pryashnikova in the Vorontsov library, in the Alupka Palace-Museum. Apparently, this copy is not among the manuscripts brought by the composer from Italy. It is possible that it was made at the request of Semyon Romanovich Vorontsov, who was ambassador to Venice in 1783-85, a great music lover, connoisseur and admirer of Italian opera, or his wife Ekaterina Alekseevna, before marriage - maid of honor of the empress, music lover and student of J. Paisiello, singer, harpsichord player and composer. Canzonetta is included in a cycle of 5 works, in which it is the last and has the name "La Partenza" (can be translated as "separation," or "departure"). The text used by Bortnyansky is the most famous in Metastasio, many authors, including V.-A. Mozart, L. Beethoven, A. Saglieri, et al.

• Aria "Vas orner le sein de Themire" (1778) for voice accompanied by an orchestra of string instruments with the addition of oboes and horns, the parts of which, however, are not written out. A handwritten copy of this aria was discovered by M.P. Pryashnikova in the archive from the St. Petersburg Vorontsov House, stored in IRLI.

Hymns:

• "Kohl is glorious our Lord" to the words of M. M. Heraskov. The original title of the hymn is "Blessing to God." It had such a wide circulation that it became the national anthem of Russia, and after the appearance of "God Save the Tsar" by Aleksei Lvova, it still did not go out of use and is still known under the name "Kohl is our Lord in Zion." Until the 1917 revolution, it sounded on the chimes of the Spasskaya Tower of the Moscow Kremlin.
• "Anticipative and necessary" to the words of Yu. A. Neledinsky-Meletsky,
• "Anthem to the Savior" to the words of D. I. Khvostov,
• "Ozari, holy joy" in the words of A. Vostokov.

Songs:

• "Singer in the camp of Russian soldiers" to the words of V.A. Zhukovsky (1812),
• "Song of Warriors,"
• "March of the general militia in Russia."

Collections of romances:

Recueil de Romances et Chansons [pour le chant et le pianoforte], composées pour Son Altesse Impériale Madame la Grand-Duchesse de Russie, par D.Bortniansky, Maitre de Chapelle au service de S.M.I. Premiere Livraison. - St.Petersbourg: De l'imprimerie de Breitkopf, 1793. - [2], 25 c.; 25.7 x 32.3 cm. Scientific Music Library of the St. Petersburg State Conservatory named after N. A. Rimsky-Korsakov. Inventory. № 77227

1. Romance de Paul et Virginie ["Repose en paix"];
2. Romance ["Ismene croit à mes promesses"];
3. Chanson ["Sous le nom de l'amitié"];
4. Ariette de l'Opéra: Le Faucon ["Jeunes amants soyez galants"];
5. Chanson ["Je voulois chanter la rosé"];
6. Rondeau sur un bouton de rosé, détaché de la guirlande de Julie ["Bouton de rosé"];
7. Romance du beau Tirsis ["Le beau Tirsis se promenoit"];
8. Hymne à la Lune ["Tout cœur sensible préfère la lune"].

Owner's entries (on the title page): "Offert par Bortniansky a M-elle Barbe d'Olenine," owner's signature - "B [arbe] O [lenine]." Convolute: Alligate 1. Attached to "Nouveau Recueil de douze romanses<...> par A.Boieldieu."

Cantatas and oratorios:

Bortnyansky wrote about two dozen welcome cantatas, most of which have been lost.

• Oratorio on the libretto of Metastasio (performed in 1774, as mentioned in the Italian newspaper, discovered by researcher Alexei Chuvashov)
• "Art Lover,"
• "Russian countries, be encouraged,"
• "The creation of the sun by Orpheus,"
• "To Return,"
• "On arrival from other people's lands" to the words of G. R. Derzhavin,
• "Come, come, blessed" to the words of Yu. A. Neledinsky-Meletsky and P. A. Vyazemsky,
• "Songword,"
• "Build the eye, Russia," etc.

Researchers of creativity

• Marina Rytsareva
• Pavel Serbin
• Alexey Chuvashov

Memory

Although Dmitry Bortnyansky was never in the homeland of his grandfather, in the village of Bartne they decided to erect a monument to him at the Orthodox Church of Saints Cosmas and Damian. The monument was created according to the project of Zdislav Tokhl in 2009

Шаблон:XVIII Century Music CD

Notes