Which composer made the editorial office of the choral works of Bortyansky. Russian composer Dmitry Stepanovich Bortnian and his wonderful creativity

Dmitry Bortnejansky along with his countryman Maxim Berezovsky (this Russian "Mozart" with mysterious and tragic fate) belongs to the outstanding representatives of the Russian musical culture of the 18th century. However, unlike Berezovsky, the fate of Borotansky has developed happily. He lived for a long time and managed much.

Dmitry Bortnejansky along with his countryman Maxim Berezovsky (this Russian "Mozart" with mysterious and tragic fate) belongs to the outstanding representatives of the Russian musical culture of the 18th century. However, unlike Berezovsky, the fate of Borotansky has developed happily. He lived for a long time and managed much.

Bornyansky was born in the Ukrainian city of Glukhov in 1751 in the Cossack family who served at Hetman K.G. Zamumovsky. At the sixth year old, he was given to the local singing school, created in 1738 and the prepared singers for St. Petersburg Yard. Already in 1758, Dmitry falls into the capital in court chapel. He is brought by Empress Elizabeth Petrovna herself. At 11 years old, he performed the tenor batch of admem in Opera Raveuha "Alsesta". Since 1765, the young musician begins to study the compositions of the famous Italian B. Choupped, who served at the time at the courtyard. The boy makes such successes that in 1768, when Ghauppi returns to his homeland, Bortyansky is sent with him to Italy to continue their studies.

The Italian period of life of Bortyansky is known relatively little. He visited Florence, Bologna, Rome, Naples. I composed in this period three operas: "Creonh" (1776, Venice, theater "San Benedetto"), "Alkid" (1778, Venice), "Quint Fabiy" (1779, Modena, Ducal Theater).

Interesting the fate of "Alkida". Executed several times during the Venetian carnival, the opera scores then disappeared. Only 200 years later, the traces of the manuscript were found. American of Russian origin Carol Hughes discovered a copy of the manuscript in one of the libraries of Washington and sent it to the famous musicologist Yuri Keldashu. And then, thanks to the efforts of the enthusiast of the conductor Anton Sharoeva, the Opera came first in his homeland (first in Kiev in 1984, and then in Moscow). The composition (Libretto P. Metastasio) is written in the spirit of the Italian operas. Alkid (Other Hercules name - approx. Lane) must independently choose its path. Two Hedgehogs Edonia and the name is called him. The first is to everyday joy, the second to heroic achievements. And Alkid chooses the second way ...

In 1779, Borttyansky receives a letter from the director "over theaters and the music of the court" Ivan Elagina, calling him to draw his minds to his homeland: "How many years have passed in Italy for ten years, and you, the experience of providing the successes of your art, has fallen behind the master (Gulepped - approx. Ed.), Now, now time to return to you in the Fatherland ... "

Returning home, Bortnyansky receives the position of the KuppelMister of the court chapel with a salary of 1000 rubles. per year and crew. From this time, the fruitful activity of Bortyansky on the field of domestic music begins. Since 1796, he has managed Capella, from 1801 - its director. The greatest achievements of the composer are associated with the genre of choral spiritual concerts A Capella, in which he combined Orthodox traditions with European technique. These compositions of Borthtyansky, with delight, later wrote many outstanding composers, including Hector Berlioz, P.I. Tchaikovsky, edited by which concerts were published in the early 80s. last century. The stylistics of a number of instrumental compositions of Borthtyansky dates back to the early samples of the Vienna Classic.

However, the passion for theater, which he experienced in Italy, was not only in the past. In 1785, Bortotyansky is invited to the post of KapelMister "Small Yard" Paul I. He agrees, retaining all its main responsibilities. From now on, much connects it with a court life (mostly in the summer) of Pavlovsk and Gatchina. During this period, he creates three operas. "The festival of Señora" (1786) is written in honor of the Tezo-Genentity of Paul. In the compilation of libretto, Chamber GR took part. G.I. Chernyshov and, possibly, A.A. Musin-Pushkin. Allegoric pastoral, in whose characters members of the close court mug were guessed - so you can briefly describe this essay. Festure Bortyansky borrowed from his Italian opera "Quint Fabiy."

The following Opera "Falcon" (1786) was composed by the librarian of the Grand Duke F.-G. Lelofermier, who laid the famous text M.ceden, created by him for P.Mince. The sublime history of Don Federigo, in love with the young widow Elvira is complemented by a comic "second plan" (servants of the heroes Marina and Pedrillo). The style of the opera does not go beyond the fully traditional Italian Bel Canto, with the addition of some Tholiking of the French Spirit, so fashionable then at the court. Opera is not forgotten and today. In 1972, it was put by a chamber music theater P / U B. Pokrovsky, now she is in the repertoire of the "St. Petersburg-Opera" theater. In 1787, the "son-opponent" was written, in which the motives of the same plot were used, which was attracted by F. Shiller when creating Dong Carlos, but with a happy junction. This work is considered the best in the opera work of the composer.

In the mid-90s. Bortyansky departs from the musical activity of "Small Yard" and no more operas writes. Partly, this is due, perhaps with Masonic hobbies of the composer (by the way, the Bortenan author of the famous anthem of Russian Masons on the verses of M. Khraskov "Kohl Slavyan our Lord in Zion").

Bortyansky died in 1825 in St. Petersburg. On the day of the death, he called Capella's chorus and asked to fulfill one of his spiritual concerts, after which she died quietly.

Russian civilization

You are anthem wondrous wrote
And, contemplating the world of blissful,
His sounds in the sounds ...

Agafangel. The memory of Borotansky.

As something jokingly, Glinka asked "What is Bortyansky?" And he answered himself: "Sugar Medovich Potokin is pretty !!". And, meanwhile, Borotansky, despite the formal beautifulness of his works, was one of those composers who prepared the soil for the birth of Glinka's genius. The bourgeoisky "Bar" was taken by contemporaries, foreign composers were entrusted about his work, he was criticized in the XIX century, he was called the harbinger of the era of Pushkin and Glinka, his name was forgotten and recalled again. A.S. Pushkin said once, who became famous words - "... I assumed that many spiritual works are either writings of Bortzenyansky, or" ancient handles ", not by the works of other authors." According to the memoirs of contemporaries, Bortyansky was an extremely pretty person, strict to service, hotly devoted to art, kind and indulgent to people. His writings, imbued with a religious feeling, became a marked step forward compared to the cessant domestic musical art.

Dmitry Stepanovich Bortniansky
- One of the talented representatives of the Russian musical culture of the Doglykinskaya era, which gained sincere love of compatriots and as a composer, whose writings, especially choral, enjoyed exceptional popularity, and as an outstanding, diversified personality, possessed by a rare human charm. The "Orphem of the Neva River" called the composer the Unnamed poet contemporary. His creative heritage is extensive and varied. It has about 200 titles - 6 operas, more than 100 choral works, numerous chamber-instrumental writings, romances. Bortyansky's music is distinguished by flawless artistic taste, restraint, nobility, classical clarity, high professionalism developed by the study of modern European music.
Dmitry Bortniansky was born on October 28, 1751 in Glukhov, Chernigov Regiment. According to the Polish parish priest Miroslava, the father of Bortobyansky wore the name "Stefan Shkurat", took place from the village of Bortrest and was a lemmer, but it sought to get into the hetman capital, where he accepted a more "noble" surname "Bortobyansky" (educated from the name of the native village) .

The youth of Borotansky coincided with time when a powerful public lift at the turn of the 60-70s. XVIII century Wounded national creative forces. It is at this time that a professional composer school begins to develop in Russia.
Due to the exceptional musical abilities, Bortyansky was given at a six-year-old age to a singing school, and after 2 years he was sent to St. Petersburg to the court chapel. Good luck from ornamental years favored a beautiful clever boy. He became a favorite of the Empress, together with other singers participated in entertainment concerts, court performances, church services, studied foreign languages, acting art. Director of Capella M. Poltoratsky engaged in singing with him, and the Italian composer B. Galuppi is a composition. According to his recommendation, in 1768, Bortenyansky was sent to Italy, where he stayed 10 years. Here he studied the music of A. Scarlayti, G. F. Handel, N. Iommelli, the compositions of the Polyphonists of the Venetian School, and also successfully debuted as a composer. In Italy, a "German dinner" was created, interesting to the fact that Bortyansky introduced Orthodox vintage bones in some chants, developing them to the European manner; As well as 3 Operas-Seria: "Creonh", "Alkid", "Quint Fabiy".

Quintet in C Major 1/3 Allegro moderato.

In 1779, the musical leader under the imperial courtyard Ivan Elagin sent a bortyan invitation to return to Russia. Upon his return, Bortyansky received the position of Kapelographer of the court chapel and here began a turning point in the creative biography of the composer - he devotes himself to national music. Bortenyansky has achieved the greatest success in the genre of choral spiritual concerts, bringing together European technicians of musical writings with Orthodox traditions. In 1785, Bortotyansky received an invitation to the post of Kapel Mester "Small Yard" Paul I. Without leaving its main duties, Bortyansky agreed. The main work at the courtyard of Paul I was for Bortnian in the summer. In honor of Paul, Borthtyansky in 1786 created the Opera "Festival of Señora", such a variety of classes stimulated the composition of music in many genres. Borttyansky creates a large number of choral concerts, writes tool music - key sonata, chamber works, composes romances to French texts, and from the mid-80s, when Pavlovsky courtyard was carried away by theater, creates three comic operas: "Senior festival", "Falcon "," Son-rival ". "The charm of these operas of Bortyansky, written in French text, in an extraordinarily beautiful merger of the noble Italian lyrics with the tomotility of the French romance and the acute frequentness of the population" (B. Asafyev).
QUINT PHABEUS OPERA SUITE

A versatile educated person, Borthtyansky willingly participated in the literary evenings that arranged in Pavlovsk; Later, in 1811-16. - visited the meetings of the "conversations of lovers of the Russian word", headed by the city of Derzhavin and A. Shishkov, collaborated with P. Vyazemsky and V. Zhukovsky. On the verses of the latter, he wrote a popular choir song "Singer in the Fish of Russian Warriors."

"Singer in the Fish of Russian Warriors."

In 1796, Bortotyansky was appointed manager, and then director of the court singing chapel and remained in this post until the end of his days. In a new position, he became vigorously for the implementation of his own artistic and educational intentions. He significantly improved the position of the singers, entered the Saturday Cellile with public concerts, prepared the choir Capelles to participate in concerts. For their merits in 1815, Bortotyansky was elected an honorary member of the Philharmonic Society. It has been testified about its high position adopted in 1816, according to which either works of Borthevsky himself, or music that received its approval was allowed to fulfill in the church.
Concerto D Major for Chamblock (in Arrangement for Bandura) and Strings.

In his work, starting from the 90s, Bortyansky focuses on spiritual music, among the various genres of which choral concerts are particularly significant. Some of them wear a solemn, festive character, but more characteristic of bourgeon concerts, distinguished by penetrating lyricism, especially spiritual purity, hill. According to Academician Asafieva, in the choir compositions of Bortzenyansky "there was a reaction of the same order, as in the then Russian architecture: from decorative forms of Baroque to greater rigor and restraint - to classicism."

Concert number 34, "God will resurrect"

In choral concerts, Bortyansky is often over the framework prescribed by church rules. You can hear marching, dance rhythms, the effect of opera music, and in slow parts sometimes there is similarity with the genre of the lyrical "Russian song". The spiritual music of Borotyansky and in the life of the composer and after his death enjoyed great popularity. It was shifted for piano, husley, translated into the digital record system for the blind, were constantly published. However, among professional musicians of the XIX century. There was no unity in her assessment. There was an opinion about its wellness, and the instrumental and opera joints of Bortztyansky turned out to be completely forgotten. Only in our time, especially in recent decades, the music of this composer returned to the listener, sounded in the opera theaters, concert halls, which brought us a genuine scale to donate the wonderful Russian composer, the true classics of the XVIII century.

Anthem Moon.

Cheruvim Song.

In recent years, Bortyansky continued its composer activity. He wrote romance, cantata, and worked on preparing for the publication of a full meeting of his works. However, this work was not completed by the composer. He managed to publish only his works for choral concerts, which were written by him in young years - "Spiritual concerts for four voices, composed and newly corrected by Dmitry Bortnyansky." Subsequently, a complete collection of his writings in 10 volumes was published in 1882 Peter Ilyich Tchaikovsky.
Bortyansky died in 1825 in St. Petersburg. On his last day, he asked Khor Chapels to fulfill one of his spiritual concerts.

Sonata for Chamblock №2.

Musical heritage.

After the death of the composer, his widow Anna Ivanovna passed the remaining heritage to storage in the chapel - engraved music boards of spiritual concerts and manuscripts of secular essays. There were quite a few of them on the registry: "Opero Italian - 5, Aria and Duets of Russian, French and Italian - 30, Russian and Italian choirs - 16, overturer, concerts, sonatas, marches and various writings for brass music, piano, harp and other tools - 61 ". All writings were accepted and "put in the place prepared for it." The exact names of its works were not indicated. But if the choral works of Bortztyansky were performed and reprinted repeatedly after his death, remaining the decoration of Russian spiritual music, the secular essays are opera and instrumental - they were forgotten soon after his death. They were remembered only in 1901 during the celebrations on the occasion of the 150th anniversary of the birth of D. S. Bortnian. Then in the chapel, the manuscripts of the early compositions of the composer were discovered and their exhibition was arranged. Among the manuscripts were Opera "Alkid" and "Quinte Fabi", "Falcon" and "Son-rival", a collection of keyful works dedicated to Maria Fedorovna. This discovery was devoted to the article of the famous historian of music N. F. FINDEISEN "Youth Works of Bortztyansky". The author called on the court chapel to publish the materials at its disposal, but to no avail. On the secular essays of Bortyansky again spoke later by half a century. Much by this time turned out to be lost. The archive of Capella after 1917 was disbanded, and its materials are transferred to different storage facilities. Some works of Bortnian, fortunately, were found, but most of them disappeared without a trace, including the collection dedicated to the Grand Princess. Searches they continue to this day.

In East Poland). Father of the future composer, Stefan Shkurat, moved to Slobozhanchin, where he became a resident? Glukhov's city among the local Glukhovsky townspeople ", changed his surname to Borthtyansky (on the name of his native village) and there was also married to the widow-Cossack Marina Dmitrievna Tolstoy.

2. Biography

He received primary music education in a Glukhovaya singing school, which was preparing singers for the court choral chapel in St. Petersburg. At a young age, he was allocated from the number of peers Mark Poltoratsky for a strong voice and musicality and took it to St. Petersburg to a choral chapel, where he studied at her head, the Italian composer, the arranger of Baldassar Guppie.

Subsequently, Guppie, at the direction of the queen Elizabeth Petrovna, took his pupil to Italy, where he studied for ten years in Venice, Bologna, Rome and Naples. In Italy, the Opera Bortyansky was successfully put on Italian Libretto - "Creonh" (1776), "Alkid" (1778), "Quint Fabiy" (1779). Bortyansky takes part in the activities of the Music Academy in Bologna. His operas walked in the Venice Theater "San Benedetto".

At the 28th age, Bortotyansky returned to St. Petersburg, where he received the position of the court droplet driver, and 1784 - Kapellasister of the "Small Yard" of the Swarp of Pavel Petrovich. While in this service, Bortyansky wrote three Opera on libretto in French, as well as a number of works for harpsichord. The year in St. Petersburg was published by Heruvimskaya, 1784 - a three-voice choir "Let my prayer will go." Bortyansky was the first composer in Russia, whose musical works began to be published. In the Bourneranian St. Petersburg court chapel reached a high level. During the leadership, Kapella Bortyansky wrote a lot of instrumental works, Opera into French Libretto "Falcon" (1786), "Son-rival" (1787), Pastoral Comedy "Senior Holiday" (1786) and more .. of the year in St. Petersburg Bortnian.

3. Characteristic of creativity

The musical heritage of Bortyansky is large enough. Like most composers of their time, he wrote for the court environment: spiritual music - for court chapel chapel, secular - for the "small" yard in Pavlovsk and Gatchina.

3.1. Spiritual music

The spiritual music of Borotyansky covers 35 four-voice choral concerts for different compositions, which were called Psalms, 10 two two-headed concerts, 14 four-voice concerts "to you God praised?, 29 separate liturgical chants, three-voice liturgy, spiritual works for the female choir with the refresh, mixed choir, Treatment of ancient church Kiev and Bulgarian jerseys and many others.

The most famous among spiritual works are 35 four-voice concerts. Although there are no accurate information about the time of writing these concerts, it is believed that most concerts were written in the 1780s - early 1790s. In most concerts, the composer uses the texts of the hussley (as a rule, separate stanzas) is predominantly light character. The exception is concerts No. 32 and 33 that use mournful belling lines.

In stylistic terms, concerts have distinct signs of classical style. In the genre - connected with urban musical genres (Kant, March, Ukrainian song-romance).

In structural terms, the concerts are three or four-part cycles. In most cases, parts should be temporary contrast, and the extreme parts are fast, but lyrical and lyric dramatic concerts begin with slow parts. As a rule, part of the cycles are not related thematic (with the exception of concert No. 21).

3.2. Opera creativity

Bortztyansky belongs to 6 operas, of which the first three he created in Italy to texts in Italian, and the last three - in Russia to texts in French. Of the three Italian operas, only the Opera "Alkid" was printed, while the third - Quinte Fabiy - exists only in the manuscript, and the first is lost. Operas are written in the tradition of opera-series, with a significant influence of the then innovative trends that brought the opera to the drama. In particular, in the opera "Alkid" the image of the main character is disclosed in development, various states of his soul are shown. In innovative trains, a tendency to dramatize with a spectative and strengthening the dramatic function of the choir can also be attributed.

Of the three operas of the Russian period, his second opera - "Falcon" is most famous, which was delivered after almost two centuries of oblivion on the stage of the Moscow Chamber Music Theater in the 1970s and is recorded on the record. All operas of the Russian period refer to the lyric-comic genre, the combination of traditions of the French comic opera and the Italian opera-Buffa note.

Alkid was performed from the operas of Bortyansky (Alkid's concert performances in the State Philharmonic of the Ukrainian SSR and in 2000 by the Society of Chamber Opera in Kiev in Ukrainian in the Ukrainian language) and Sokol (Concert Performance of 1995 Chamber Opera Society in Kiev and In 1997, the National Philharmonic of Ukraine, the stage fulfillment 1996 by the Chamber Opera society in Kiev everything is in Ukrainian in the translation of the strish).

3.3. Tool creativity

The instrumental works of Bortnian were written in the second half of the 1780s, at the same time when the Opera on Francate Libretto. It remains only a small amount of Tool essays of Bortzenyansky - three Sonatas for Harpsichord, a concert for Chebmalo with orchestra, quintet and concert symphony. These works were intended for salon musication with the "small" yard of the Pastlone Pavl, and the keystroke works were probably intended to fulfill his wife - Sofia Dorothey Würtenberzko.

In style, the instrumental works of Bortzensky belong to the classic style. It affected the influences of the keyway Sonatov I. K. Bach, Italian tool Sonata, Opera Overture, Symphony, as well as the influence of Mannheim and Vienna School. The articulated sphere is inherent in light and cheerful character, characteristic movement of motion, dynamism, coexists with playful or cantilene lyrics and not the nature of conflict or dramatic conflicts.

Most of the works are single-packed (two of the three key soundats) or are a three-part cycle (quintet, symphony, one of the sonatas), in which the extreme parts are fast, and the average is slow. In the first parts of the Sonat, the format is used by the form with a characteristic predominance of expositia and missing or poorly spent by thematic development. The finals use the form of Rondo.

Although instrumental music is relatively lightweight from a technical point of view, researchers note in it "the extraordinary wealth of artistic images, a high creative intellect of the composer." L. Roots noted that in the melody of lyrical and dance, the tangible Ukrainian national traits.

4. Impact on the further development of Russian and Ukrainian music

The creativity of Bortzensky had a significant impact on the further development of both Russian and Ukrainian music.

Almost half a century of the Life of Borotansky was associated with musical education, with the most important processes of the formation of musical culture in Russia, so that in Russia, Borotyansky is considered to be a Russian composer. According to the Russian musicologist B. Asafieva, "Bortobyansky developed a style with characteristic turns, which has retained its strength for several generations ahead. These typical turns not only hit Glinka, and then - to Tchaikovsky, Roman-Corsakov and Borodin.

At the same time, since the 1920s, the work of Bortzenyansky becomes the subject of special attention of Ukrainian musicians. Stanislav Lyudkevich in the article "D. Borenty and modern Ukrainian music" () called on Ukrainian musicians to develop traditions laid down by Bortzenyansky, "deeper and thoroughly plunge into a large cultural treasury, which focuses in the works of Bortyansky, find the sources and the foundations of our revival in it."

Traditionally, Ukrainian musicians celebrate the use of intonations of the Ukrainian folk song in choral works, which was due to the fact that the first musical impressions of the composer were obtained to Ukraine, Ukrainian were also most of the friends of Bortobyansky in the choral chapel and his teacher - Poltoratsky. In particular, Lydia Roots notes:

• typical for Ukrainian songs downward lyrical sext V - VII # - and degree (on the example of choral concerts number 13, end of II, No. 28, final)
• typical revolutions with reduced quarts between III and VII # Step in Minor,
• typical for lyrical songs Complaints intonations with a larger second between III and IV # Step in Minor.

The influence of Burgtyansky's creativity is celebrated in the work of Ukrainian composers under Chernihiv Philharmonic.

In Glukhov, a monument to the composer is installed on the homeland of the composer. The author is an outstanding Ukrainian sculptor Kolomiets I.A.

In the early 1990s, the People's Artist of Ukraine Natalia Sviridenko (Claise) created the trio named after Dmitry Bortnyansky (Clavsine, Flute, Soprano), which actively popularized the work of the composer.

6. List of works

Sources

8. Bibliography

• Volynsky I., Dmitry Bortneyansky I Western Ukraine / / In Sat: Ukrainian Music Science, KN. 6, K., 1971;
• XIVRICH L., Fugatni form in choral concerts D. Bortnyansky, there.
• Ivanov V. Rodovoid Bortyansky / / friend of the reader, 1993, January 28
• Gorobeychuk M. Dmitry Bortnian / / Music, 1983, № 5
• Stepanenko M. Unknown product of Borthtyansky / / Music, 1983, № 1
• Nekrasova N. Premiere after 200 years / / Music, 1984, № 5
• Yurchenko M. Two Motakes Dmitry Borotansky / / Culture and Life, 1985, January 13
• Tsvengrash Hector Berlioz about Dmitry Bortnian / / Culture and Life, 1997, May 28
• Sostor N. Dmitry Bortyansky and Ukrainian cult religious tradition / / Vestnik, 2003, № 1

Dmitry Stepanovich Bortniansky is the most outstanding Russian musical figure of the XVIII century. His spiritual choral concerts and instrumental works do not cease to sound in our time. With Pavlovsk composer, 12 years of service were associated with the court of Grand Duke Pavel Petrovich and a small manor in one of the most picturesque corners of the city.

Dmitry Stepanovich Bortniansky was born in 1751 in the Cossack family in the ancient city of Glukhov, which was at that time the residence of Malorosi Hetmanism. The first basics of musical arts The future composer has compiled in the singing school of his native city, who was preparing singers for the Russian Imperial Court. The boy possessed the perfect musical hearing and magnificent, special voice - a doctor. Seven years from the family it was separated from his family, brought to St. Petersburg and determined the Russian choir - a court singer chapel in the best. Soon he successfully performed the solo parties and performed in court opera performances. A gifted soloist noticed by Catherine II court chapelsister Venetian composer B. Galloppy, the European "Star" of that time. He applied in 1769 to the Empress on the direction of the young man for study in Italy.

Under the court of the Grand Duke Paul Petrovich, Bortyansky appeared in 1785 as a court composer and music teacher members of the grandfatherhood family, replacing the famous Italian maestro Phaziello who had left the homeland. By this time, Dmitry Stepanovich was already completed in Italy, ten-year training in the craftsman of the court dropleter and had a reputation as one of the most popular composers. His choirs shed across the entire Petersburg, and the compositions were printed with a particular import of considerable circulation. Good was familiar with his work and the Grand Duchess Maria Fedorovna.

With the arrival of Bortyansky, Pavlovsk musical life was noticeably revived. In the XVIII century, the music was an integral part of any court life, therefore, in the new grand mining estate she sounded constantly both on holidays and on weekdays. The duties of Bortzensky included the creation of works for all kinds of needs of the family members of the heir to the throne.

The music of the composer decorated family celebrations with illuminations and fireworks, under her danced in the palace on Bals and Masquerades, his marches were accompanied by parades and military fun of the Grand Duke Paul Petrovich, and his romances, sonates and plays sounded right in the open sky sounded in the park . Later, Alexander I, who returned the winner from the war of 1812-1814, was honored to the music of Bortztyansky in Pavlovsk.

A large role of the works of Bortyansky played in the theatrical entertainment of the owners of the manor. In the middle of the XVIII century, the European Society in the middle of the XVIII century, a grand mon-roofy Chet was fond of amateur theater, in which roles performed their great surroundings. In Pavlovsk, two charming comic operas "Festival of Señora" in 1786 were written for such performances "The Senior Festival" in 1786. In the period of the Italian Opera, these works contributed to the approval of the National Music Theater and had a significant impact on the development of all Russian opera arts. . For the formulation of musical performances at the end of a triple lime alley on the project of an architect V. Brenna, a small wooden theater was built. The theater was a rectangular building on a high basement, his facade was decorated with oblique thin slats under the trolli, decorated with pilasters, garlands, high fronton with a figurine of doves, a gypsum sculpture in the niches of the side wings. The structure was disassembled in 1856, when the musical and theater life from the manor moved to the city and Pavlovsky railway station. Now the existence of the theater is reminded of the name of the next small gates, which make up the entrance to the park.

With the wearing on the throne of Emperor Pavel Petrovich Bortnian received the position of managing St. Petersburg court chapel and held it until the end of his life. But the composer's connection with Pavlovsky did not stop. Back in 1792, Maria Fedorovna in his favorite residence allocated Dmitry Stepanovich plot of land with a house and a large garden on the high coast of Pizawa's river, next to the Burton Bridge, and with a beautiful view of Mariental, later rebuilt into the fortress. With the receipt of a new position next to the manor house, Dmitry Stepanovich built premises for the summer residence of court singers from St. Petersburg. There were rehearsals and sometimes concerts were given. After the death of Bortyansky, his widow Anna Ivanovna sold the estate to the private person. The remains of buildings in this historical place disappeared during the German occupation.

The last 30 years of their lives of Bortenyansky dedicated to the composition of choral concerts, as well as the transfer of ancient church chants, making them clear for contemporaries. One of the first in Russia, he began to create cantata - large vocal instrumental works, which were given not to all composers. During the period of the Patriotic War of 1812, for lifting the National Patriotic Spirit of Russians, the composer has already been working in a new genre for himself. He creates military-patriotic works, among them the most famous essay, which included in the chronicle of Russian musical art, the song "Singer in the Fish of Russian Warriors" for V.A. Zhukovsky.

In St. Petersburg, Borttyansky had his own home on B. Millionnaya Street, 9, preserved to the present day (in Soviet times st. Halturin). There was placed the magnificent picture gallery assembled by the composer. In this house, the composer died on September 27, 1825. As the legend says, feeling the approach of death, he summoned the singers of Capella and asked them to sing their work "My regrettrices of my soul". With his last sounds, the heart of the composer stopped fighting. Bortyansky buried at the Smolensk cemetery, and with the creation in 1937 in the Alexander Nevsky Lavra of Necropolis of Masters of Arts, his dust and monument - Granite Obelisk were transferred to the Monastery Memorial Park.

Bortenyansky was friends with the President of the Academy of Arts A.S.strooganov, the poet of the city of Holder, the sculptor I. P. Martos and other outstanding people. He was a comprehensively educated person, owned five foreign languages, was charming, soft, balanced, benevolent. But his main dignity was talent, which allowed him to create his wonderful creations by technically uneteced, attractive and understandable widest audience of listeners. The participation of Bottyansky in the musical life of Pavlovsk contributed to the laying of his musical traditions, which were established with the opening of the famous Pavlovsky music station and won the city an honorable place in Russian culture.

"Kheruvimskaya №7"

"Yes, my prayer will be correlated"

"For your mercy"

"Assistant and Patron"

"Kohl, our Lord in Zion ..."

Symphony Si-Flat Major

Suite "Quint Fabiy" (Opera, 1778)

"Oh, in the love of the happiness of Paradise"

Concerto for Piano

Bortyansky, Dmitry Stepanovich(1751-1825), Russian composer. Born in Glukhov in Ukraine in 1751. The child was selected for the court singing chapel and was taken to St. Petersburg. Sang in the choir Chapels, participated in the court concerts and opera performances. He studied the theory of music and the composition of the Italian composer Baldassar Gaulpped, who was then working at the Russian courtyard. From 1769 for a decade, he lived abroad, mainly in Italy. In Venice and Modena, the Opera Borotansky was supplied Creonh, Quint Fabiy, Alkid.; At the same time, he was created choral essays on Catholic and Protestant religious texts. Upon returning to Russia, he was appointed a court dropletaster, with 1796 - the manager of the court chapel chapel. He worked at the "small yard" of the heir of Pavel Petrovich, for his amateur performances in Pavlovsk written three operas in French texts - Festival senory (La Fête du Seigneur, 1786), Falcon (Le Faucon., 1786), Son-rival, or new Strathonik (Le Fils Rival, Ou La Moderne Stratonice, 1787). At the same time, key sonats and ensembles were composed, a number of romances to French texts. After the appointment of the Governor, Bortyansky worked exclusively in the genres of Orthodox spiritual music. Simultaneously with the activities in Chapel, he taught at the Smolny Institute of Noble Maiden, participated in the work of the St. Petersburg philharmonic society. There was a very enlightened person, a friend of Derzhavin, Heraskov, Zhukovsky, an honorary member of the Academy of Arts, gathered a significant library and a collection of painting. Bortyansky died in St. Petersburg on September 28 (10 October) 1825.

As the chapter of the chapel and the author of the spiritual compositions, Bortnejansky had a noticeable impact on church singing in Russia 19 V. In Bortyansky, the executive skills of the court chorus has reached large heights, and the position and education of singers improved significantly. Bortyansky first received the right censorship for execution and publication of new spiritual and musical works (this is the right of chapels only in the 1880s;).

The spiritual and musical works of Bortzenyansky include about hundreds of liturgical chants (including two-channel), about fifty spiritual concerts, liturgy, trio, processing traditional vehicles. All this repertoire was performed throughout the 19th century; Works such as Cheruvim Song number 7, a good trio May my prayer will be corrected, Irma Images canon St. Andrei Critsky Assistant and patron, Christmas and Easter concerts, sound in Russian temples and to this day. The style of Bortyansky is focused on classicism (with elements of sentimentalism), in spiritual music it is combined with deep knowledge of traditional everyday singing, using songs intonations, Russian and Ukrainian. Bortztyansky created a new type of spiritual choir concert (placed in the liturgy at the site of the acquisition poems - a film), in which other authors also worked. Borttyansky is attributed to authorship (or at least - the patronage) of a wonderful monument - Project on the printing of ancient Russian hook singingwhich, although it was not timely published, but became an important milestone in search of the foundations of Russian spiritual and musical creativity