Side 1:
Konzert XII:
Bozhe pisn' novu vospoiu Tebi.
0 God, I will Sing a New Song to You.
Moderate; Allegro moderato; Largo; Andante sostenuto.
Konzert XXVI:
Hospody Bozhe Izrailev.
Lord, God of Israel.
Largo maestoso; Largo e sostenuto; Andante moderato; Adagio; Allegro commodo.
Konzert XXIV:
Vozvedokh ochi moyi v hory.
I Lift Up M.y Eyes toward the Mountains.
Adagio; Andante moderato; Allegro maestoso.
Side 2:
Konzert I:
Vospoite Hospodevy.
Sing to the Lord
Allegro; Andante con moto, Largo; Allegro moderato.
Konzert XXII:
Hospod' prosvishchcniie moie.
The Lord is My Light.
Moderate; Allegro; Adagio; Moderato.
Konzert XVI:
Voznesu Tia Bozhe moi.
I will extol You.
Largo; Allegro moderato; Largo; Moderato.
Konzert XIII:
Raduitesia Bohu.
Sing joy fully to God.
Moderate; Adagio; Allegro moderato.
Konzert XIII
Konzert XXVI
Konzerty Volume 2 D. Bortniansky Musicus Bortnianskii Myron Maksymiw Conductor
Dedicated to the 1988 Celebration commemorating 1,000 years of Christianity in Ukraine
Performers:
Soprano 1:
Lydia Adams, soloist
Lynda Maxwell
Judith Young, soloist
Kathleen Zambrick
Soprano 2:
Linda Beaupre
Olena Jatsyshyn, soloist
Lillian Papiz
Alto 1:
Susan Cooper, soloist
Natalia Stecura
Alto 2:
Valerie Nunn, soloist
Hildegard Stelmacovich
Tenor 1:
David McConell
Theodore Ross
John Stelmacovich
Edward Wiens, soloist
Tenor 2:
Peter Mac Donald
Douglas Rose
Baritone:
Gordon Burnett
David King, soloist
Ihor Stecura
Bass:
Timothy Cadan, soloist
Nelson Lohnes, soloist
Yaroslaw Shchuka
John Tymkewycz
Bill Zambrick
Musicus Bortnianskii (Toronto), founded in 1981, is a performing arts organization, consisting of both professional and amateur musicians. With each performance Musicus Bortnianskii unveils the untapped wealth of baroque and classical music of Ukraine, and also familiarizes audiences with the lesser known works of the European Masters. This recording project of Bortniansky's thirty-five Konzerty (in 5 volumes) is the second of a series of recording projects by Musicus Bortnianskii planned o commemorate the Millenium of Christianity in Ukraine in 1988, the first being the recording of Jerusalem Mattins by M. Fedoriv released in 1984. Since Musicus Bortnianskii has already premiered and performed most of Bortniansky's konzerty (both for single and double choir) at its concerts, the release of a complete set of 35 Konzerty for single choir is but a continuation of the pioneering spirit shown by Musicus Bortnianskii.
Dmytro S. Bortniansky (1751-1825), born in Hlukhiv (Ukraine), is a Ukrainian classical composer. At age seven, Bortniansky, recognized for his outstanding voice and musical abilities, was accepted as a chorister and student of the Imperial Chapel Choir of St. Petersburg. It was here in St. Petersburg that Bortniansky's talents caught the attention of Baldassare Galuppi, who at that time was composer to the court.
1769, at Gallupi's request Bortninsky moved to Venice. Here he continued his studies with the Master in the tradition of the great venetian polyphonists. During his ten year stay in Italy, Bortniansky travelled extensively, visiting various musical centres such as Florence, Milan, Rome, Naples, and Bologna, where he also studied with Padre Martini. Throughout this period he composed many of his operas, sonatas for violin and harpsichord, Masses, and other vocal and orchestral works.
Upon his return to St. Petersburg in 1779, Dmytro Bortniansky was appointed Kapelmeister, and local Director of the Imperial Court Chapel. There he composed four more operas, 35 sacred konzerty for single choir, 4 Те Deum for single choir, and 20 konzerty for double choir. During this period, Bortniansky also developed his symphonic and chamber works, and became the first composer to introduce the art song to the courts of St. Petersburg.
Dmytro Bortniansky, being both a prolific composer and outstanding musician, made significant and important contributions to 18th Century music. His best works can be put alongside the greatest musical achievements of that time.
Bortniansky "... shows rare skill in the grouping of vocal Masses,
a miraculous sense of nuance and resonant harmony, and — still more surprising — an incredible freedom in the handling of the parts..." [Barzun, Jacques Hector Berlioz, Evenings with the Orchestra; The University of Chicago Press, 1956]
The konzert as a genre occupied a prominent place in the church music of 17th century Ukraine. Since instruments were not allowed in the Eastern rite church, the celebration of feast- days and other church events was enhanced with the participation of the choir. The konzert style lent itself most favourably to these various celebrations. It was not uncommon on these occasions to have services such as the mass, vespers or mattins performed in double or triple choir. Although most konzerty in the pre-Bortniansky period were written for the church, a great number of konzerty were secular; these were either of a humorous nature, didactic, polemic or panegyric. While Bortniansky's konzerty belong to the category of sacred konzerty (because of the text), many of them were written for both sacred and secular events.
A close analysis of the structure and the use of the theme in Bortniansky's konzerty reveals a definite influence of early classical instrumental music. Although the form of his konzerty is not fully developed, it has definite elements of the classical sonata cycle. Typical is the three movement scheme, where the first and third movements, marked "Allegro" are in the tonic. The second movement, a cantabile usually marked "Largo" or "Adagio," is in a contrasting key. This movement,
transcribed for instruments, is characteristic of any sonata or string quartet "Adagio" of the 18th century. Bortniansky's "Adagio" forms the perfect antithesis to his "Allegro."
In the first movement there is often a second theme brought in for contrast. It is accompanied by a modulation characteristic of the sonata exposition. Not all of Bortniansky's konzerty use the three movement scheme or sonata cycle; some have four movements. Those konzerty that use the three
movement scheme are usually in the major key and belong to the category of festive or triumphal,
meditative or reflective konzerty. Those using a four movement scheme are in the minor key and
belong to the category of tragic or pathetic (pathctique) konzerty.
Myron Maksymiw was born in Germany, spent his childhood years in England and his formative years in Rome, Italy, where he received his high school education. In 1968 he moved to Toronto, Canada, where he presently resides. He graduated from the University of Toronto's Faculty of Music conducting programme after receiving his M.A. degree in Slavic Languages and Literature from the same university. Mr. Maksymiw is the Music and Artistic Director of Musicus Bonnianskii (Toronto; which he founded in 1981.
Andrew Marshall is a well-known broadcaster, writer and recordist; his work, heard on radio stations in Canada and the United States, includes concert broadcasts by the Kitchener- Waterloo and Hamilton Philharmonic orchestras, which he engineers, writes, produces and hosts. He has also produced numerous phonograph records, most of these employing purist microphone techniques and
audiophile production methods. This LP is one of these. Mastering was digital, using Technics equipment. The coherent microphone array consisted of AKG 460ULS and Neumann KM84 condenser types, with cables by Mogami Neglex, and interconnects by Esotric Audio, Vecteur, and
Monster Cable.
Musicus Bortnianskii wishes to acknowledge the assistance of the following:
Benefactor Ukrainian Canadian Foundation of Taras Shevchenko (Winmpeg)
Patrons
His Grace, Most Rev. Archbishop Maksym Hermaniuk
His Grace, Most Rev. Archbishop Steven Sulyk
Most Rev. Bishop Isidore Borecky
Most Rev. Bishop Michael Hrynchyshyn
Rev. B. Malowany, OSBM
Helen Campbell
Irene Duwalo
Jaroslawa Hima
Oleh and Bozhena Iwanusiw
Liilian Papiz
Prometheus Foundation (Toronto)
Ukrainian Redemptorist Fathers: Rev. Michael Bzdel, C.Ss.R.,
Provincial Superior Rev. Yaroslaw Dybka, C.Ss.R.
Credits:
Producer and Engineer: Andrew Marshall
Disc Mastering: McClear Place, Peter Norman
Design Concept:
Olena Jatsyshyn
Myron Maksymiw
Art Direction: Dennis Mason
Recorded at St. Martin-in-the-Fields, Toronto
Musicus Bortniansky (Toronto)
191 Lippmcott Street Toronto, Ontario Canada M5S2P3
© Copyright 1986 Musicus Bortnianskii
All rights reserved. Unauthorized duplication is a violation of applicable laws.
MBMR002 AMCS Stereo
(A Canadian recording)
Transliterations and translations of text included inside.
