Misc. Notes, German text − not the translation of the original. Scanned at dpi monochrome, cleaned manually. File # Cleaned additionally with 1-point. Dimitry Bortniansky () was the most prominent choral composer and conductor of his epoch, leading the Imperial Court Chapel of St. Petersburg to. Dmitry Bortniansky (UKR): ‘Cherubic Hymn #7’ Petersburg Chamber Choir Lege Artis; score= • text (Eng. transl.)”Let us who.

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Dmytro Stepanovych Bortniansky [1] Ukrainian: Bortniansky is best known today for his liturgical works and his prolific contributions to the genre of choral concertos. Bortniansky composed in many different musical styles, including choral compositions in FrenchItalianLatinGerman and Church Slavonic. Dmytro Bortniansky was born on cheruubic October in the city of Hlukhivin present-day Ukrainebut which was then a part of the autonomous Cossack Hetmanate within the Russian Empire.

His father was Cheruhic Skurat or Shkurata Lemko-Rusyn Orthodox religious refugee from the village of Bartne in the Malopolska region he was entered in the Cossack register at Hlukhiv in Bkrtniansky he studied music and composition under the director of the Imperial Chapel Choir, the Italian master Baldassare Galuppi. When Galuppi left for Italy inhe took the boy with him.

Cherubic Hymn No.7 (Bortniansky, Dmytro)

In Italy, Bortniansky gained considerable success composing operas: He also composed sacred works in Latin and German, both a cappella and with orchestral accompaniment including an Ave Maria for two voices and orchestra. Bortniansky returned to the Saint Petersburg Court Capella in and flourished creatively.


Bortniansky wrote a number of instrumental works at this time, including piano sonatas and a piano quintet with harpbodtniansky a cycle of French songs. He also composed liturgical music for the Orthodox Churchcombining the Eastern and Yhmn European styles of sacred music, incorporating the polyphony he learned in Italy; some works were polychoralusing a style descended from the Venetian polychoral technique of the Gabrielis.

After a while, Bortniansky’s genius proved too great to ignore, and in he was appointed Director of the Imperial Chapel Choir, the first director not to have been imported from outside of the Russian Empire. With such a great instrument at his disposal, he produced scores upon scores of compositions, including over religious works, sacred concertos 35 for four-part mixed choir, 10 for double chorusescantatasand hymns.

Dmitry Bortniansky died in St. Petersburg on 10 Octoberand was interred at the Smolensky Cemetery in St.

His remains were transferred to the Alexander Nevsky Monastery in the 20th century. InPyotr Tchaikovsky edited the liturgical works of Bortniansky, which were published in ten volumes. While Bortniansky wrote operas and instrumental compositions, it is his sacred choral works that are performed most often today.

Cherubic Hymns Nos.1-7 (Bortniansky, Dmytro)

This vast body of work remains central not only cherkbic understanding 18th-century Orthodox sacred music, but also served as inspiration to his fellow Ukrainian composers in the 19th century. The tune was also popular with freemasons. It travelled to English-speaking countries and came to be known by the names RussiaSt. Prior to the October revolution inthe tune was played by the Moscow Kremlin carillon every day at midday.


James Blishwho novelized many episodes of the original series of Star Treknoted in one story, Whom Cheruvic Destroythat Bortniansky’s Ich bete an die Macht der Liebe was the theme “to which all Starfleet Academy classes marched to their graduation. From Wikipedia, the free encyclopedia.

Bortniansky: Cherubic Hymn (No. 7) – Estonian Philharmonic Chamber Choir | Shazam

HlukhivCossack Hetmanate. Saint PetersburgRussian Empire. In Di Grazia, Donna M. Archived from the original on Retrieved from ” https: Views Read Edit View history. In other projects Wikimedia Commons.

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