{"id":84916,"date":"2020-12-16T13:07:24","date_gmt":"2020-12-16T11:07:24","guid":{"rendered":"https:\/\/wp.929.org.il\/?p=84916"},"modified":"2020-12-17T09:38:55","modified_gmt":"2020-12-17T07:38:55","slug":"venetian-heritage-in-st-petersburg","status":"publish","type":"post","link":"https:\/\/wp.929.org.il\/en\/venetian-heritage-in-st-petersburg\/","title":{"rendered":"Venetian Heritage In St. Petersburg"},"content":{"rendered":"
<\/div>","protected":false},"excerpt":{"rendered":"","protected":false},"author":7,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[281],"tags":[],"acf":{"old_id":"84916","type":"no","iframe":"","writer":79834,"related_cahpter":"635","type_929":"2","show_author_image":false,"old_create_date":"","old_url":"","post_main_content":{"description":"A new series - this time: Dmitry Bortniansky","content":"

Dmitry Bortniansky: A Capella Choral Concerto no. 34 (Ps. 68), “Let God arise, let his enemies be scattered.”<\/span><\/p>\n

D. S. Bortniansky (1751-1825) was one of the most important of Ukrainian composers, but while still young, went to study in St. Petersburg, and remained deeply connected to that city for the rest of his life. His style was influenced primarily by Italian composition: during the period of the Czarina Catherine the Great, there was an abundance of Italian composers who were active in the royal court. He later turned to writing operas in French. He produced numerous religious works, and he is considered a central figure in the liturgical music of the Russian Church. These are wide-ranging cantatas which he referred to in the Baroque style as \u201cchoral concertos.\u201d Many of these are based on Psalms.<\/p>\n

The concept is indeed in the spirit of the Venetian heritage, similar to the works of Gabrieli and Marcello (<\/span>see, e.g., Ps 10<\/span><\/a>). He did, however, write in Russian, intending the work for the Russian Ortrhodox Church. It is interesting to compare his clear, classic style, in four voices, to the style of the national Russian school of a hundred years later, such as the works of <\/span>Gretchaninov, who appeared here the day before yesterday.<\/span><\/a>\u00a0<\/span><\/p>\n

Like the style of many of the Renaissance and Baroque composers, the work consists of verses from the beginning of the psalm, and from its conclusion. It is divided into four short sections: \u201cGod will arise, His enemies shall be scattered\u201d (2); then \u201cBut the righteous shall rejoice\u201d (4). Part 3 begins \u201cAscribe might to God\u201d (35), while the fourth takes up from \u201cYou are awesome, O God, in Your holy places\u201d (36), which concludes in an especially pleasant way.<\/span><\/p>\n

Bortniansky – Concerto 34 “Let God arise, let his enemies be scattered,” The Russian State academic symphonic capella under the direction of Valeriy Polyansky, 2011.<\/span><\/p>\n

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