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'{{Short description|Russian Empire-born composer (1751–1825)}} {{family name hatnote|Stepanovych|Bortniansky|lang=Eastern Slavic}} {{Use dmy dates|date=April 2020}} {{Infobox classical composer | name = Dmytro Bortniansky | native_name = Дмитро Бортнянский | native_name_lang = ua | image = Бортнянский (1788).jpg | caption = Portrait by [[Mikhail Ivanovich Belsky|Mikhail Belsky]] (1788) | birth_name = Dmytro Stepanovych Bortniansky | birth_date = {{Birth date|1751|10|28|df=yes}} | birth_place = [[Hlukhiv|Glukhov]], [[Cossack Hetmanate]], [[Russian Empire]]<br>(present-day [[Hlukhiv]], [[Sumy Oblast]], Ukraine) | death_date = {{Death date and age|1825|10|10|1751|10|28|df=yes}} | death_place = [[Saint Petersburg]], Russian Empire | era = [[Classical period (music)|Classical]] | list_of_works = <!-- Link to "List of works" subarticles here. Do not list individual pieces. --> }} '''Dmytro Stepanovych Bortniansky'''<ref>[https://books.google.com/books?id=sy8rDwAAQBAJ Ritzarev, Marina: Eighteenth-Century Russian Music. London and New York: Routledge, 2016. P. 105.]</ref><ref>[https://books.google.com/books?id=6tK4l7lEepcC The Cambridge History of Music]</ref>{{refn|{{lang-ru|Дмитрий Степанович Бортнянский|Dmitriy Stepanovich Bortnyanskiy}} {{Audio|Ru-Dmitry Stepanovich Bortniansky.ogg|listen}}; {{Lang-uk|Дмитро Степанович Бортнянський|Dmytro Stepanovych Bortnyans'kyy}}; alternative transcriptions of names are ''Dmitri Bortnianskii'', and ''Bortnyansky''|group=n}} (28 October 1751 – {{OldStyleDate|10 October|1825|28 September}}) was a composer of [[Ukrainian Cossack]] origin.<ref>*{{cite book |author-link=Ivan Katchanovski|last1= Katchanovski|first1= Ivan|last2= Zenon E.|first2= Kohut|last3= Bohdan Y. |first3= Nebesio|last4= Myroslav|first4= Yurkevich|date= 2013|title= Historical Dictionary of Ukraine|url= https://books.google.com/books?id=-h6r57lDC4QC|publisher= Scarecrow Press|page= 386|isbn= 9780810878471}} *{{cite book |last= Subtelny|first= Orest|date= 2009|title= Ukraine: A History, 4th Edition|url= http://diasporiana.org.ua/wp-content/uploads/books/11408/file.pdf|page= 197|publisher= University of Toronto Press |isbn= 9781442697287}} *{{Citation |editor-last= Sadie|editor-first= Stanley|author = George Grove|year= 1980|title= The New Grove Dictionary of Music and Musicians|volume = 3|publisher= Macmillan Publishers|page= 70|url= https://books.google.com/books?id=l10NAQAAIAAJ&q=Bortnyanski+Ukrainian|isbn = 9780333231111}} *{{cite encyclopedia |last= Gordichuk|first= M.M.|encyclopedia= Ukrainian Soviet Encyclopedia|title= Bortniansky Dmytro Stepanovych|url=http://irbis-nbuv.gov.ua/cgi-bin/ua/elib.exe?Z21ID=&I21DBN=UKRLIB&P21DBN=UKRLIB&S21STN=1&S21REF=10&S21FMT=online_book&C21COM=S&S21CNR=20&S21P01=0&S21P02=0&S21P03=FF=&S21STR=ukr0000937%5F1 |language= uk|year= 1978|volume= 2|location= Kyiv|pages= 8}} *{{Citation |editor-last= Rouček|editor-first= Joseph Slabey|year= 1949|title= Slavonic Encyclopaedia|publisher= Philosophical Library|volume = 1|page= 110|isbn= 9780804605373|url= https://books.google.com/books?id=fwcgAAAAMAAJ&q=bortniansky}} *{{Citation |last=Thompson |first= Oscar |editor-last= Bohle|editor-first= Bruce|year= 1985|title= The International Cyclopedia of Music and Musicians|publisher= Dodd, Mead|page= 260|url= https://books.google.com/books?id=TUYOAQAAMAAJ|isbn = 9780396084129}} *{{cite book |last= Strohm|first= Reinhard|year= 2001|title= The Eighteenth-century Diaspora of Italian Music and Musicians|url= https://books.google.com/books?id=ZYoXAQAAIAAJ|publisher= Brepols|page= 227|isbn= 9782503510200}} *{{cite book |last= Rzhevsky|first= Nicholas|date= 1998|title= The Cambridge Companion to Modern Russian Culture|url= https://archive.org/details/cambridgecompani00nich|url-access= registration|quote= Dmitry Bortniansky Ukrainian.|publisher= Cambridge University Press|page= [https://archive.org/details/cambridgecompani00nich/page/51 51]|isbn= 9780521477994}} *{{cite book |last= Unger|first= Melvin P.|date= 2010|title= Historical Dictionary of Choral Music|url= https://books.google.com/books?id=SvD9Ou7wdccC|publisher= Scarecrow Press|page= 43|isbn= 9780810873926}} *{{Cite journal|last=Kuzma|first=Marika|date=1996|title=Bortniansky à la Bortniansky: An Examination of the Sources of Dmitry Bortniansky's Choral Concertos|journal=The Journal of Musicology|volume=14|issue=2|pages=183–212|doi=10.2307/763922|issn=0277-9269|jstor=763922}} </ref> He was a [[composer]], [[harpsichordist]] and conductor who served at the court of [[Catherine the Great]]. Bortniansky was critical to the musical history of both Ukraine and Russia, with both nations claiming him as their own.<ref>{{Cite journal|last=Kuzma|first=Marika|date=1996|title=Bortniansky à la Bortniansky: An Examination of the Sources of Dmitry Bortniansky's Choral Concertos|journal=The Journal of Musicology|volume=14|issue=2|pages=183–212|doi=10.2307/763922|issn=0277-9269|jstor=763922}}</ref> Bortniansky, who has been compared to [[Giovanni Pierluigi da Palestrina|Palestrina]],<ref>[https://books.google.com/books?id=6tK4l7lEepcC Rzhevsky, Nicholas: The Cambridge Companion to Modern Russian Culture. Cambridge 1998. P. 239.] ''books.google.com''</ref> is known today for his liturgical works and prolific contributions to the genre of [[choral concerto]]s.<ref>{{cite book| title = Nineteenth-Century Choral Music | chapter = Russian Choral Repertoire | first = Vladimir | last = Morozan | author-link = Vladimir Morozan | editor-first = Donna M<!--.--> | editor-last = Di Grazia | year = 2013 | chapter-url = https://books.google.com/books?id=qyPz1PUFxW8C | page = 437 | isbn = 9781136294099 }}</ref> He was one of the "Golden Three" of his era, alongside [[Artemy Vedel]] and [[Maxim Berezovsky]].<ref>[https://www.bbc.co.uk/programmes/b0100jkn The Golden Three] [[BBC]] 21 August 2011</ref><ref>[https://www.yourclassical.org/story/2022/03/04/ukraine-and-russia-tangled-history-leads-to-musical-conundrum Ukraine's and Russia's tangled history leads to musical conundrum] hourclassical.org 2022</ref> Bortniansky was so popular in the Russian Empire that his figure was represented in 1862 in the bronze monument of the [[Millennium of Russia]] in the [[Novgorod Kremlin]]. He composed in many different musical styles, including choral compositions in [[French language|French]], [[Italian language|Italian]], [[Latin]], [[German language|German]] and [[Church Slavonic language|Church Slavonic]]. == Biography == ===Student=== Dmytro Bortniansky was born on 28 October 1751 in the city of [[Hlukhiv|Glukhov]],<ref>[https://www.encyclopedia.com/people/literature-and-arts/music-history-composers-and-performers-biographies/dmitri-stepanovich The Concise Oxford Dictionary of Music] ''www.encyclopedia.com''</ref><ref>[https://books.google.com/books?id=sy8rDwAAQBAJ Ritzarev, Marina: Eighteenth-Century Russian Music. London and New York: Routledge, 2016. P. 105.]</ref><ref>[https://books.google.com/books?id=EixLAAAAYAAJ History of Russian Church Music, 988-1917. Brill, 1982. P. 94.]</ref> [[Cossack Hetmanate]], [[Russian Empire]] (in present-day Ukraine). His father was Stefan Skurat (or Shkurat), a [[Lemko-Rusyn]] Orthodox religious refugee from the village of [[Bartne]] in the [[Małopolska]] region of Poland. Skurat served as a [[Cossack]] under [[Kirill Razumovski]]; he was entered in the [[Cossack register]] in 1755.<ref>{{cite web |url=http://ethnos.lemky.com/history/355-dmitro-bortnyanskiy-sin-lemka-z-bortnogo.html |title=Дмитро Бортнянський - син лемка з Бортного |trans-title=Dmytro Bortnyansky is the son of a Lemko from Bortny |access-date=2012-01-02 |url-status=dead |archive-url=https://web.archive.org/web/20120502232203/http://ethnos.lemky.com/history/355-dmitro-bortnyanskiy-sin-lemka-z-bortnogo.html |archive-date=2012-05-02 }}</ref> Dmitry's mother was of Cossack origin; her name after her first marriage was Marina Dmitrievna Tolstaya, as a widow of a Russian [[landlord]] [[Tolstoy family|Tolstoy]], who lived in the city of Glukhov. At age seven, Dmytro's prodigious talent at the local church choir afforded him the opportunity to go to the capital of the empire and sing with the [[Saint Petersburg Court Chapel|Imperial Chapel Choir]] in [[Saint Petersburg]]. Dmytro's half-brother Ivan Tolstoy also sang with the Imperial Chapel Choir.<ref>[https://books.google.com/books?id=xcgvAAAAMAAJ Kovalev, Konstantin: Bortniansky. Moscow 1998. P. 34.] ''books.google.de''</ref> There Dmytro studied music and composition under the director of the Imperial Chapel Choir, the Italian master [[Baldassare Galuppi]]. When Galuppi left for Italy in 1769, he took the boy with him. In Italy, Bortniansky gained considerable success composing [[opera]]s: ''[[Creonte (Bortnyansky)|Creonte]]'' (1776) and ''[[Alcide (Bortnyansky)|Alcide]]'' (1778) in [[Venice]], and ''[[Quinto Fabio]]'' (1779) at [[Modena]]. He also composed sacred works in Latin and German, both [[a cappella]] and with [[orchestra]]l accompaniment (including an ''Ave Maria'' for two voices and orchestra). ===Master=== [[File:Grave of Dmytro Bortniansky.jpg|thumb|Bortniansky's grave in [[Saint Petersburg]]]] Bortniansky returned to the [[Saint Petersburg Court Capella]] in 1779 and flourished creatively. He composed at least four more operas (all in French, with [[libretto|libretti]] by [[Franz-Hermann Lafermière]]): ''[[Le Faucon (opera)|Le Faucon]]'' (1786), ''[[La fête du seigneur]]'' (1786), ''[[Don Carlos (Bortniansky)|Don Carlos]]'' (1786), and ''[[Le fils-rival ou La moderne Stratonice]]'' (1787). Bortniansky wrote a number of instrumental works at this time, including [[piano]] [[sonatas]], a piano quintet with a harp, and a cycle of French songs. He also composed [[liturgy|liturgical]] music for the [[Eastern Orthodox Church]], combining the Eastern and Western European styles of sacred music, incorporating the [[polyphony]] he learned in Italy; some works were [[polychoral]], using a style descended from the Venetian polychoral technique of the [[Giovanni Gabrieli|Gabrielis]]. After a while, Bortniansky's genius proved too great to ignore, and in 1796 he was appointed Director of the Imperial Chapel Choir, the first director from the Russian Empire. With such a great instrument at his disposal, he produced scores upon scores of compositions, including over 100 religious works, sacred [[concerto]]s (35 for a four-part mixed choir, 10 for double choruses), [[cantata]]s, and [[hymn]]s. Bortniansky died in St. Petersburg on 10 October 1825, and was interred at the [[Smolensky Cemetery]] in St. Petersburg. His remains were transferred to the [[Alexander Nevsky Monastery]] in the 20th century.<ref>{{Cite web |url=http://www.hymntime.com/tch/bio/b/o/r/bortniansky_ds.htm |title=HymnTime |access-date=31 January 2009 |archive-date=9 February 2010 |archive-url=https://web.archive.org/web/20100209100504/http://www.hymntime.com/tch/ |url-status=dead }}</ref> ==Musical legacy== In 1882, [[Pyotr Ilyich Tchaikovsky|Pyotr Tchaikovsky]] edited Bortniansky's [[Liturgical music|liturgical]] works, which were published in ten volumes. Bortniansky wrote [[Opera|operas]] and instrumental compositions, but his sacred [[Choir|choral works]] are performed most often today. This vast body of work remains central not only to understanding 18th-century Orthodox sacred music, but also served as an inspiration to his fellow Ukrainian composers in the 19th century. The tune he wrote for the Latin hymn ''[[Tantum Ergo]]'' eventually became known in Slavic lands as ''Коль славен (Kol Slaven)'', in which form it is still sung as a church [[hymn]] today. The tune was also popular with [[freemasons]]. It travelled to [[English language|English]]-speaking countries and came to be known by the names ''Russia'', ''St. Petersburg'' or ''Wells''. In [[Germany]], the song was paired with a text by [[Gerhard Tersteegen]] and became a well-known [[chorale]] and traditional part of the military ceremony ''[[Großer Zapfenstreich]] (the Grand Tattoo)'', the highest ceremonial act of the German army, rendered as an honor for distinguished persons on special occasions. Before the [[October revolution|October Revolution]] in 1917, the tune was played by the [[Moscow Kremlin]] [[carillon]] every day at midday. [[James Blish]], who novelized many episodes of the original series of ''[[Star Trek]]'', noted in one story, ''[[Whom Gods Destroy (Star Trek: The Original Series)|Whom Gods Destroy]]'', that Bortniansky's ''Ich bete an die Macht der Liebe'' was the theme "to which all [[Starfleet]] Academy classes marched to their graduation."{{Citation needed |date= November 2022}} Bortniansky composed "The Angel Greeted the Gracious One" (hymn to the Mother of God used at Pascha) as a trio used by many Orthodox churches in the [[Easter]] season. == Influence == [[File:1000 Bortniansky.jpg|thumb|The [[Millennium of Russia]] monument in [[Veliky Novgorod]] featuring Bortniansky]] Bortnyansky's work had a significant impact on the development of both [[Music of Ukraine|Ukrainian]] and [[Music of Russia|Russian music]]. Almost half a century of Bortnyansky's life was associated with [[music education]], with the most important processes of the formation of musical culture in Russia, due to which he is considered a Russian composer in Russia.<ref> [http://www.kkovalev.ru/Bortnian_Ukraina.htm Проблемы «украинизации» творчества и имени композитора Д.&nbsp;С.&nbsp;Бортнянского] (''tr. "Problems of "Ukrainization" of creativity and the name of the composer D.S.Bortnyansky"'')</ref> According to Russian musicologist [[Boris Asafyev]], "Bortnyansky developed a style with characteristic inversions, which retained its influence for several following generations. These typical appeals not only reached [[Mikhail Glinka]], but also [[Pyotr Ilyich Tchaikovsky and The Five|Pyotr Ilyich Tchaikovsky]], [[Nikolai Rimsky-Korsakov]], and [[Alexander Borodin]]".<ref>Asafiev. Complete collection of works. Vol.1&nbsp;— М. 1954.&nbsp;— p.&nbsp;125 [in Russian]</ref> At the same time, beginning in the 1920s, Bortnyansky's work became the subject of special attention from Ukrainian musicians. [[Stanyslav Lyudkevych|Stanislav Lyudkevych]]'s article "D. Bortnyansky and Contemporary Ukrainian Music" (1925) called on Ukrainian musicians to develop the traditions established by Bortnyansky, "to dive deeper and more thoroughly into the great cultural treasury concentrated in Bortnyansky's works, to find the sources in it and foundations of our revival". Traditionally, Ukrainian musicologists emphasize the use of [[Intonation (music)|intonations]] of [[Ukrainian folk music|Ukrainian folk songs]] in choral work, since the composer's first musical impressions were obtained in Ukraine, Ukrainians were also most of Bortnyansky's friends in the choir and his teacher [[Mark Poltoratsky|Marko Poltoratsky]]. In particular, Lydia Korniy notes:<ref>Korniy L. History of Ukrainian music. Vol.2 .Kyiv; Kharkiv, New-York: M.&nbsp;P.&nbsp;Kotz, 1998.&nbsp;— p.244 [in Ukrainian]</ref> *typical for Ukrainian songs descending lyrical sixth V - VII # - I degree (on the example of choral concerts: № 13, end of the II part, and № 28, finale) *typical inversions with a reduced fourth between III and VII # degrees in minor, *typical for lyrical songs mournful intonations with an increased second between III and IV # degrees in minor. Lyudkevych also notes Ukrainian intonations in Bortnyansky's works: {{quote|although he adopted the manners of the Italian style and became a reformer of church singing in St. Petersburg, nevertheless, all his works (even with such disgusting to our spirit "fugues") hid so much typically Ukrainian melody that because of it he just now became unpopular Muscovites, and every foreigner from the first time hears in them something unknown to himself, original<ref>Ludkewicz S. (1905)[https://composer.ucoz.ua/load/naukovi_statti/naukovi_statti_ukrajinskikh_avtoriv/ljudkevich_1905_nacionalizm_u_muzici/65-1-0-498 Nationalism іn music] In S. Liudkevych. Doslidzhennia, statti, retsenzii, vystupy [S. Lyudkevich. Research, articles, reviews, speeches] (1999): Vol. 1, p.39</ref>}} The influence of Bortnyansky's work is noted in the works of Ukrainian composers [[Mykola Lysenko International Music Competition|Mykola Lysenko]], [[Kyrylo Stetsenko]], M. Verbytsky, [[Mykola Leontovych]], M. Dremlyuga, [[Levko Revutsky]], K. Dominchen, B. Lyatoshynsky, and others. ==Works== ===Operas=== :*''[[Creonte (Bortnyansky)|Creonte]]'' (1776 [[Venice]]) :*''[[Alcide (Bortnyansky)|Alcide]]'' (1778 Venice) :*''[[Quinto Fabio]]'' (1779 [[Modena]]) :*''[[Le faucon (opera)|Le faucon]]'' (1786 [[Gatchina]] in French, with [[libretto]] by [[Franz-Hermann Lafermière]]) :*''[[La Fête du seigneur]]'' (1786 [[Pavlovsk Palace|Pavlovsk]] in French, with libretto by Franz-Hermann Lafermière) :*''[[Don Carlos (Bortniansky)|Don Carlos]]'' (1786 [[St Petersburg]] in French, with libretto by Franz-Hermann Lafermière) :*''[[Le Fils-Rival ou La Moderne Stratonice]]'' (1787 Pavlovsk in French, with libretto by Franz-Hermann Lafermière) === Choruses (in Old Church Slavonic) === :*''Da ispravitsia molitva moja'' ("Let My Prayer Arise") no. 2. :*''Kjeruvimskije pjesni'' (Cherubic Hymns) nos. 1-7 :*Concerto No. 1: ''Vospoitje Gospodjevi'' ("Sing unto the Lord") :*Concerto No. 6: ''Slava vo vyshnikh Bogu, y na zemli mir'' ("Glory to God in the highest, and peace on earth") :*Concerto No. 7: ''Priiditje, vozradujemsja Gospodjevi'' ("Come Let Us Rejoice") :*Concerto No. 9: ''Sei djen', jego zhe Gospodi, konchinu moju'' :*Concerto No. 11: ''Blagoslovjen Gospod''' ("Blessed is the Lord") :*Concerto No. 15: ''Priiditje, vospoim, ljudije'' :*Concerto No. 18: ''Blago jest ispovjedatsja'' ("It Is Good To Praise the Lord", Psalm 92) :*Concerto No. 19: ''Rjechje Gospod' Gospodjevi mojemu'' ("The Lord Said unto My Lord", Psalm 110) :*Concerto No. 21: ''Zhyvyi v pomoshshi Vyshnjago'' ("He That Dwelleth", Psalm 91) :*Concerto No. 24: ''Vozvjedokh ochi moi v gory'' ("I Lift Up My Eyes to the Mountains") :*Concerto No. 27: ''Glasom moim ko Gospodu vozzvakh'' ("With My Voice I Cried Out to the Lord") :*Concerto No. 32: ''Skazhy mi, Gospodi, konchinu moju'' ("Lord, Make Me Know My End") :*Concerto No. 33: ''Vskuju priskorbna jesi dusha moja'' ("Why Are You Downcast, O My Soul?", Psalm 42:5) ===Concerto-Symphony=== :*Concerto-Symphony for Piano, Harp, Two Violins, Viola da gamba, Cello and Bassoon in B Flat Major (1790). ===Quintet=== :*Quintet for Piano, Harp, Violin, Viola da gamba and Cello (1787). ==Notes== {{Reflist|group=n}} ==References== {{Reflist}} ===Bibliography=== * {{Cite book |last=Ritzarev |first=Marina |year=2006 |title=Eighteenth-Century Russian Music |publisher=(Ashgate) |isbn=978-0-7546-3466-9}} * {{Cite book |last=Bortniansky |first=D. S. |title=Светские произведения |year=2020 |trans-title=Secular Works |editor-last=Chuvashov |editor-first=A. V. |edition=2 |lang=ru |url=http://www.m-planet.ru/?id=20&detail=724 |isbn=978-5-8114-3498-5}} * [https://www.m-planet.ru/?id=20&detail=1594 Мотеты]. Motets. Chuvashov, A. V. (ed.). Публикация, исследования и комментарии А. В. Чувашова. СПб.: Планета музыки, 2023. 248 с. * {{Cite book |last=Chuvashov |first=A. V. |year=2020 |title=Из фондов Кабинета рукописей Российского института истории искусств: Статьи и Сообщения |trans-title=From the Cabinet of Manuscripts of the Russian Institute of Art History: Articles and Communications |pages=21–119 |editor-last=Shcheglova |editor-first=E. P. |lang=ru |url=http://artcenter.ru/wp-content/uploads/2020/11/Kabinet_rukopisej_7.pdf |isbn=978-5-86845-254-3}} * {{Cite journal |last=Chuvashov |first=A. V. |year=2021 |title=Неизвестная оратория Д. С. Бортнянского на текст П. Метастазио |trans-title=Unknown oratorio by D. S. Bortnyansky on the text by P. Metastasio. |journal=Временник Зубовского Института |trans-journal=Annals of the Zubov Institute |volume=1 |number=32 |pages=60–67 |lang=ru |url=https://artcenter.ru/wp-content/uploads/2021/05/Vremennik_2021_0132.pdf |issn=2221-8130}} * ''Чувашов А. В.'' [https://artcenter.ru/wp-content/uploads/2022/10/Vremennik_2022_0338_c.pdf Д. С. Бортнянский. Духовные концерты с оркестром (кантаты на основе духовных концертов)]. Временник Зубовского института. 2022. № 3 (38). С. 48–74. * ''Чувашов А. В.'' [https://nv.mosconsv.ru/sites/default/files/issues/JournalMosConsv_2022_4.pdf Нотные копиисты Д. С. Бортнянского в Италии и России]. Научный вестник Московской консерватории. Том 13. Выпуск 4 (декабрь 2022). С. 656–677. * ''Чувашов А. В.'' [https://nlr.ru/publ/ann1.php?id=430 Бортнянский Д. С. «Песнословие на Прибытие Е. И. В. Павла Первого в Москву 1797–го году». Неизвестные подробности первого исполнения]. История отечественной культуры в архивных документах : сборник статей / сост. и отв. ред. Е. А. Михайлова, ред. Л. Н. Сухоруков. СПб, 2022. Вып. 3. С. 115–122. Электронная копия: https://vivaldi.nlr.ru/bx000041617/view/?#page=116 * {{Cite book |last=Smirnov |first=Askold |year=2014 |title=Д. С. Бортнянский в мировом изобразительном искусстве XVIII–XXI веков: альбом иконографических материалов |trans-title=D. S. Bortniansky in Art |lang=ru |url=https://www.academia.edu/35648517 |isbn=978-5-7793-0280-7}} ==External links== {{Commons category}} * [https://web.archive.org/web/20060205115842/http://www.bartleby.com/65/bo/Bortnian.html Bortniansky, Dmitri Stepanovich] in [[Columbia Encyclopedia]] *[http://www.kkovalev.ru/Kovalev-Bortniansky-text.htm Bortniansky: Main biography in Russian] by [https://web.archive.org/web/20070928121119/http://www.kkovalev.com/english.htm Konstantin Kovalev (Константин Ковалев) - eng.] and [http://www.kkovalev.ru/Bortniansky-eng.htm All about Dmitry Bortniansky + Usual mistakes in the biography of the composer (present time) - eng.] * [http://www.encyclopediaofukraine.com/pages/B/O/BortnianskyDmytro.htm Bortniansky, Dmytro] in [http://www.encyclopediaofukraine.com Encyclopedia of Ukraine] * [http://www.hymntime.com/tch/bio/b/o/r/bortniansky_ds.htm Bortniansky, Dmitri Stepanovich] in [https://web.archive.org/web/20100209100504/http://www.hymntime.com/tch/ The Cyber Hymnal] * [http://www.karadar.com/Dictionary/bortniansky.html Bortniansky, Dmitri Stepanovich] in [http://www.karadar.com/Default.htm Karadar Classical Music] * [http://www.musicusbortnianskii.com/ Musicus Bortnianskii], a [[chamber choir]] from Toronto which specializes in Bortniansky performance and research *{{ChoralWiki|Dmitri Bortniansky}} *{{IMSLP|id=Bortniansky, Dmytro|cname=Dmytro Bortniansky}} *{{MutopiaComposer|BortnianskyD}} * [https://www.youtube.com/playlist?list=PLLDOepngqwAUgprl3RgM5-f6dETqCk2qM Choral Concerti performed by The Bortniansky Chamber Choir, Chernihiv (VIDEO)] {{Authority control}} {{DEFAULTSORT:Bortniansky, Dmitry}} [[Category:1751 births]] [[Category:1825 deaths]] [[Category:People from Hlukhiv]] [[Category:People from the Cossack Hetmanate]] [[Category:Ukrainian people in the Russian Empire]] [[Category:Russian Orthodox Christians from Ukraine]] [[Category:Classical-period composers]] [[Category:Classical composers of church music]] [[Category:Russian male classical composers]] [[Category:Russian opera composers]] [[Category:Male opera composers]] [[Category:Ukrainian classical composers]] [[Category:Ukrainian conductors (music)]] [[Category:Male conductors (music)]] [[Category:18th-century classical composers]] [[Category:18th-century male musicians]] [[Category:18th-century musicians]] [[Category:19th-century classical composers]] [[Category:19th-century male musicians]] [[Category:19th-century musicians]] [[Category:Burials at Tikhvin Cemetery]]'