Maxim Berezovsky | |
---|---|
Максим Созонтович Березовський | |
Born | c. 1745 |
Died | April 2 [O.S. 24 March] 1777 Saint Petersburg, Russian Empire |
Era | Classical |
Works | List of choral works by Maxim Sozontovych Berezovsky |
Maxim Sozontovich Berezovsky (Russian: Макси́м Созо́нтович Березо́вский ; Ukrainian: Максим Созонтович Березовський; c. 1745 – April 2 [O.S. 24 March] 1777) was a composer of secular and liturgical music, and a conductor and opera singer, who worked at the St. Petersburg Court Chapel in the Russian Empire, but who also spent much of his career in Italy. He made an important contribution in the music of Ukraine. Together with Artemy Vedel and Dmitry Bortniansky, Berezovsky is considered by musicologists as one of the "Golden Three" composers of 18th century Ukrainian classical music, and one of Russia's greatest choral composers.
Berezovsky's place of birth and his father’s name are known only from verbal accounts. He is traditionally thought to have been educated at the Hlukhiv Singing School , and may have received part of his education at the Kyiv Theological Academy. In 1758, he was accepted as a singer into the capella at Oranienbaum, before being employed at the Imperial court of Catherine II in Saint Petersburg, where he received lessons from the Italian composer Baldassare Galuppi. In 1769, Berezovsky was sent to study in Bologna. There his composed secular works, including Demofonte, a three-act opera seria that was the earliest Italian-style opera to be written by a Ukrainian or a Russian composer. He returned to Saint Petersburg in October 1773. The circumstances of his death in 1777 are not documented.
Berezovsky is best known for his choral works, and was one of the creators of the Ukrainian sacred choral style. He raised the genre of sacred concertos to the highest musical and artistic level, and influenced both Bortniansky and Vedel. Few of his compositions are extant, but research in recent decades led to the rediscovery of previously lost works, including three symphonies. His opera and violin sonata were the first known examples of these genres by an Imperial Russian composer.
Berexovkiy was a good peson
Works
Berezovsky is usually described as a composer of sacred music who occasionally produced secular works, but not all scholars agree that this is the case.[1] His opera Demofonte and his violin sonata were the first examples of these genres by either a Ukrainian or a Russian composer.[2]
In 1901, the music encyclopedia Riemann Musiklexikon referred to "not only the Demofont opera, but also other secular works" by Berezovsky written in Italy.[3] Such music had to be published in France, as during his lifetime, neither Russia or Italy regularly published printed music.[4]
Most of Berezovsky’s compositions are lost. Of the 18 choral concertos he wrote, three are extant, of which only one autograph score, the antiphony he wrote during his exam for election to the Academy of Music, is known.[2] Of the 40 choral works recorded during the 19th century, approximately half have been lost.[5]
Sacred music
Berezovsky’s talent is best revealed by his choral works, for which he is famous. The style of his choral concertos influenced later composers such as Bortniansky and Vedel.[2] His most outstanding choral works are the concerto "Ne otverzhi mene vo vremya starosti" ("Do Not Forsake Me in My Old Age"),[6] considered by musicoloists to be his last composition,[7] liturgical music for the Lord's Prayer and the Credo, and four communion hymns: "Chashu spaseniia" ("Chalice of Salvation"), "V pamiat' vichnuiu" ("In Eternal Memory"), "Tvoriai anhely svoia" ("Let the Angels Create"), and "Vo vsiu zemliu" ("Over All the Land"). They are related to Ukrainian folk songs and to the tradition of Kievan chant.[6] "Do Not Forsake Me in My Old Age" was first published in 1817.[8] It is sung regularly by Russian and Ukrainian choirs.[5] Some of Berezovsky's communion hymns are lost, and it is possible that of those that are extant, some were not composed by him.[2]
Berezovsky was one of the creators of the Ukrainian choral style in sacred music, and the first composer to divide the Orthodox Liturgy into seven parts,[9][6] providing each of them with a distinctive role. His settings are notable for their expressive melodies, which contain hints of Ukrainian folk songs. He originated the use of the folk tradition of homophonic choral recitation in the genre.[2]
He raised the genre of sacred concertos to the highest musical and artistic level.[10] According to Yurchenko, the quality of some of Berezovsky’s liturgical works is “unparalleled not only in Ukrainian but in European music”. Prior to 2018, three choral concertos were attributed to Berezovsky,[2] written during his second period in Saint Petersburg.[9] Berezovsky created the four-movement classical choral concerto. He was also the first to raise the theme of the suffering of the Creator to the level of the philosophical concept of the battle between good and evil. The strength of expression of this concept in Yurchenko's opinion “elevates Berezovsky’s compositions to the standing of international masterpieces of the cultural musical world such as those of the later works of Mozart and the symphonies of Beethoven”.[2]
In 2001, some of Berezovsky’s choral works were found in Kyiv, where following the end of World War II they had been placed in the care of the Kyiv Conservatory, before being moved to the Central State Archive of Ukraine .[11] In 2018, a volume of newly-discovered choral concerti by Berezovsky, nine for four voices, and three for double-choir, were published, nearly all for the first time.[12]
No,[note 1] | Title | Description | Key | Extant manuscript(s) / online score(s) |
---|---|---|---|---|
1 | "He has already chosen the blessed"[14] (Блажені, яже ізбрал,[14][15] Blazhenni ya zhe izbral) | Eucharistic verses: X[16] | B minor | manuscript not extant;[17] score[14] |
3 | "In memory eternal will be the blessed"; ("В пам’ять вічную",[14]) | Eucharistic verses: II | B minor | manuscript;[18] score[14] |
4 | "I believe"; ("Верую") | Liturgy 5. | – | anonymous manuscript copies[19] |
15 | "It's worth having"; ("Достойно єсть") | Liturgy 4. | G major | various manuscripts;[20] score[14][21] |
16 | "Litany of supplication"; ("Єктенія просительна") | Liturgy 4. | D minor | anonymous manuscript[20] |
18 | "Like cherubs"; ("Іже Херувими") | Liturgy 3. | D major | various manuscripts;[20] score[14][22] |
19 | "Like cherubs"; ("Іже Херувими") | Liturgy 3. | C major | anonymous manuscript, unpublished[20] |
20.1 | "Glory to thee, only-begotten son"; ("Слава отцю і сину"); (Slava inynye, Yedinorodnïy Sïne)[5] | parts 1–7 of a complete Liturgy[23] | score[24] | |
20.2 | "Come, let us bow down"; ("Приідіте, поклонімся"); (Priidite, poklonimsya)[5] | score[24] | ||
20.3 | Cherubic Hymn; ("Іже херувими"); (Izhe kheruvimï)[5] | score[24] | ||
20.4 | "The grace of peace"; ("Милість миру");[14] (Vyeruyu)[5] | score[14][25] | ||
20.5 | Creed "I believe"; ("Верую"); ( Milost′ mira)[5] | score[24][26] | ||
20.6 | "It is truly meet"; ("Милость мира"); (Dostoyno yest′)[5] | score[24] | ||
20.7 | "Our Father"; ("Отче наш"); (Otche nash)[5] | score;[24] manuscript[27] | ||
22 | "Mercy of the world"; ("Милость мира") | Liturgy 4. | E minor | various manuscripts[28] |
28 | "Our Father"; ("Отче наш") | Liturgy 7. | A minor | score[29][30] |
29 | "Our Father"; ("Отче наш") | Liturgy 7. | D major | manuscript of the viola part[31] |
31 | "Come, let's worship"; ("Прийдіте, поклонімся") | Liturgy 2.[32] | F major | score[33][note 2] |
34 | "Glory to the Father and the Son"; ("Слава Отцю і Сину") | Liturgy 1. | C major | various manuscripts[34] |
35 | "Glory to the Father and the Son"; ("Слава Отцу и Сыну") | Liturgy 1 | F major | anonymous manuscripts, unpublished[35] |
37 | "Make angels your spirits"; ("Творяй ангели Своя духи");[14] (Tvoryay anhelï svoya) | Communion hymn[5] | F major | manuscript not extant;[35] score[14] |
46 | "Our Father"; ("Отче наш"); Unser Vater) | Liturgy 7. | G minor | original manuscript not extant[36] |
Number | Title | Key | Extant manuscript/score |
---|---|---|---|
2 | "God stands in the assembly of Gods" ("Бог ста в сонмі богів", "Boh sta v sonmi bohiv")[5] | C major | score[24] |
6 | "Pay attention, my people"; ("Внемлите, людие мои, закону моему")[37] | D major | Anonymous manuscript (attributed to Berezovsky)[37] |
8 | "Clap all the tongues with your hands"; ("Всі язиці восплещите руками") | E-flat major | anonymous manuscipt[38] |
9 | "Clap all the tongues with your hands"; ("Всі язиці восплещите руками") | C major | anonymous manuscipt[38] |
10 | "Uskuyu rejected me"; ("Вскую мя отринул") | – | not extant[39] |
11 | "Lord, by Your power the king will rejoice"; ("Господи, силою Твоєю возвеселиться цар") | C major | anonymous manuscript, unpublished (attributed to Berezovsky)[39] |
12 | "The Lord reigns"; ("Господь воцарися", Gospod' votsarisia) | B-flat major | score;[24] (attributed to Berezovsky)[39] |
13 | "Let God arise";[5] ("Да воскреснет Бог") | F major | manuscript[40] |
14 | "How long, O Lord, will you forget my name";[5] (Доколе, Господи, забудешь имя;[40] "Dokole, Hospodi, zabudesh′ imya moye")[5] | G minor | (uncertain attribution to Berezovsky)[40] |
21 | "I will sing mercy and judgment to You, Lord"; ("Милость і суд воспою Тебі, Господи") | B-flat major | anonymous manuscript, unpublished; (attributed to Berezovsky)[41] |
23 | "Imams have no other help";[28] ("Не імами іния помощи") | A minor | (attributed to Berezovsky)[28] |
24 | "Forsake me not in my old age";[5] ("Не отвержи мене во время старости"); (Ne otverzhi mene vo vremya starosti)[5] | D minor | score[14][24][note 3] |
25 | "Forsake me not in my old age"; ("Не отвержи мене во время старости"); (Ne otverzhi mene vo vremya starosti | – | not extant[42] |
27 | "I will open my heart"; ("Отрыгну сердце") | – | not extant[43] |
30 | "Come and see the works of God"; ("Приідіте і видіте діла Божиї") | C major | manuscript (incomplete; (attributed to Berezovsky)[31] |
33 | "Glory to God in the highest"; ("Слава во вишніх Богу") | D major | anonymous manuscript; (attributed to Berezovsky)[44] score[45] |
36 | "Judge, O Lord, the transgressors"; ("Суди, Господи, обидящия") | – | not extant' (possible attribution to Berezovsky)[35] |
38 | "We praise you God" 1; ("Тебе Бога хвалим") | C major | score;[46] (attributed to Berezovsky)[35] |
39 | "We praise you God" 2; ("Тебе Бога хвалим") | G major | anonymous manuscript, (attributed to Berezovsky)[47] |
40 | "We praise you God" 3; ("Тебе Бога хвалим") | C major | anonymous manuscript (attributed to Berezovsky)[47] |
41? | "Hear this, all tongues"; ("Услышите сия, вси языцы") | – | not extant, (possible attribution to Berezovsky)[43] |
Secular music
Demofonte
Berezovsky's opera Demofonte was commissioned and paid for by the Russian statesman Count Alexei Grigoryevich Orlov, who was stationed with his squadron in Livorno. The opera was staged during the town's annual carnival in February 1773, and was well received.[7]
Four arias, discovered in a music library in Florence, have survived: Mentre il cor con meste voci, Misero pargoletto, Per lei fra l'armi, and Prudente mi chiedi.[5][48][49] The two arias each for Demophoön (tenor) and Timanthes (castrato)—were in a copyist’s score. Timanthes’ arias, Misero pargoletto and Prudente mi chiedi?, contain da capo sections in the style of Niccolò Jommelli.[50] Their quality testifies to the composer's experience of the opera seria genre.[51]
The opera was performed both in Livorno and Florence, according to two accounts of productions found in "Notizie del mondo" published in Livorno on 27 February 1773. They show that Demofonte was performed as part of Livorno’s town carnival, as well as in a Florentine theatre. An entry listing the opera was also found in the Milanese "Index of Theatre Performances for 1773".[49]
The autograph manuscripts fromDemofonte are held in the library of the Conservatorio Luigi Cherubini.[52] Sergei Diaghilev, the founder of the Ballets Russes, was prevented from reviving the opera, as so much was lost.[50]
Violin sonata
Berezovsky's symphony in C major and the sonata for violin and harpsichord in C major; both have a cyclical structure and are written in an early sonata form, a musical style that is positioned some where between the Baroque and Classical styles of music.[1]
The sonata (1772), composed when he was in Pisa,[53] contains both Italian and Ukrainian elements. The influence of Ukrainian folk songs is found in the second movement, and the work incorporates the melody to a traditional folk song, "The Cossack Rode beyond the Danube". The complexity of the violin part shows that Berezovsky was able to play the instrument at a professional level.[54]
The piece consists of three movements:[54]
The manuscript score, along with many other culturally important documents and objects, was taken by Napoleon Bonaparte's army to Paris. In 1974, the work was mentioned in an account of Berezovsky's life by the musicologist Vasyl Vytvytsky .[1] The manuscript of the sonata was obtained from the Bibliothèque nationale de France (code D 11688),[55][54] and published in Kyiv by the Ukrainian composer Mykhailo Stepanenko.[53] Its first performance, with Stepanenko accompanying the violinist Alexander Panov, took place on 26 May 1981 at the Kyiv Conservatory (now the Ukrainian National Tchaikovsky Academy of Music).[56]
In the early 2000s,[57] a manuscript entitled Sonata Per il Clavircembalo Del. Sig. Ber [esowsky] was found in the library of the Czartoryski Museum by the Ukrainian academic Valeriya Shulgina .[58] The attribution to Berezovsky was confirmed by Shulgina and experts at the National Library of Poland, who analysed the handwriting and demonstrated that the sonatas were written out by one person. A comparison of the sonatas with Berezovsky’s surviving autograph of the antiphon he wrote as an examination piece in 1771 shows that manuscript was written by a copyist.[59] In 2014, the works were reattributed as being of Czech origin, when the composers were identified as being Kauchlitz Colizzi, Johann Baptist Wanhal, and probably the clarinettist Joseph Beer.[57]
Symphony in C major
The article “Symphony: 18th century”, the 1980 edition of the New Grove Dictionary of Music and Musicians noted that “… many Italian overtures have found their way into Russian libraries; and Berezovsky’s Russian symphony/overture has been preserved in the Doria Pamphilj collection in Rome.”[60]
In 1996, an article in Muzyka was the first to report the existence of a symphony by Berezovsky.[61] The work, in C major, and named on the first page as Symphonia XXX, was discovered by the American conductor Steven Fox in 2002. Fox found a manuscript of the score in the music collection of an Italian aristocratic family, and was given permission for the work to be performed.[62] The manuscript of the work is held in the Archivio Doria Pamphilj, in Rome.[60] It is hand-bound within the penultimate volume—“XXX”—along with five symphonies by other composers. Berezovsky's symphony was written out in parts, as most symphonies in the 18th century were published, but rather in the form of a full score.[63]
Shumilina has suggested the possibility that the symphony was an overture to Berezovsky's opera and not a separate orchestral work.[1] It was first performed by the early music orchestra Pratum Integrum in 2003, at the Royal Academy of Music in London. It was first played in Ukraine in 2016.[62][60]
Symphonies by "Beresciollo"
External videos | |
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UA-TV's world premiere of two symphonies by Berezovsky, followed by a performance of his Symphony No. 1 (Ukrainian National Chamber Ensemble , conductor Kirill Karabits). |
Two other symphonies by Berezovsky, in C major and G major (named on the scores as XIII and XI respectively), have since been found in Paris.[64] The works were composed by an otherwise unknown man named Beresciollo. Published in 1760 in Paris, copies are now known to exist found in a number of European libraries.[61][note 4] Certain themes in Beresciollo’s Symphony in G major have an affinity with Ukrainian folk music.[65] They were performed for the first time in 2020 by the Ukrainian National Chamber Ensemble , conducted by Karabits.[64]
It was announced that the works were composed by Berezkovsky in Kyiv in 1995, during the celebrations of the composer's 250th birthday.[61] Berezkovsky was a foreigner in Italy, and so was titled as Signor. His surname may have been written differently because of errors in transcribing the handwritten transcription of his name from the Russian, which would not have been easy for the West Europeans to read.[66]
Legacy
No portrait of Berezovsky made during his lifetime has survived, but it is thought that after several years in Italy, he would have adopted the look of a European, speaking fluent Italian and with a shaved face, powdered wig, and wearing a camisole.[67]
There is a monument to Berezovsky in Hlukhiv, and his name is engraved in gold on a slab on the wall of the Accademia Filarmonica di Bologna, besides the name of Mozart.[9]
Andrei Tarkovsky's 1983 film Nostalghia is "a commentary on exile as told through Berezovsky's life".[68]
Kirill Karabits, who conducted the Ukrainian premiere of Berezovsky's Symphony No.1, has said that both Russia and Ukraine have equal claim to the composer's legacy, saying that "Russians have the right to call Berezovsky 'Russian' and [Ukrainians] have a right to call him 'Ukrainian.'"[69]
The 275th anniversary of Berezovsky's birth was celebrated in 2020.[64]
Recovered scores
After his death, Berezovsky’s music was largely forgotten, until the middle of the 19th century, when it was once again performed. The interest this created led to more research on the composer being undertaken. Analysis of his music ceased during the Russian Revolution, when more of his music was lost.[70]
Since the 1950s, previously lost works by Berezovsky have been discovered, performed again, and recorded for the first time, and his music has since been actively promoted.[2]
In 1998, the musicologist Christoph Wolff.[71] found six volumes of manuscripts containing 28 anonymous choral works composed by Berezovsky or Galuppi. Included are nearly all of Berezovsky's concerts published and known at the time, his liturgy, a communion hymn, and works that were previously considered lost. The documents, originally from the Library of the Sing-Akademie zu Berlin.[70] had been taken to Kyiv by the Red Army after World War II, the most valuable finds (about a fifth) going to Moscow.[71] The manuscripts, which had been stored and catalogued at the Kyiv Conservatory by the Soviets, were gifted to Germany by the Ukrainian government.[70] In exchange, Germany gave manuscripts of Ukrainian composers to Ukraine. Among these were works by Berezovsky.[71]
Notes
- ^ According to Ritzarev[13]
- ^ Published by Evstafiy Azeev (an arrangement for male choir) and Yurchenko (as part of the complete Liturgy, based on a different version published by Yurgenson).[32]
- ^ 1st version for eight voices is lost, 2nd version, SATB, British Library, editor V. Morosan (Washington DC, 1991)[5]
- ^ Beresciollo’s two symphonies were preserved in the Bibliothèque nationale de France; the Universitätsbibliothek, Musiksammlung, Basel; the archives of the city of Agen, France ;Musik- och teaterbiblioteket, Stockholm); Bibliothèque municipale, Bordeaux; and the Danish Royal Library in Copenhagen.[65]
References
- ^ a b c d Shumilina 2020.
- ^ a b c d e f g h Yurchenko, Mstyslav. "Maksym Berezovsky: Ukrainian Sacred Music (Volume 1)" (CD notes). Claudia Records. Retrieved 12 October 2023.
- ^ Karabits 2021, p. 19.
- ^ Karabits 2021, p. 24.
- ^ a b c d e f g h i j k l m n o p q r Kuzma 2001.
- ^ a b c Wytwycky, Wasyl. "Berezovsky, Maksym". Internet Encyclopaedia of Ukraine. Canadian Institute of Ukrainian Studies. Retrieved 10 August 2022.
- ^ a b Shumilina 2019.
- ^ Shumilina 2018.
- ^ a b c Rudyachenko, Oleksandr. "Український Моцарт" [Ukrainian Mozart]. The Day (Kyiv) (in Ukrainian). Kyiv: Ukrainian Press Group. Retrieved 10 October 2023.
- ^ Korniy 1998, p. 202.
- ^ Karabits 2021, p. 18.
- ^ Yurchenko 2018, p. 5.
- ^ Ritzarev 2013, pp. 184–206.
- ^ a b c d e f g h i j k l "Максим Березовський, Блаженні яже ізбрал" [Maksym Berezovsky, Blessed Yazhe chose]. Our Parish (in Ukrainian). Parish of St. Archangel Michael, Kyiv, Pirogov. Retrieved 26 October 2023.
- ^ "М. Березовський. Блаженні я же ізбрал" [M. Berezovsky. I chose the blessed ones] (in Ukrainian). Ukrainian Sacred Music Foundation. Retrieved 16 October 2023.
- ^ "Classical Music and Beyond EP80. Spring Potporri". Radio Kingston. Kingston, New York. Retrieved 16 October 2023.
- ^ Ritzarev 2013, p. 184.
- ^ "«Во всю землю» для 4-голосного хора с ф-но, E-dur. Партитура" [“In eternal memory there will be a righteous man” for 4-voice choir with piano, B minor. Score.]. Treasury of Sacred Music (in Russian). Russian National Museum of Music. Retrieved 28 October 2023.
- ^ Ritzarev 2013, p. 186.
- ^ a b c d Ritzarev 2013, p. 191.
- ^ Azeev 1914, p. 129.
- ^ Azeev 1914, pp. 50–51.
- ^ Ritzarev 2013, pp. 191–195.
- ^ a b c d e f g h i "Концерты; Литургия" [Concerts; Liturgy]. Максим Березовский (in Russian). Retrieved 27 October 2023.
- ^ Azeev 1914, pp. 104–105.
- ^ Azeev 1914, pp. 92–84.
- ^ "Das Vaterunser (Berezovsky, Maksym)". IMSLP. Retrieved 26 October 2023.
- ^ a b c Ritzarev 2013, p. 196.
- ^ "Отче наш (Березовський)" [Our Father (Berezovsky)]. Wikisource (Ukrainian). Retrieved 26 October 2023.
- ^ Azeev 1914, p. 163.
- ^ a b Ritzarev 2013, p. 199.
- ^ a b Ritzarev 2013, pp. 199–200.
- ^ Azeev 1914, pp. 21–22.
- ^ Ritzarev 2013, p. 201.
- ^ a b c d Ritzarev 2013, p. 202.
- ^ Ritzarev 2013, p. 206.
- ^ a b Ritzarev 2013, p. 187.
- ^ a b Ritzarev 2013, p. 188.
- ^ a b c Ritzarev 2013, p. 189.
- ^ a b c Ritzarev 2013, p. 190.
- ^ Ritzarev 2013, p. 195.
- ^ Ritzarev 2013, p. 198.
- ^ a b Ritzarev 2013, p. 204.
- ^ Ritzarev 2013, p. 200.
- ^ Yurchenko 2018, pp. 24–35.
- ^ Yurchenko 2018, pp. 36–47.
- ^ a b Ritzarev 2013, p. 203.
- ^ Kerkhoff, Sven. "Reviews – Berezovsky, M. (Currentzis) : Weltliche Musik" (in German). Musik an sich. Retrieved 22 October 2023.
- ^ a b Suprun-Yaremko 2014, p. 414.
- ^ a b Taruskin, Richard (2002). "Berezovsky, Maxim Sozontovich (opera)". Grove Music Online. doi:10.1093/gmo/9781561592630.article.O900539. Retrieved 15 October 2023.
- ^ Ritzarev 2006, p. 116.
- ^ Shulgina 2020, p. 171.
- ^ a b Cite error: The named reference
Pry
was invoked but never defined (see the help page). - ^ a b c Korniy 1998, p. 303.
- ^ Ritzarev 2006, p. 113.
- ^ Shulgina 2020, p. 172.
- ^ a b Shumilina 2021, pp. 24–25.
- ^ Shulgina 2020, p. 170.
- ^ Shulgina 2020, p. 172–173.
- ^ a b c Karabits 2021, p. 20.
- ^ a b c Karabits 2021, p. 16.
- ^ a b Rakochi 2018.
- ^ Karabits 2021, pp. 21–22.
- ^ a b c "Rediscovered symphonies of Maksym Berezovsky, the 'Mozart from Ukraine'". American Broadcasting Company. 16 May 2022. Retrieved 14 October 2023.
- ^ a b Karabits 2021, p. 23.
- ^ Karabits 2021, p. 25.
- ^ Shumilina 2015, p. 83.
- ^ Orlando Figes, Natasha's Dance (Picador, 2002), p. 41.
- ^ Yefimenko, Adelina (December 27, 2020). "Максим Березовський і Кирило Карабиць". Збруч (in Ukrainian). Archived from the original on November 7, 2022. Retrieved November 7, 2022.
Росія має право називати Березовського російським композитором, а наше право – називати його українським.
- ^ a b c Shulgina 2020, p. 174.
- ^ a b c Prokaza, Darya (13 December 2017). "Музичні сенсації. Що ховається у львівських архівах" [Musical sensations: What is hidden in the Lviv archives]. Ukrainian Pravda (in Ukrainian). Retrieved 24 October 2023.
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- Rakochi, V. (2018). "Рукописи Не Горять, або Симфонія До-Мажор Максима Березовського" [Manuscripts do not burn, or Maxim Berezovsky's Symphony in C major] (PDF). Art Studies Studios (in Ukrainian). 1. National Academy of Sciences of Ukraine: 45–54. ISSN 1728-6875.
- Ritzarev, Marina (2006). Eighteenth-Century Russian Music. Taylor & Francis. ISBN 978-13515-6-860-9.
- Ritzarev, Marina (2013). Композитор М.С. Березовский жизнь и творчество [Composer M.S. Berezovsky: His Life and Work] (in Russian). Leningrad: Muzyka. OCLC 15856456.
- Shulgina, V. D. (2020). "11: Unique Manuscripts and Printed Documents of Ukrainian Musical Culture of the 18th Century: Sources Search". Cultural and Arts Studies of National Academy of Culture and Arts Management. Kyiv.
{{cite book}}
: CS1 maint: location missing publisher (link) - Shumilina, Olga (2015). "Композитор максим березовський: огляд прижиттєвих документальних матеріялів (до 270-річчя від дня народження)" [Composer Maxim Berezovsky: a review of documentary materials during his lifetime (for the 270th anniversary of his birth)] (PDF). українська музика [Ukrainian Music]. 18: 77–84.
- Shumilina, Olga (2018). "Реконструкція Біографічного Сценарію Життєтворчості М. Березовського У Світлі Основних Положень Концепції Вікового Музикознавства Н. Савицької" [Reconstruction of the biographical scenario of the life of M. Berezovsky in the light of the main provisions of the concept of age musicology] (PDF). українська музика [Ukrainian Music]. 29 (3): 21–28.
- Shumilina, Olga (2019). "Італійські Періоди Життєтворчості Максима Березовського Та Їх Роль У Становленні Індивідуального Музичного Стилю" [The Italian periods of Maxim Berezovsky's creative life and their role in the formation of individual musical style]. Scientific Herald (in Ukrainian) (126). Tchaikovsky National Music Academy of Ukraine. ISSN 2522-4204.
- Shumilina, Olga Anatolyivna (2020). "Сонатна Форма Вінструментальних Творах Максима Березовського" [Sonata form in the instrumental works of Maxim Berezovsky]. Journal of the National Music Academy of Ukraine Named After P. I. Tchaikovsky (in Ukrainian). 46 (1): 6–16. doi:10.31318/2414-052x.1(46).2020.198489. ISSN 2414-052X.
- Shumilina, Olga (2021). "Клавірні Сонати Синьйора Бера З Краківського Рукопису І Чеська Музична Культура Другої Половини Хvііі Століття" [Signor Ber's Piano Sonatas From the Krakow Manuscript and Czech Musical Culture of the Second Half of the 18th Century]. українська музика [Ukrainian Music] (in Ukrainian). 41 (3): 24–32.
- Stites, Richard (2008). Serfdom, Society, and the Arts in Imperial Russia: The Pleasure and the Power. Yale University Press. ISBN 978-03001-2-818-5.
- Suprun-Yaremko, Nadia (2014). Поліфонія: Посібник для студ.вищих навч.муз.заклад [Polyphony: A Guide for Students of Higher Educational Institutions of music]. Vinnytsia, Ukraine: Nova Knyha. ISBN 978-96638-2-510-6.
- Yurchenko, Mstyslav (2001). Text of booklet to the CD Sacred Music by Maksym Berezovsky
- Yurchenko, Mstyslav, ed. (2018). Newly Discovered Choral Concerti Part A – Concerti for Four Voices (PDF). Anthology of Ukrainian Sacred Music: Works by Ukrainian Composers. Vol. 5: Maksym Merezovsky. Kyiv: Komora Publishing House. ISBN 978-617-7286-40-9.
Further reading
- Hamov, Oleksiy (12 January 2022). Ukrainian Violin Sonata: Performance Analysis of Sonatas for Violin and Piano by Naum Lapynsky and Mykola Silvansky (thesis). UNLV. Docket 4588. Retrieved 12 October 2023.
- Matsenko, Pavlo (1951). Дмитро Степанович Бортнянський і Максим Созонтович Березовський [Dmytro Stepanovych Bortnians′ky i Maksym Sozontovych Berezovs′ky] (PDF) (in Ukrainian). Wiinepeg, Canada: Ukrainian Cultural and Education Centre. pp. 23–29.
- Ritzarev, Marina (12 October 2019). "Концертный стиль 1760-1770-х годов в творчестве М. Березовского и Б. Галуппи Источник" [Concert style of the 1760-1770s in the works of M. Berezovsky and B. Galuppi] (in Russian). Открытый текст [Open Text]. Retrieved 23 October 2023.
Fiction
- Kolisnichenko, Yuriy; Plachinda, Serhiy (1971) [1968]. Неопалима купина [Burning Bush]. Vol. Maksym Berezowsky, Artem Wedel – Historical Novels. Winnipeg, Canada: Trident Press Ltd.
- Kukulnik, N. (1844). Максим Созонтович Березовский (in Russian). Wikisource (Russian).
External links
- Free scores by Maxim Berezovsky in the Choral Public Domain Library (ChoralWiki)
- Free scores by Maxim Berezovsky at the International Music Score Library Project (IMSLP)
- Sacred works by Berezovsky at the Orthodox Sacred Music Reference Library website (free registration needed)
- Maxim Berezovsky – Symphony in C major: Allegro molto – Andante – Presto from Pratum Integrum, which includes a performance of the work
- Score of "Do not reject me in my old age" (1842) from the National Electronic Library of the Ministry of Culture of the Russian Federation
Manuscripts
- Sonata per Violino (Violin sonata) from the Bibliothèque nationale de France (département Musique, D-11688).