Dmitri Stepanovich  BORTNYANSKI  (1751-1825)

Dmitri Stepanovich Bortnyanski was born in Glukhov (in the present-day Sumy region, Ukraine).
He received his first musical education at the music school of his home town.. 
Thanks to his outstanding talent and his beautiful  soprano voice, he was accepted 
into the Boys' Choir of the Petersburg Court at the age of seven. His teachcrs there were the 
choirmaster M.F. Poltoratski and later the famous Italian composer Baldassare GaIuppi, who was 
director of the Petersburg Court Musicians from 1765 to 1768. A grant from Catherine II enabled 
him to stay in Italy for several years, where he continued his studies with Galuppi, and where he 
composed two operas for Venice and Modena (Creonte and Quinto Fabio).
In 1779, he became director of the Petersburg Court Musicians and from 1796, director of the
Imperial Musicians, who flourished under his leadership. He held this post until his death in 1825.
Bortnyanki composed three more operas, numerous Choral works, songs, and chambermusic. 
The bulk of his life's work consists of diverse choruses and hymns. However, these should not 
obscure the equally worthy instumental creations of this Russian maestro.

HARPSICHORD CONCERTO in D major

The harpsichord concerto in D major, like most of Bortnyanski's artistic legacy, was presumed lost. 
But in 1982, part of his autograph was found in the music department of the Paris National Library:
the solo part and a piano sketch of the orchestral accompaniment. 
Now, Yelena Storck, basing her style on Bortnyanski's Concert Symphony and his other instrumental 
works, has insightfully orchestrated this accompaniment (even she wrote an additional solo cadenza!)., 
while at the same time faithfully adhering to Bortnyanski's original.The lively and optimistic character 
of this one movement concerto and the sensitivity of the lyrical cantilena (second  theme) make for a 
stirring piece of music. The special importance of this rediscovered piece is that it is the earliest 
instrumental concerto of Russian music.
 Listening to Bortnyanski and Fomin, we realize that their music proves 
the truth of  Robert Schumann´s maxim, with which he welcomed the young and unknown 
Brahms  to the musical world:
>At all times there has been a secret alliance of kindred spirits. Draw closer all ye who belong 
together, so that the truth in art may shine ever more clearly, spreading joy and grace everywhere.<

(My MIDI-sequence was the source for printing the score and the instrumental parts.)