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Bortnyansky: Sacred Concertos Vol 2 / Polyansky, Et Al
Selections recorded at the St Sophia's Cathedral, Polotsk and Dormition Cathedral, Smolensk, Russia.
Dmitri Stepanovic Bortnyansky was among the first generation of native Russian composers who emerged in the late 18th century. Like many of his colleagues he studied in Italy and wrote operas in both Italian and French. He is best remembered, though, for the large output of sacred choral music he wrote for the court of Catherine the Great, much of it gathered into three movement suites called concertos. Not intended as part of the Orthodox service but as recessional pieces, the concertos are pleasant works of a generally uplifting nature, displaying classical balance and grace rather than spiritual fervor. The performances by Valeri Polansky and the Russian State Symphonic Cappella are rich and euphonious, and well captured by Chandos in an ample cathedral acoustic.
REVIEWS:
American Record Guide (7-8/00, p.97) - "...Few choral composers have terraced their harmonies and dynamic changes more expertly...These seven 'Sacred Concertos' are three-movement affairs that vary in duration... [u]tterly glorious things happen in all of them..."
International Record Review (4/00, p.27) - "...Borynyansky's choral writing is of the first rank, and perfectly caught by the superb Russian State Symphonic Cappella. Listen, for example, to the spine-tingling dramatic hush of the opening movements of concertos Nos. 10 and 11..."
Dmitri Stepanovic Bortnyansky was among the first generation of native Russian composers who emerged in the late 18th century. Like many of his colleagues he studied in Italy and wrote operas in both Italian and French. He is best remembered, though, for the large output of sacred choral music he wrote for the court of Catherine the Great, much of it gathered into three movement suites called concertos. Not intended as part of the Orthodox service but as recessional pieces, the concertos are pleasant works of a generally uplifting nature, displaying classical balance and grace rather than spiritual fervor. The performances by Valeri Polansky and the Russian State Symphonic Cappella are rich and euphonious, and well captured by Chandos in an ample cathedral acoustic.
REVIEWS:
American Record Guide (7-8/00, p.97) - "...Few choral composers have terraced their harmonies and dynamic changes more expertly...These seven 'Sacred Concertos' are three-movement affairs that vary in duration... [u]tterly glorious things happen in all of them..."
International Record Review (4/00, p.27) - "...Borynyansky's choral writing is of the first rank, and perfectly caught by the superb Russian State Symphonic Cappella. Listen, for example, to the spine-tingling dramatic hush of the opening movements of concertos Nos. 10 and 11..."
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Bortnyansky: Sacred Concertos Vol 2 / Polyansky, Et Al
Selections recorded at the St Sophia's Cathedral, Polotsk and Dormition Cathedral, Smolensk, Russia.
Dmitri Stepanovic Bortnyansky was among the first generation of native Russian composers who emerged in the late 18th century. Like many of his colleagues he studied in Italy and wrote operas in both Italian and French. He is best remembered, though, for the large output of sacred choral music he wrote for the court of Catherine the Great, much of it gathered into three movement suites called concertos. Not intended as part of the Orthodox service but as recessional pieces, the concertos are pleasant works of a generally uplifting nature, displaying classical balance and grace rather than spiritual fervor. The performances by Valeri Polansky and the Russian State Symphonic Cappella are rich and euphonious, and well captured by Chandos in an ample cathedral acoustic.
REVIEWS:
American Record Guide (7-8/00, p.97) - "...Few choral composers have terraced their harmonies and dynamic changes more expertly...These seven 'Sacred Concertos' are three-movement affairs that vary in duration... [u]tterly glorious things happen in all of them..."
International Record Review (4/00, p.27) - "...Borynyansky's choral writing is of the first rank, and perfectly caught by the superb Russian State Symphonic Cappella. Listen, for example, to the spine-tingling dramatic hush of the opening movements of concertos Nos. 10 and 11..."
Dmitri Stepanovic Bortnyansky was among the first generation of native Russian composers who emerged in the late 18th century. Like many of his colleagues he studied in Italy and wrote operas in both Italian and French. He is best remembered, though, for the large output of sacred choral music he wrote for the court of Catherine the Great, much of it gathered into three movement suites called concertos. Not intended as part of the Orthodox service but as recessional pieces, the concertos are pleasant works of a generally uplifting nature, displaying classical balance and grace rather than spiritual fervor. The performances by Valeri Polansky and the Russian State Symphonic Cappella are rich and euphonious, and well captured by Chandos in an ample cathedral acoustic.
REVIEWS:
American Record Guide (7-8/00, p.97) - "...Few choral composers have terraced their harmonies and dynamic changes more expertly...These seven 'Sacred Concertos' are three-movement affairs that vary in duration... [u]tterly glorious things happen in all of them..."
International Record Review (4/00, p.27) - "...Borynyansky's choral writing is of the first rank, and perfectly caught by the superb Russian State Symphonic Cappella. Listen, for example, to the spine-tingling dramatic hush of the opening movements of concertos Nos. 10 and 11..."
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Selections recorded at the St Sophia's Cathedral, Polotsk and Dormition Cathedral, Smolensk, Russia.
Dmitri Stepanovic Bortnyansky was among the first generation of native Russian composers who emerged in the late 18th century. Like many of his colleagues he studied in Italy and wrote operas in both Italian and French. He is best remembered, though, for the large output of sacred choral music he wrote for the court of Catherine the Great, much of it gathered into three movement suites called concertos. Not intended as part of the Orthodox service but as recessional pieces, the concertos are pleasant works of a generally uplifting nature, displaying classical balance and grace rather than spiritual fervor. The performances by Valeri Polansky and the Russian State Symphonic Cappella are rich and euphonious, and well captured by Chandos in an ample cathedral acoustic.
REVIEWS:
American Record Guide (7-8/00, p.97) - "...Few choral composers have terraced their harmonies and dynamic changes more expertly...These seven 'Sacred Concertos' are three-movement affairs that vary in duration... [u]tterly glorious things happen in all of them..."
International Record Review (4/00, p.27) - "...Borynyansky's choral writing is of the first rank, and perfectly caught by the superb Russian State Symphonic Cappella. Listen, for example, to the spine-tingling dramatic hush of the opening movements of concertos Nos. 10 and 11..."
Dmitri Stepanovic Bortnyansky was among the first generation of native Russian composers who emerged in the late 18th century. Like many of his colleagues he studied in Italy and wrote operas in both Italian and French. He is best remembered, though, for the large output of sacred choral music he wrote for the court of Catherine the Great, much of it gathered into three movement suites called concertos. Not intended as part of the Orthodox service but as recessional pieces, the concertos are pleasant works of a generally uplifting nature, displaying classical balance and grace rather than spiritual fervor. The performances by Valeri Polansky and the Russian State Symphonic Cappella are rich and euphonious, and well captured by Chandos in an ample cathedral acoustic.
REVIEWS:
American Record Guide (7-8/00, p.97) - "...Few choral composers have terraced their harmonies and dynamic changes more expertly...These seven 'Sacred Concertos' are three-movement affairs that vary in duration... [u]tterly glorious things happen in all of them..."
International Record Review (4/00, p.27) - "...Borynyansky's choral writing is of the first rank, and perfectly caught by the superb Russian State Symphonic Cappella. Listen, for example, to the spine-tingling dramatic hush of the opening movements of concertos Nos. 10 and 11..."
