MAXIM BEREZOVSKY (ca.1745–1777) SECULAR MUSIC PRATUM INTEGRUM ORCHESTRA

MAXIM BEREZOVSKY Переложение для струнногоквартетаПавлаСербина (2003) Концерт «Неотвержи меневовремястарости»(до1769). Serbin (2003) by Pavel (before 1769).Transcription forstringquartet Соната фамажордляклавесина Sonata inFmajorforharpsichord Соната домажордляклавесина Соната домажордляскрипкииклавесина (1772) Sonata inCmajorforviolinand harpsichord (1772) Соната си-бемольмажордляклавесина Cимфония домажор(1770–1773) Sinfonia inCmajor(1770–1773) Tracks 1– 4 are world premiere recordings worldpremiere are 4 Tracks 1– 13 The firstRussiansymphony Ария Тиманта “MiseroPargoletto” изоперы«Демофонт»(1773) Ария Тиманта “PrudenteMi Chiedi”изоперы«Демофонт»(1773) 12 11 10 6 5 3 1 from “ from “ 7 4 9 8 2 Sonata inBflatmajorforharpsichord Aria ofTimante“MiseroPargoletto” Sonata inCmajorforharpsichord Aria ofTimante“PrudenteMiChiedi” Ariette. . Ariette. ler . . Allegro ler . . Allegro rso . . Presto nat . Andante Quartet “CastMeNotOffInTheTime OfOldAge” rv . . Grave ler ot . molto Allegro eutocn6vrain . . [2:53] variazioni 6 con Menuetto Il Demofonte Il Demofonte ” (1773) ” (1773) . . [8:22] / Первая русскаясимфония . [5:39] . [4:36] . [4:17] . [4:52] . [3:47] . [2:49] . [2:30] . [4:37] .[2:14] . [4:10] [2:23] [54:48] Time: Total PRATUM INTEGRUM ORCHESTRA (tracks 1-5) Italy, 1707 1996 /afterA.Stradivari, L. Kerchenko,Moscow, Russia, Marina Katarzhnova (tracks 1-5) mid 17thcentury 2001 /afterJ.Stainer,Austria, A. Rabinovich,St.Petersburg,Russia, Vlad Pessin (tracks 1-5,10-13) mid 17thcentury 1996 /afterJ.Stainer,Austria, A. Rabinovich,StPetersburg,Russia, “In MemoryofGreatStainer”, Sergei Filchenko (tracks 1-5) Teodor Currentzis EGIFLHNOOG ATNV GALINAKNYSH OLGAMARTYNOVA SERGEI FILCHENKO 1st violin 1st violin conductor 1st violin (tracks 1-5, 10-13) Metz, France,1999 restore 1795 / E. Pillement,Mirecourt, France, Pavel Serbin (tracks 1-5) Anonym, Italy, early19thcentury Margarita Spiridonova Anonym, Tirol,1792 Juri Vdovitchenko (tracks 1-5) Anonym, France,early19thcentury Ekaterina Krasutskaya Anonym, Germany, 1791 Natalia Kossareva century J.B. Schweizer,Germany, early19th Dmitry Sinkovsky (tracks 1-5,13) d byA.Meyer, cello 2nd violin (tracks 1-5,13) 2nd violin viola (tracks 1-5) 2nd violin viola PRATUM INTEGRUM ORCHESTRA TEODOR CURRENTZIS 1765 Austria /afterH.Grenser, R. Tutz, Innsbruck, Olga Ivusheikova ca.1775 afterJ.F. / Grundmann, Belgium M &FPonseele,Damme, Nodel Philipp J.F. Grundmann, 1788 G. Wolf, Kronaсh,Germany/after Andrei Piskunov century 19th Anonym, Germany, double basspiccolo Miroslav Maksimyuk (tracks 1-5) I. Frolov, Moscow, Russia,1950 Jaroslav Kovaliov (tracks 2, 5) (tracks 1-4) (tracks 1-5) oboe oboe flute cello (tracks 1-4) Bamberg-N Olga Martynova France,1841 A. Cortois, Hornworks, USA,2002/after Galina Knysh pianoforte 1970s USA, William Dowd(frenchmodel), natural horn Alexander Andrusik 1820 Ferdinand Kron,Mainz,Germany, Helen MacDougall H. Grenser,1765 R. Tutz, Innsbruck,Austria/after (tracks 6-12) 1979 /afterJ.A.Stein, Germany, 1788 Ekaterina Driazzhina (tracks 1-5) ü PAVEL SERBIN (tracks 1-5) J.C. NeupertGmbH&Co, rnberg, Germany, Patterson soprano (tracks 2,5) harpsichord natural horn (tracks 1-5) flute (tracks 4,5) MAXIM BEREZOVSKY came acrosssecular compositionswhoseartisticquality onceagain of sacredworks. Itwasonlyinthe20thcentury thatresearchers contribution tothedevelopment was definedsolely byhisenormous striking exampleofthecontemporary rediscoveryofhisart. Tarkovsky’s useofBerezovsky’s musicinthefilm“Nostalgia”wasa Andrei the AlexandrineImperialTheatre inSt.Petersburg. wasstaged at appeared inthe1840sandaplay byPeterSmirnov compelling plotforromanticfiction. AnovellabyNestorKukolnik the mostpartbasedonconjectureandsupposition. biographies ofthecomposerpublishedin19thcenturywerefor (ca.1745–1777). Almostnodocumentarymaterialhassurvived,and Little isknownaboutthelifeofMaximSozontovichBerezovsky For sometimethecomposer’splace inRussianmusicalhistory His tragicdemise,exceptionaltalent andshortlifemightseema MAXIM BEREZOVSKYANDHIS SECULAR WORKS 6

ENGLISH MAXIM BEREZOVSKY teachers attheroyal court,amongthemthesinger Nunciata Garani, inOranienbaum. formances from Ukraine,usuallyappearedin theleadingroles”ofoperaper- wordwasappliedtobothbaritoneandbasssingers] [this German Sciences, ProfessorYakob Shtelin,wrote that“Berezovsky,abassist Academyof an ofRussianfinearts,member ofSt.Petersburg and hisnameismentionedinthe printedlibrettos.Thefirsthistori- 1759 heparticipatedinseveralstage productionsofItalianoperas, Tsarevich (CrownPrince)PeterFyodorovich’s entourage.Startingin Academy’s annals. outstanding musicaltalents,althoughhisnameismissingfromthe studied attheKievEcclesiasticalAcademy,wherehedisplayedhis bytheGlukhovstudents. Accordingtosomesourceshe formances There iseveryreasontobelievethatasachildMaximheardper- courtchoirwere trainedinGlukhov. singers forSt.Petersburg’s man KirillRazumovsky.FromthetimeofEmpressElizabeth in theUkrainiantownofGlukhov,atresidencehet- place ofbirthisunknown,andinalllikelihoodhespenthischildhood modest meansfromUkraine(thencalledLittleRussia).Berezovsky’s concertos, instrumentalworksandoperas. 1770s, i.e.tothetimewhenBerezovskyproducedhisbestchoral Pashkevich andKhandoshkinwerewriting)tothe1760searly composition fromthe1780s(whenBortnyansky,Fomin, allowed musichistorianstoshifttheonsetofRussianschool Berezovsky’suniquegift.Thesenewlydiscoveredworks confirmed Berezovsky wastaught theartofsingingandcomposing byItalian In 1758theyoungmanwasappointedasasingerin The fatherofthefuturecomposerwasapparentlyanobleman 7

ENGLISH MAXIM BEREZOVSKY classicist choralconcerto blendingthetraditionsof Russianacapel- by themusicianBerezovsky”. ofaconcertocomposed singers gaveanexperimentalperformance wrote thatduringacardgameon March22nd1766“thecourt that reportedonalltheeventsheld inthepresenceofEmpress seurs andgainedtheapprovalof theroyalcourt”.Acourtjournal delightedconnois- thattheperformances and outstandingharmony superlative churchconcertosfor the courtchapel,withsuchtaste der Greekmelodies.Inthecourse ofseveralyearshecomposed “is sowellversedthatheisabletocombinethefieryItalianandten- in Russia”(1771)thatasacomposerofchoralconcertosBerezovsky sacred choralconcertos.Shtelinremarkedinhis“NewsaboutMusic the courttheatre. asa‘figurante’(memberofthecorpsdeballet)at tually performed Oranienbaum theatreschool(wheretheyprobablymet)whoeven- playerinthecourtorchestra and agraduateofthe of aFrenchhorn evidence hassurvived. hemusthavewrittensecularmusictoo,butno court performances fecting hisskillsasanauthorofsacredmusic.Asacontributorto composer, whowasdevotingmoreattentiontocompositionandper- quent ascensionofCatherinedidnotalterthefortunesyoung ferred totheItaliancourtgroup.Theensuingcoupd’étatandsubse- posers Vincenzo ManfrediniandBaldassareGaluppi. the courtchapeldirectorFrancescoZoppis,andpossiblycom- The ten-volume“History ofRussianMusic”saysthat theRussian In the1760sheworkedasacourtmusicianandcomposerof In 1763thecomposermarriedFranzinaUberscher, thedaughter After PeterIIIascendedtheRussianthroneBerezovskywastrans- 8

ENGLISH MAXIM BEREZOVSKY that tutoredmusiciansfromalloverEurope. the poser, of andmasterofcounterpoint.Martiniwasactuallyincharge tinue histrainingwithPadreMartini,arenownedteacherandcom- Berezovsky. Galuppi) andthefirstRussianmasterofthisgenre,Maxim due tocompositionsbyItaliansthenworkinginRussia(primarily Bolognese schoolswasestablishedasapopulargenreinthe1760s la churchsingingandthechoralpsalmmotetofVenetian and miered inFebruary 1773andwellreceivedbythe local press. the commander-in-chief oftheRussianfleet. Theoperawaspre- Apparently thecomposition wasrequestedbycount AlexeyOrlov, wintercarnival. by PietroMetastasio,especially for theLivorno anchored. Hewrotetheopera“Il Demofonte”,basedonalibretto whereaRussianfleetofships was almost certainlyvisitedLivorno, Berezovsky visitedVenice, wherehereceivedhisscholarship, and the timewasrecognizedasItaly’s culturalandscientificcentre. Antiphon forfourvoicesarekeptin theAcademyarchivestothisday. Academy members.TheprotocolandmanuscriptofBerezovsky’s Josef Myslive task. BerezovskytooktheexamtogetherwithCzechcomposer 14-year-old Wolfgang Mozarthadbrilliantlycompleted asimilar work onagiventhemeinthestrictstyle.Severalmonthsearlier nation. Berezovsky’sassignmentwastocomposeapolyphonic sary toachievethreehighergradesandpassafinalacademicexami- To becomeamemberofthe In thespringof1769composerwasdispatchedtoItalycon- The composer’sstayinItalywasnot limitedtoBologna,whichat Accademia Filarmonica č ek. In1771theybothgainedthestatusofforeign in Bologna,ahighly-regardedinstitution Accademia Filarmonica , itwasneces- 9

ENGLISH MAXIM BEREZOVSKY voice concerto “Cast Me Not Off in the Time ofOldAge”.Specifi- voice concerto“Cast MeNotOffintheTime ranking postfora Russianmusicianatthetime. eight monthslaterhebecamedirector ofthecourtchapel,ahigh- ed apositionwiththeimperialtheatres onhisarrivalinRussia,and recent archivaldiscoveriesshowthat MaximBerezovskywasaward- his owncountryandthisledtoa prematuredemise.Nevertheless, composer’s biographerstherewas nogreatdemandforhistalentsin son toexpectasuccessfulfuture career. However, accordingtothe his sacredcompositionssinceearly youthgaveBerezovskyeveryrea- favourable presscoverageofhisoperaandtheacclaimatcourtfor Paul Fortresstwoyearslater. Peterand custody ofCatherineIIandimprisonedinSt.Petersburg’s Russian throne.Iffact,therebelliousprincesswasdeliveredinto warship thatcarriedPrincessTarakanova, adisloyalpretender fora romantic versionhasthecomposersailinghomeonRussian covered, aswellindirectreferencestoacantataandconcerto. the Sonataalreadymentioned,subsequentlyaSymphonywasdis- hisskillsincomposingfordifferentinstruments.Apartfrom perfect had thechancetobroadenhisknowledgeofmusicaltheatreand career asoperacomposerorKapellmeister. Berezovskycertainly activities tosacredmusic,norweretheypreventedfrommakinga violin andcembalopointstoyetanotherItaliancity,Pisa. country’s othermusicalcentres.ThemanuscriptofhisSonatafor The apotheosisof Berezovsky’ssacredmusicwashis brilliantfour- The youngmusician’saccomplishmentsinItalyandacademictitle, inOctober1773.One toSt.Petersburg Berezovsky returned Bologna Academystudentswerenotcompelledtorestricttheir During his4-yearstayinItalyBerezovskymusthavevisitedthe 10

ENGLISH MAXIM BEREZOVSKY aework or merelytheintroductiontoanopera (“IlDemofonte”?). rate ofthe Sinfonia.Hardtosayifthisisa sepa- is thefirstperformance Doria Pamphilj.Thanks totheeffortsofPavelSerbin, thisrecording revealed theexistenceofmanuscript ofthisopusintheArchivio in hisearlythirties. spent theendofhislifealone.The talentedRussiancomposerdied singer Yakov ThisindicatesthatMaximBerezovsky Timchenko. died hislastwagesandafuneralallowanceweregiventocourt the husband’sfuneralcostsandalifelongpension.AfterBerezovsky died afterfallingvictimtoasuddenfever. hood thecomposersufferedfrommentalillness(hypochondria)and inalllikeli- that thiswasacompletemyth.AccordingtoRytsareva, of Berezovsky’smusic,maintainedinheressay“Was ThisSuicide?” acontemporarystudent “stab himselftodeath”.MarinaRytsareva, “hypochondria” thatledto“feverandinsanity”causedhim Berezovsky. Bolkhovitinovassertedthatthecomposersufferedfrom tainly usedthetestimoniesofwitnesseswhopersonallyknew 1804 EvgenijBolkhovitinov,thecomposer’sfirstbiographer, cer- todrinkandonMarch24th1777 hecommittedsuicide.In turned circumstances ofhisdeath.ManysourcesrecordthatBerezovsky extravagant detailsthatlaterprovedtobeuntruewereaddedthe nique makethisadazzlingexampleofRussianmusicalclassicism. cally Russiancharacteristicscombinedwithsolidpolyphonictech- It wasonlyin1998thatItalianmusic historyprofessorA.Laterzza Sinfonia inCmajor(1770–1773) In previouscenturiesRussianwidowsreceivedastatesubsidyfor Little isknownofBerezovsky’slateryears.Overtimemany 11

ENGLISH MAXIM BEREZOVSKY harpsichord; SonatainFmajor forharpsichord goletto” fromActIII,Scene5 “Miseropar- “Prudente michiedi”fromActII;AriaofTimante German composer,German makerJoseph conductor andglassharmonica Berezovsky. The real authorwasacontemporaryof Berezovsky,the was laterfound thattheyhadbeenerroneously ascribedto works wererecordedandincluded inthepresentalbum.However, it by UkrainianscholarsinKrakow. In2003thenewlydiscovered operas, includingtheonebyMyslive the18thCentury”,by1800thislibretto hadinspired73 Petersburg: very popularatthetime:accordingtoencyclopaedia“Musical Pietro Metastasio’slibrettowrittenin1733.Thissubjectmatterwas played withoutabreak. The latterismorelikely,sincethemovementsweremeanttobe ing tothe18th-centuryhand-written score. edited byM.Yurchenko. accord- Forthisalbumtheyareperformed Musiciens enRussieauXVIIIesiecle”(Geneva,1948). Aloys Mooserandpublishedin“AnnalesdelaMusiqueetdes and aplaybillfeaturingthesingers’nameswerefoundbyRobert newspaper The hand-writtencopies,acriticalresponseinLivorno Berezovsky maywellhavebeenfamiliarwiththesetwoproductions. inBologna1771(authorsunknown). and anoperaperformed The manuscriptofthesecompositions waslocatedandattributed Sonata inCmajorforharpsichord; SonatainBmajorfor The opera“IlDemofonte”wasbasedonthegreatItalianpoet Arias fromtheopera“IlDemofonte”(1773):AriaofTimante In 1988theariaswerepublishedinKiev,Ukraine,versions Only fourariasfromthescoreof“IlDemofonte”havesurvived. č ek stagedinVenice in1769 12

ENGLISH MAXIM BEREZOVSKY 1769) theless retainsthetragicemotional intensityofthismasterpiece. choral concerto,whiledetachedfrom themeaningoftext,never- movements arebasedonthesame theme.Instrumentalversionofthe both sacredandsecular, inthefollowingcentury. quartet anditsexemplaryroleinthe developmentofRussianmusic, this accountsfortheexceptional emotional effectproducedbythe singing withtheWest Europeangenreof“passionmotet”.Perhaps craft, skilfullyblendsthetraditionofRussianOrthodoxpolyphonic “for quartet”).Berezovsky’sbest-knownwork,theculminationofhis band”and intwoways:“for horn arranged forconcertperformances by PavelSerbin(in18th-centuryRussiasacredacapellaworkswere with violinandbassocontinuopartsnotatedontwostaves. Kiev, Ukraine.Thispublicationfeaturedthemanuscriptfacsimile and waspublishedforthefirsttimebyM.Stepanenkoin1883, violin, celloandharpsichord(Op.1,No.6). chord partforthefinalmovementofonehisquartetsflute, the Allegrofromso-calledFmajorSonataisinfactharpsi- directly relatedtoSchmittbaur’schamberensembles.Forinstance, Aloys Schmittbaur(1718–1809).Probablyallthesepieceswere The concertoismonothematic:fugues inthefirstandfinal asanarrangementforstringquartetmade This opusisperformed ofOldAge”(before intheTime Concerto “CastMeNotOff The manuscriptiskeptattheNationalLibraryinParis,France Sonata inCmajorforviolinandcembalo(1772) Margarita Pryashnikova,translation by OlegAlyakrinsky 13

ENGLISH MAXIM BEREZOVSKY ÌË Î Á˚ ÒÚ Ó· ËÌ ÔË ÊËÁ̸ – ·ı ËÔ‰ Ú „„.)Ì (ÓÍ.1745–1777 ËÌ ÔÛ· Ç ÔÓ‰ÎËÌÌÓÈ·Ë ‚ÂÌ Ë Ú ÑÓ í‡ í‡ ͇, ‡Ú‡Í ‡ ÍË å.Å Ë ÎË ÒÍÓÏ ËÏ ‡ ˘Â ‚Óθ ÌÓÈ ÏÛ ÎÓ‚ ÔÓ˜ ÍÓ ÍÓ Ò åÄä „Ë ÚË ÌËfl ÛÊÂÍÚ‚Ó ‚‡‚ ˜Â ÍË. í‡Í, ‚1840-ı„„.‚˚ ÌÓ ‰ÓÎ ÔÓ Â Ò Ê Ը ¯Ë ëÇÖí ͇fl ÍÓÌ Ô Á˚ ‚ΠÎÓ ÁÓ‚ ÚË ÌÂÒÓ ëàå ÅÖ Â ‡ ͇θ Òfl ‚XIX‚.,ÓÒ Ê ͇ „Ó ‚ ÒÍÓ ÚÓ Ó ÚÂθ „‡ ÌË Ò‡ è.Ä.ëÏË ÌÓÈ ÍÛθ „Ó ‚ÙËθ ÒÍÓÏ Ú ëäàÖ ëé ˜Ë flı. ı‡ ÙËË å‡Í χ Ì˚È Ò˛ ˜Â ̇, Ò‡ Ïfl Ï ÎÓ «·Â ÌË ÒÚ êÖ ‚Û ÍÓÏ ÎÓÒ¸, ‡ÊËÁ ‡ ÚÛ Ò Ú Ï Ä.í‡ ÊÂÚ ‰ÎflÓ ÏÓ ÚÓ Å Â. ü ˚ ÓÔ áéÇ ÒË Î˚ı Ôfl ÌÓ ÌÓ‚ ·˚Ú Ï‡ ëÓ ¯ÎË ‚Ò‚ÂÚÔÓ ÔÓ ‚‡, ÔÓ ÌÓÏ ·‡  óà ÁË  ÌÓÒÚ¸ Ú‡ ÍËÈ ÔË ëäàâ àÖÉé ÚÂÌ». ÑÓ ÁÓ‚ ÚÓ Ì ‰Â ÍÓ‚ ÍÓ‚ ÁÓÌ ÒÚ‡‚ ‡–ËÒ ‡ – ÓÔË çÖ Îfl ÒÍÓ Ï‡Ì ÁË ÒÍÓ ÚÓ ÎÓÒ¸ ËÒ Ó ÎÂÌ Ò‡ „Ó ‚ËÒ ‚Ë ÚË ÏÂ ÒÓ çàü „Ó «çÓ ÍÛ Î‡Ì ÌËfl ÍÓÏ ‚‡ ˜‡ Å ÁË ÔÓθ ‚ÂÒÚ¸ ç.äÛ Ì‡fl ‚ÄÎÂÍ ÏÂÌ ÎËÒ¸ ̇‰Ó Ó Ú‡, ÍÓ Íβ ÚÓ Ú‡Î¸ ‚‡Ì ‚ ÁÓ Ò  ËË ÓÚ ڇθ ÔÓ ‚‡ ˜Ë ÁÓ‚ ÌÓÈ ·ÂÎ ÏÂÌ Ì˚ı χ ÁË ÌË ÏÛ ÓÚ ÚÂθ „Ëfl». ÒÍÓ ÚÓ ÍÓθ Ò‡Ì ÌÓ Ï˚Ò Í‡fl ‡, ˜Â ÌÓ „Ó „Ó ‰ ------14

РУССКИЙ MAXIM BEREZOVSKY ̇ 1760-– ÒÚ ÏË Ú˚ „Ó ÓÒ ÚÓ ÒÍÓÏ „Ó Ó·˚˜ ÎËÌ, ÔË Á̇ ‰Ó ÎÓ ÒÍÓ ·ÂÌ ÚÓ Â„Ó Á̇ ÌËÈ ËÓÔÂ Â„Ó ÎÛ˜ Ú ÍÓ ËÏfl„ӂ‰Ó ˜ÎÂÌ Ô ÛÔÓ ‚Ó é‰ ÌÓÈ ‡Í‡ ÚÓ˜ ‡ î ‚Ó Ñ.ÅÓÚ ‡. ç‡È Û ÔÓ ‚‡Î ‚ÔÓ éÚˆ ·Û íÂÏ ÌÂÏ ÓÒ ÒÚÓ Ó Ì‡ „Ó Ì ˜‡ ÌË ÒËË ä.É.ê‡ ÏË ÍÓÏ å‡Í ‚‡ ÌÓ ‚˚ ÍÓ ‚ïï‚ ÎË ·‡ ÚÓ ËÌ ÒËÈ ÍË ÛÚ Ì‡ ˜Ë ÌËfl ÛÒ ‰Ó Ò‡Î, ˜ÚÓ‚Ó‡ Ó ‰Â ¯Ëı ıÓ ÚÂ ‚Ë ÒÚ ËÁ ÂÚ ÒÍËÏ ‰‚Ó ËÁ ÚÂθ Ó ÏËË, „‰ÂÔÓ ˚. ‰ÂÌ ‰Â ÉÎÛ ÎË Ô‚ ‚‡ ¢Â‡ÁÔÓ‰ ‰Û ‚ Òfl „ÓËÏfl.«èÂ ‚ÂÊ ÒÚÛ Ë ·Û„ ÒÚ‡ ‚ ÒËÏ ‰ÓÎ Ì ‚1758„.˛ÌÓ ‚Ë ˘Â ÌflÌ ÒÚ Ì˚ ÒÓ ÚÓÌ ËÎË·‡Ò)ÒìÍ ‰Â ÁÛ Ì˚Ï ‚Í· ԇΠbassist(‚ÚÓ ‚ ÌÓ‚ ˜‡, ̇ ÒÍÓÈ ÍÓÏ ÌÓ, ÌÓ‰ÂÚ Ó „Ó ÍÓÏ ÍÛ ˜‡ ÒÍÓÈ Ä͇ ÏÓ‚ ‰‡ ÒÍÓ ÌËfl Ò‚ÂÚ ıÓ Í ·˚ ˜Ëı ‰ÎflÔ ‚˚ı ÍÓÌ ÏÂÌ ÎÓ 1770-ı„„.–‚ ͇ı ËÚ‡ ˛Ú, ˜ÚÓÅ fl ‚Â, „‰Â̇ „Ó, Ö.îÓ ÒÍÓ ÊÂÌ ·˚ÎÒÎ˚ ˜Ë ÒΉ ÌË Ú‡ı ‡Í‡ ÔÓ ÌË ÎË Ó· fl‚ËÎ fl Ì „Ó Ë„‰ÂÒÓ‚ ÌÓÏ. å ‰ÓÏ ‚‡Á ÔÓ ÁË ÂÌ ‰Â ÒÚ ÌËfl ÔÓÁ ÌË ÒÍÓ ˆÂ Ú‚Â θ ÁË ÚÓ ·‡ ‚Ó Â„ÓÒÍÓ ÏËË Ì‡ ͇ Ô ÚÂ ̇ ‚˚È ËÒ flÌ ÚÓ ıÓ ÏË ‰Â ‡ ·˚Î,ÔÓ-‚Ë „Ó ı‡  ÛÏ ÚÓ‚, ËÌ Û ÍÓ ÏÛ ÏÛ ÍÓ ¯‡ ·˚ÎÔË ‰Ë ÒÍËı ÓÔÂ:‚Ô ‰Ë ÏËË ÌÂÒÓ Ì‡, Ç.臯 ‡ ·Û„ ÁÓ‚ Ò ÒÍËı ÒÔÂÍ ÒÍÓÈ ¯ÍÓ Ê ÚÓ ÓÊ ‚Ë ‚Ó ÎË ÛÌË Î‡Ò¸ Â Ë ¯‡Ú¸ ËıÔ Ïfl ˝ÚËÏÌ ÒÚÓ ÛÍ, ÔÓ ‡Í ÒÍËÈ Û˜ËÎ Ì˚ Å ÚË ʇ ÎË ÚÓ Ì˚ ÔË ÒÍÓ ÒÚ Á˚  ‚Ò ·. ë1759„.ÓÌÛÊÂÛ˜‡ ËÍ oÒÒËÈ ÎË ÓÚÓ Ú ÏÂÌ ËÏ Ïfl ÒÓ Û „Ó ÔË Í‡Î¸ ͇θ ‰Â ‡. àııÛ ÁË ı‡  Î˚ Ò1780-ı„„.(Ú‚Ó ÏÂÌ Ú‡Í Í Í ÙÂÒ Ì ‰Ë ÌËfl å‡Í ÌflÚ Ô‚ ̇‰ ‰ÂÌ Ó‚ ‰Û ÁÓ‚ ‚Ë ÌÓ ‰‡ ÌË ‰‚Ë ÌÓÒÚ¸ ‰‡ Á‰‡ Òfl ‚äË ÏÓ „Ó ÔÓ Îflı «‚„·‚ ڇθ ψ Ô ÌËÂ. ç ÒÓ üÍÓ· ÙÓÌòÚ ‰‚Ó ˜‡, à.ï‡Ì ΠˆËfl „ÂÚ ÎÓÒ¸. ÒÍËÈ». ÏÛ, Ì ‡ ˜‡Ú ÌÛÚ¸ ̇ ÌËfl Å ʇ ÍËÏ ÒÎÓ ÒÍËı ËÒ Ì˚ı ÔÓ ıÓ‚ Ú ˜ËÏ ‚¯Ú‡Úè Ó ‰Ó ÌÓ Ë ÒË Ì˚ı ÎË ¯ÎÓ ‚ÛÍ ˘Ë ÍÓÏ Â‚ ‚‡ Ê ÍÓ ÍÓ Ï‡ Å „Ó ıÓ ·Ó ÌÓÈ ÏÛ Ó ˆ˚ ÖÎË Ï‡ ÒÍÓÈ ‰Û  ÌËÂ, Ó‰ ˜‡ ÚÓ „‡ ‚‡ ÒÚ ÌÓÈ Ó ‰Ó¯ ̇ å‡ ‚ÓÏ Ó·Ó ÁÓ‚ ÎÓ ÙÓ ÍÛÒÒÚ‚», Ú˚Ï Ï‡ ˚ ËÒ ËÁ ÌËfl ‡‚ ‚ÂÌ · ‡. ê  ÂÚ Á˚ ‡ ÔÓ ÍË ‚ Á‡ ÒÍËÏ ıÓ‚ ÁÓ‚ Ì˚ ËÌ ÎÓ ÍË. ̇ ˜Â ‰Â ÁË Ì‡) ‚ ÒÚ ÎË ÚÓ ------15

РУССКИЙ MAXIM BEREZOVSKY  ‚ÒÍÓ Å.ɇ ÌË, ͇ ‡‚ Ò͇ ҈ ‰‡Î¸ ÍËÏ ‚ÍÛ Ô‚ ÔÓ ÍÛ ÎÂÈ, Ó̉ÓÎ ‚ÌË ‚ «àÁ ˜Ë ÍÓÌ Ó ÌÓ Ò˜‡ ÏÂ-ÙÛ ÌË Ëı‚˚ ‰‚Ó ÌÓÈ „ Ú ÏÂÌ ‡ ÚÓ é·Û èÓ Ç 1763„.ÓÌÊÂ Ç 1760-ı„„.Å ‚ ÌË Í Í Á‡ Ú Ì ÔË ˜Ë ˆÂ χ ıÓ ÎÛÔ ‡Î¸  ‰‚Ó ‡ ‰Û ‰ÂÌ ‚ËÚ‡ ÌÂÈ Ò ÌÓÈ Í‡ ÚÂθ ıÓ ÎËÒ¸ ̇ÒÛ‰¸ ÒΠ‚ÓÒ ‚Â Ú ÏË; ‡Ú‡Í ڇθ ÌËfl ۉ ‰ËÎ ÛËÚ‡ ÔÂθ ˜Â ÒÚ ‡ î‡Ì ¸ ÚÓ‚ ÅÂ Ò ÔË. ÒÓÏ ËÚ‡ ˜Â ¯ÂÏ ‚˚ ÚË ÌË Ô‚ ÎË ÌÓÈ ¯ÍÓ Â ıÓ‚ ‰‚Ó Ò Ì˚ı Ò‚Â Á‚‡ ÏÂÈ flı ÓÏÛ ‚Ó ÒÓ ÍÓÈ. ÇÚ ÔÂÎ ÊÂÌ ·˚η˚Ó· ÒÍËÈ ÊÛ ˆÓ Ó ¯Â Ì˚ı ÔÓ ÎÓ ‚ÓÒ  ÎflÎ ÒÓ ÒÚ ‚˚È Ô ÌÓ ‚˚ı ˆÂ ÊÂ, ‚ÓÁ Î˚ Ô θ ÒÚ ÒÚÛ Î¸ ˆË ÁÓ‚ ˜Â ˜Â ÍÓÈ ‚˚ „Ó Ú Î˚ („‰ÂÓÌË,ÔÓ-‚Ë ‚Ëfl ̇Ô flÌ ‡ î.ñÓÔ  flÌ ‰Â ·Â ÏÓ Ì û·Â Á˚ Ò Ô‡ Ú‡Ú¸ Ó„ ÒÍËÈ «Ì‡ ÍÓ ÍÓ ÒÍÛ˛ ÔË ÌËÎ ıË ÁÓ‚ ˆÂ‚, ÒÎÛ ÌËÈ Ó·˝ÚÓÏÌÂÒÓ ˜Â ˜Ë · ͇ͫÙË Í ‚êÓÒ Ì‡Î, ÙËÍ ËÁ  ÏÛ Ï‡ ‚ÓÒ ‡ ˘Â ÏÓÊ ÌË Ì ÍÓ‚ ÍÓ‚ ÌÂ Ú ÒÍËÈ –ÔË Òfl ̇‰Ó ‚ ‰‡ ÎÓ ‚Ó ‡. ÌË Á̇ ıÓ‰ Ì˲, ÒÓ ‰Â ˛ ÌÂÌ ‰Ó ÓÚ Ë‚Ó Ì˚ı ÍÓÌ ÌÓ, ÛÍÓÏ ‡ ¯Â. Ç˚ ˘ÂÈ Ò ÒÚÓθ ÌËÈ. 옇 ÔË ÊË‚ ÒÚÓÎ è „Ó ÏÛ ÚÂ ÌÂÈ ÚËÚ¸ ÒÍÓθ ÒËË» (1771),‚ÒÓ ‰‚Ó ÌÛ˛ ËÚ‡ ÒË Ò‡, Û „Û Òfl „‡ ÒÚ ˜Â ¯Ëı Ôˉ‚Ó Û ¯Ë ˆÂ ÚÓ ÍÓ Ò‚Â ‡ÌÚ ‚Â Òfl ËÍÒ‚ÂÚ ‰‚Ó Á˚ ‚Û ËÍÓÏ ÌÛ˛ ÚÛÔ Ë ‚‡Î ˆÂ ˛ ˆ‡ ÍÓ‚ ËÓ‰Ó ÍËı ÎÂÚÓÌÒÓ ‰Ë ÔÓ ÔÛ ˘ËÈ ‚ÒÂÒÓ Ú Í‡Ì ÍÓ ÍÓ ÒÚ ¯ÂÌ  ‡ IIIÅ ÎË ÏÓ ÚÓ‚. ä‡ÍÓÚ Í‡» (Ú.Â.‚ÍÓ ı‡ ÏÓ ÒÍ ÁË Ì˚È Í‡ ÌËÍ ÔË ‚Ó ‰Û˘, ˜ÚÓÁ̇ ÌË Ö͇ Ú‡, ÍÓ ‡Ì ÌË ÌË ÚÓ ÍÓ‚ ÍÓ‚ ÏÛ, ËÔÓ ÒÚ ‰Ë‚ ÚÓ ÌË ÒÍÛ˛ Ï ÔÓ Á‡ ˆ‡ é‡ Ó‚ Ç.å‡Ì ‚Ûfl Ò‚ÓÂχ ÎÓÒ¸. ÔÛ. èÓ Ì˚ ÍÓÌ ÒÍÓÈ ÏÛ ¯Â ÌË ˆË Â: Ô · ÁË ÏÂ-ÏÛ  ÚÓ  ˜Ë ‰‚Ó Ò ˆËË Å ÂÈ, ˜ÚÓËÒ „Ó ÔË Ú ·˚ ÁÓ‚ ˚È ‚Ò·Óθ Ú‡ ÔË ÌË ‰‚Ó ˜Ë Ì Á̇ Ë Ï ÌË ÚËfl, ÔÓ ÎÓ ‚Ë ÌËÎ ‰ÎflÔË ÌËË ıÓ ÒÍËÈ ·˚ÎÔ ÒΠÌ˚ı ÒÔÂÍ ‰Â Ì˚ ÌË Á˚ ˜‡Î òÚ ÂÚ, ͇ÍÌÛÊ Á˚ ˆÂ ÍÓ ÍÓ ÂÌ ‰Ë˛ ÒÌÂÊ ˆ˚ ç.ɇ Ù ·‡  ‰‚Ó ͇ÌÚ ËÒÓ ÍÂ, ÌÓ‰Ó ‰Ó ÏË ‰‚Ó ·‡ Â Ò Ú˚ ÒÚ‡ Π‡». ä‡ ÚÂ ÁÓ‚ ‚‡‚ ÎËÒ¸) ‚ ÛÏ ‰Ë ÔÓÎ Í‡Í Ì Ó ÚÂ) ̇ Ì˚ ËÒ ÌÓ ÒÍËÈ ÒÍÓÈ ÌË Ë ÒÚ ¯ËÈ Ú‡Í ‚˚ı ÎËÌ ‡ ıÓ Ì ¯Â ÏË ‚Ó „Ó ------16

РУССКИЙ MAXIM BEREZOVSKY 1760-ı „„.·Î‡ ÏÓ àÚ‡ ÔÓ 1766 „.,‚Ó‚ Ú‡ ÛÒ ‚ ˝ÚÓÏʇ ˆÂ‚ (ÔÂÊ ‰Ë‚ ˜Ë ‰ËÎ ÅÓ ‚˚ ÒÚ‡ ÒÍËÈ ÍÓÏ ÔËÒ¸ ÒÓ ı‡ ÌË‚ ·Óθ ÚË ÚËÛÓ‚ Âfi „· ÏÛ Ç.Ä.åÓ ‰‡ Òfl ËÁ ˆÂ‚ ‰ÓÌ ‚ ÌË Ç ‰Â ÇÂÒ ÑÎfl ÔÓ ÏË ·˚ÎÔÂÚÍÓÌ Á˚ ÁË ‚Ó ‚‡ ÚÛÒ ËÌÓ ÒÍËÈ ıÓ ‰Ë ÌflÚ ¯Ë ‚ÔË Î˲, ÍÁ̇ ‰Â ÚÓ ÂÏ ‰ÎflÅ ÎÓÒ¸ ̇‚˚ „Ó ÏÓ Í‡Ì ˆËË ÛÒ ÌÓÈ 1769„.Å ‚˚. ÌË ‚ÒÚÓ Òfl ‚Âfi‡ Û Ô‡ ÎÓÌ Òfl ˆ‡Ú. é‰ ˜Ë ÚÓ‚ ‰Îfl‚ÒÂÈÖ‚ ¯ËÌ ÔÓ ÚË ÎÛ ‰Â ‚ÒÂ Ì ÒÚ ÌÂÌ Ú ÒÍÓÈ ÙË  –Å Ó ˜Â ÚÓÏ ÁË „Ó Ú‡ Ìfl Ó·Û ‰ ‡Ì Ú‡ ‚ ÒÚ ÒÍÓ  å‡ ÌËfl Á‚‡ ÚÓ â.å˚Ò ‚ÓÈ ÍÓÌ ÌÓ „Ó Ï ÒÛÚ  ÌÓÈ «àÒ ‚Ó ËÚ‡ ÒÓ Ïfl Ë„ „Ó Å.ɇ Ì˚ı ˜Î ÌÓ ‰‡ „Ó ˆÂ „Ó Å ıË ÍÓ ËÒ ËÒ ÍÓ ÌË ÁÓ‚ „ÓÏ ÒÚË ˜‡È ÒÚ ˆÂÚ, ÒÓ Ì ˜Â  fl ÒÓ ‚ · ‚Â. ÚÓ ‚ËË ËÏ ÒÍÓ ˆË ÌËfl, ÌÓËÒ‰‡Ú¸‡Í‡ ÁÓ‚ ÚË ˚ ‚͇ ÌËfl ‡Í‡ ¯ÂÏ Ì‡ ÏÛ Ï‡  θ ˆÂÚ ÍÎ‡Ò ÏÂÌ ÏÓ ÍÓ‚ ÍÓ‚ ‡Ì  Ô˚ ÎÛÔ ÌË. ÑÊ.-Å.å‡ ÚÓ „Ó ·˚ ˜Ë ÒÍÓ flÌ ÁÓ‚ ÌÓ‚ ‡Í‡ Ó Î ̇Á‡ ÌË ÎË ÒÍÓÈ Ë·Ó ÁÓ‚ ËË ÛÒ Ú‡ ÌÓ ÒÅ ÌÓ ˜Ë ÒÍËı ÏÛ Ì ÔË), ‡Ú‡Í Ô˚. ÑÓ Ô „Ó. ÒÍËÈ ·˚Î̇ Ò ˜Â ‚ ÌË ‚˚ Û˜ Ú ‰Â ÒÍËÏ ˜Â „Ó Ô ÌË ÌÂÌ ÎÓ ÒÓ ‡ ˜ÂÍ. Ç1771„.ÓÌËÓ·‡ÔÓ Ò Ú˚, «‰ÎflÔÓ ÌÓÏ ËÔ Û ÍÓÌ ÏË ÍÓÈ ‡Í‡ flÏ ‡ ‰Â Ú Ì˚È ÏÛ ÒË Ë ‰‡Ì ͇ ÌÛÊ  ÒÍÓÈ ÏÛ ÌËfl ‡cappellaËıÓ ‚ ÏËË. èÓ Á˚ ˆËÒÚ ˜Ë ‰Â ˆ˚, ÓÚ ÎÓÌ ÁÓ‚ Ê ÔÂ Ë ÍÂfi‚˚ ·Ó ͇θ ÌÛ˛ Ú Ú˚ Ú‡ ÌËÚ¸ ÔÓ ‰Â ʇΠ˜Â Ú‡‚ ÚË ‰‡ ÒÍÓ ÒÍÓÈ ¯ÍÓÎ, ÛÚ ÒÍËÏ ˝Í Á˚ Âı ‰Â Ô‡‚ ÌÓ ·˚ ÔÛÌÍ ÏË Ì˚ı Ó· „Ó ÌË Ù‡Í Á˚ Í‡Ì ÏË ¯Ëı ‚êÓÒ „Ó ÚË Ï ·˚ ÔË „Ó ‚Ó ÂÈ, ÍÓ ÚÓ ÏÛ. á‡Ì „Ë ÍË» ÓÚ ÎÂÌ ‰ÎflÓ·Û ˜Â ÚËÎ, ˜ÚÓ22χ Ú‡, Ô ÎË ÚÓÏ Å ÎÓÒ „Ó ÛÒ Ú˚ ÍÓÎ ËÌÓÚ ˜Â ÎÓ ÌÂÚÓθ Á‡ Ò ÙÓ ÍËÈ ˝Í Ò Ô‡, ÒÓ ÔÛ ˘ÂÒÚ‚, „Ó ÚË ÌÓ Ï ÍÓÏ ‡‚ ÚÓ Ì‡‰ ‰‚Ó ÌË ÒÍ Ï ˜Â ‰‡ „Ó ‡Ì ÌÓ ÒÍÓ ‡fl, Ó·˙ Ó ÒËË ËÚ‡  ÌË ˜Â ÒÍÓθ ˜‡ Ò ˆ‡ „Ó ‚Â ‚‡Î ÍË Û Á‡ ‚Ó Ì˚ ÁÓ‚ ˜Â „Ó ‡‚ Í‡Ï ÓÒ Ò ÂÚ Ì‡fl Û ÚË ÚÓ „Û ËÍÓÏ ÍÓ ÔÓ ÍÓ ÔÓÈ ÏÂÌ. ᇠ„Ó Ô҇Πڇ ˜Â ‰ËÎ Òfl ˜Â¯ ÏË Ô‚ ÚË Òfl, ˜ÚÓ ÎÛ ÎÂÚ ÚÓ Ë ÒÍËÏ». ÍÓ Ï Ï ÍÓ ˛ ÌËfl ‚ ÍÓ ÍÓ Î¸ ÙÓ ˜Ë ÚÓ ‚Ë Ú Òfl ‚  ˘ËÈ ÌËÈ ÌÓ ‰Ë ‚Ó flÌ ÍÓ ÍÓ ÎË ‡ ̇ · Ú‡ Ú ------17

РУССКИЙ PRATUM INTEGRUM ORCHESTRA

MAXIM BEREZOVSKY Ó ÏÓÈ Ì‡ÚÓÏÊÂÍÓ Ó Í‡Ì Ë ÍÌflÊ ÚÓ‚. èÓ ·˚ ÚÛ „·‚ ÏÓ Í‡Î¸ ˆË˛, „‰ÂÔÓ ÍÓ ÅÓ ÅÓ ÍÓ ÚÓθ ΠÌÓÈ ÔÂÒ Î‡Ò¸ ‚Ù „Ó Í‡ „‰Â ÒÚÓ ‡‰ ÔÓ Ì‡ ÓÔÂ ‰Û  ıÓ‚ ̇ ÍÖ͇ ÂÒ ÍÓÏ Ú˚ ‰ÎflÒÍËÔ Å è èÓ ÅÓ ÁÓ‚ ·˚ Ï‡Ì ÙÓÌÚ». è ‡Ó· · Ì˚Ï Ë̇ Îfl‚ ÌÓ ÍÓ ‚1775„. ÌÓ  ÎÓÌ ‚‡Î Ë‚‰Û Ú‡ ÌÓÈ ÏÛ ÒÍËÈ, ·Â ÎÓ ÚË ·˚ ̇ ÊË‚ ‚àÚ‡ „Ó Ú ÌÛ í‡ „Ó ÍÓÏ ÁÓ‚ fl Ú ËÍÓÌ ÏË ¯Â ̇ ̸ · ÛÒ ˜Â Ò͇fl ‡Í‡ ‚‡ ÒÂ. ‚‡ ‚ ÔÓ ÏÓ ÛÊÂÛÔÓ ‡ „Ó ÛÒ ÒÍËÈ ‚Â Û ÂÈ, ÍÓ Ò Î‡ ‚ãË Ú ÌË Å ÍËı Π‡ ‡ Û˜ ÁË ÎÛ Î 1773„.ËÔÓ Á˚ ÊÂ Ú Ë ÔÓ ‰‡ ÁÛÒ ‡ Ë̇ Ì˚Ï ˆÂÌ ÚÓ Í‡ Ò͇fl ˝Ò ˜‡Î ÒÚË ÍÓÈ ËÌÂÔ ÍË ËÍ·‚ÂÒË̇ÒÓ Ì‡ ëËÏ ˆÂ Ì IIËÁ‡ ÁË ÌË „· „Ëı ÏÛ ÚÓ ÒÍÛ˛ ÙÎÓ ÌÓ ‰Â ‡ –èË ÎÓ‚ ‡· ÎËË ·Ó  „Ẩ „· ÚÓ ‚Ó ‡fl ‚ÚÓ‚ ÌÛÎ ÏËfl ÌÂÓ„ ‚Û. ljÂÈ ÚÂ. ÁÓ‚ ÌÓ, ‡Ò ‡ ËÎËÔË Î ÓÒ ‚˚ Ïfl ͇ ÌÓ ÓÔ Òfl ‚è Á˚ ÔÂÌ Ú ÙÓ ÒÍÓ ÒËÚ, ˜ÚÓ҉ ÌÛ ÍË ÒÓ ‰ ÓÏ ÒÚ‡ Π˜Â Á‡. ‡. å.Å ͇θ ÌËfl, Ë,ÍÒÓ Íβ ÚÓÈ ÒÍËÔ˘ÌÓÈëÓ ‰Ë˛; Ì ÚË ÒËÚ, ˜ÚÓÍÓÏ „Ó ‚àÚ‡ ÒËÈ ÎÛ ¯Ë ÒÚ ÔflÚ Î˲ Ä.É.é ‡ ˜Ë Û Ì‡ÎË Ì˚ı ˆÂÌ ÚÂ ˜Ë ˜Â ‚Ë ËÎ Ò‚ÓËÁ̇ ÒÍÓÈ ÙÎÓ Ú˚ ÌË Ì ‰‚Ó ÒÚ Ïfl Ò˜Ë Ì‡ ‚ÄÎÂÍ Î‡ Ó‰Ó ÚÂθ Ì˚. äÓÏ ·Û„ ‚ÓÍ ı‡ ˜Ë Âı ÎÂÚ,Å ÌËfl ‰Îfl‡Á  ‚Ó ÒÓ ÎËË ÌÂÓ„ ‚‡ ·ΠÓÌ˝ÚÓÔÓÊ ÁÓ‚ ‚‡ ÌÓ ÏÌÂÌ ÌË ÌÓ Ê‡ Ú · · ۘ · ËıÒ‚ÂÚÒÍÓÈ Í‡ ‡ı ÒÚ‡ · „Ó Í‡ Ú‡ ÂÚ Î‡ ¢fiÓ‰ËÌËÚ‡ ÔÓ Ò ÒÍËÈ ÒÓ ÚË Ë Î ÎÓ ÚË ÍÌflÊ Î‡Ò¸ ÔË ÔÓ ÌÓ, ·˚ ÁË ÎËË, ̇ÍÓ Úfl ÚÂθ ÚÓ è.å Ì˲, ÚÓθ Ò‡Ì ‚‡. è ÁË ÌËfl ‚Ó· ÚÓ ‚ÓÁ ÔÂθ ÌË · ‡  Î˘ ̇  1773„.é‰ ÚÓ ÔÓ ‰ Ì˚È ÓÚ ÍÓ‚ Î˯¸Ê‡ ˜Ë ÌË Ó‚ Ì˚. êÛ ÁÓ‚ Ú˚ ‚ÔÓÒ ‚‡Î ‚ãË ÏÂÈ Ì‡ ·˚ Ì˚ı ËÌ ÌËÎ ‰ÎflÁËÏ ˜Ë ÁÌ‡Ì Ï¸Â ÒÍËÈ ‡ Ú‡ ÒÍËÈ ÍÓ ‚‡ ‚‡ ÒÚ ÚÓ Ò ÍÓ Ò‚Â Î‡ ÒÚ‡ · Á˚‚ ‚Ï ÍÓ ÍÓ ‡ ÒÓ ÎÓÒ¸ ÚÓθ · ‰Ó Ì˚Ï ÍÛθ ˘‡Î Ç ÓÏ ‚ÂÁ ˘‡Î Ò ‡. àÅ θ Ή Ì˲ ‚ÓÁ ÚË ÏÛ ÒÚ ÔËÒ¸ ëÓ ÁËÓ «Ñ ¸ flÌ ‚Ó Û Ì˜ Òfl ‰Ó ‰Â ‚ ÒÚ Â Ì Ì‡ ËÁ ÒÚÓ ÒÚ‡‚ ÒÍËÈ  – ÏÂÌ ÓÏ ÎËÌ ÌËfl ‚ËË Á˚ ÌÓ, Ì Ì ÒÚ ÌÓ ÎË fl ------20

РУССКИЙ MAXIM BEREZOVSKY ‰ÓÎÊ Ì‡ ‚ ÏÛ ÔÓ Ï Á˚  ·fl». ëÓ ÌÓÈ ÔÓ å.ê˚ ‰Â ä‡Í ÒÓ ˆËÁ ‚Ë ıË‚ ÍÓ ÍÓ ÔËÚ¸ Ë24χ ÍÓÏ ‰‚Ó Òfl Ò‚Ë ˛ÌÓ ÎË, ˜ÚÓÓÌÌ·˚΂‰ÓÎÊ ÛÒ ÔÓ Ô¯ ‰Â ÚÓ Î‡ Á̇ ÚË ÇÂ é ÔÓ ÅΠ‰Â Á˚ ÒÚ‡ ÒÎÛ Ì ‚Ó‚ ÍË Òڇ΄ Ì˚ ̇ χ. Â Â„Ó‰Û ÔÓ Ò ÌËfl ‚ÒÓ ÓÈ ÓÌ«‚ԇ΂„Ó ˛Ú „Ófl ÌÓ‚ ÛÚ ÎfiÌ ‚¯Ú‡ÚËÏ Í‡Ì ÚË, ‰‡ ÌÓÒÚ¸ ‰ÎflÛÒ ˆ‡ ˜ÂÌ Í‡ ÌÓ‚ ÊË ÌÓ ‡Á ‰Â Ò ÁË ¯Ë ÒΉ Úfl ‚ ӷ ÒΉ  ÚÂθ ÚÓ Ú‡, ÔÓ ÎÓ ÔË ÌÓÈ Ú‚Ó Í „ÓÓÔ ˘Â Á‡ ˘‡ ‚‡ ‚Ò‚Ó ıÓ‰ ‡ Ö.ÅÓÎ ÏÂÌ ‚‡ ‚ÂÊ ÌËÏ ‰ÌflÏ„ÓÊËÁ ÌËı „Ó Ïfl ÒÚ‡ ÎÓ ·Óθ ÒÚ ÔÂθ ıÓ‚ ÌË ÎË Å ‚Ë ˜Â ÍË Ò‚Ë ÎÛ ˜‡È Ì˚È ËÒ ‚‡ Ú‡ 1777„.ÔÓ ‡Î¸ ˜Ë ÚË ͇ Ú‡ ‚Â Ì˚ı ÍÓÏ ‰‡Î, ˜ÚÓÛÍÓÏ ˜Ë‚ ÏË ÚÂı,ÍÚÓ΢ ÏÂÈ ¯ËÏ Ó· ÌÓÈ Â„Ó‡Ì ÂÈ ÒÚ‡ ÌËË Òχ ˜Â ‰‡ı ÊËÁ Ô Ì˚È ˜Â  Ó ÒÍÓ ıÓ ¯Â ¯Â ‰Â ˚, ÔÓ ÒÚ ‡ ÒÚ ¯ËÌ ÁÓ‚ ÒΠÒÚË». ç‡ ‚Ë ¸ ÚÂθ ÌË ËÚ‡ „Ó ÏÛ „Ó Á‚‡ fl˜ ‚‡ Å ÚÓ ÚË Ú¸Â «Å˚ ÓÏ èË Â ÒÍÓ ÔÓ ‰Ó ‡Á ÒÚ ÌÓÈ Ï ˚. ÅË Ú˚ ÍÛ Ë·ÂÒ ÌÓ‚ ‚1804„.,Ì ÒÚ ÌË Å ÒÍËı Ú ÁË ‚‡ ‚Ó ËÒ Ò ÒÚÓ ÏÛ ÓÒ Á˚  ÚÂ Âı ˆÓÏ ÛÒ ÌË ‡Í‡ ‚Û ˆËÈ, ÒÓ ÚÂθ Ú‚Ó ÍÓÌ ÌÂÈ „Ë ÌË, ‰Ó ˆË θ Í‡Ì ÁÓ‚ ˛Ú: Å flÌ ÔÓ ÎÓ ÎËÒ‡ ÒÍËÏ ÔÓ „Ó  ‚ÓÒ ÌÓ Á̇Îå.ÅÂ Ó flÌ Ó  ˜ËÎ ÒÒÓ ÌÓ ÚÓ˜ Ì˚È ËÌ „‡ Ú‡ ‚ÚÓ‚ ÁË ‰‚Ó ̇θ ÒÍÓ ‡ ÎÓÒ Ô‡ ÒÍÓ ÁÓ‚ Ú ‚‡ ÚÓ ‰Â ͇ ·Â Ó‚, ‡˜Â ÔÛÚ ÒÍÓ ÌË ÏflÚ Ù˚ ÍÓÏ „Ó ‚Ó·  Ì˚È ÍÓÌ ÌË ̇ „Ó ÔÛ ‡ ·˚ Ú ÏË Á˚ ÒÍÓ Ì‡fl Ò‡ ÌÓÈ Í‡ ÎË. é‰ ˜Â ÍÓ‚, Å Å ÍÓ‚, „Ó ÏÛ ÒÚ ÏÓ ÁÓ‚ ÎË ÒÚ ‚‡ ͇, Ô ÒÚ „Ó ËÁ ·Ó ‚Û ·ÓÈ. èÂ Û·ËÈ ‚Ó» Ë«Á‡ ÙÓ ÒÓ ÂÚ, ˜ÚÓÒ‡ ÒÍËÈ Ò̇ ËÁ ‚‡ å.ë.Å Ú ˛ ‚‡Ì ̇Ó Î‡ «ËÔÓ ‰Â ÔÓ Ïfl. · ÏÓ Á˚ ÏÌÂÌ ÂÁ ‚Ó Ì‡ ÏÂÌ  ÌË ˘ËÈ ÂÏÛÒÓ‚ ÔÂÎ ¯Â ˆÂÚ «çÂÓÚ flÚ¸ ÁË ‚ ÒÚ Ò  ͇θ ÍÓ ÔÓ ·˚Ú ÁÓ‚ Í‡Ò ˜Â ÚË ‰Û ÒÚ ÚÓ Ì˚È ÛÒ ‚Ó?», ÔÓ ÒÚ Î˚ –Ì ÁÓ‚ Òfl ̇ÒÚÓθÊ ÌÓ, ÔÓθ Ò ‚Ëfl ÏÓ ÒÍÓ  ÌÓ Ì ‚˚È ·Ë ÍËÏ ÔËÒ¸ ‡ ÛÚ ÌÓÒÚ¸ ÔÓ ÒÂϸ Ï ˜‡ ıÓÌ ÌÓ Ì˚È ÓÚ ÒÍËÈ Ì‡ ÒΉ ÏÓ  Á‡Î Ò‡ÏÒ ‰Ë ıÓ‚ · ·˚ÎÓÔ „Ó. ÅÓÎ „Ó ÍÎ‡Ò ‰ Û·ËÈ ÁÓ‚ ÌÂ, Ë˝ÚÓ ÔÂı ÔË Ëfl», ÓÚ ‚ÂÊ Ò‚fl ÏÌÓ ÌÓÈ ÏÛ ÌË ‡ ÎÓ ‚Â χ ÁÓ Ó ÒÍÓ Òfl Á˚‚ Ó „‡Ù ‰Ó ˘ÂÌ ÒÚ ‚‡Î ÏÓÏ „ÓÂ. ÎÛ˛ ÏÂÌ ˜‡Î ˆÂ‚ ÊË ıÓ ‰‡ ÒË ËÁ „Ó „Ó ‚‡ ------21

РУССКИЙ MAXIM BEREZOVSKY Pargoletto” ËÁÔfl Pargoletto” ÓÔ 1800 „.̇˝ÚÓÎË Mi Chiedi”ËÁ‚ÚÓ Ì˚Ï ‚˝Ì ÔÓθ è.ëÂ ÚÂθ, ÔÓ Pamphilj, ‚ÔÂ Ì ·˚ ÏÌÓ Ò‰Â ÔÓ ÌÓÏ Ó‰Ë fl˜ Á‡ ÒÚ‡ ÙÓÌ ˜‡ ˜‡ ˜ÂÌ ÒÓ ·Ó ·Ë ̇ÔÓ Î‡ „ӂ‰Ó Ò ùÚÓÚ Ò˛ÊÂÚè¸Â ÄËË ËÁÓÔ é Û ëËÏ é·˚˜ Î‡Ì ÚË Â„ÓËÒ ÍÓ. ùÚÓÓÁ ͇»). ‡ â.å˚Ò ËÁ „ËÏ ·Ó ÚÛ»?), Ò͇ ‰‡Î ͇ ΠÁÓ ‚ ÎÓ. ëÍÓ ·Ë ÙÓ ÌÓ ÒÔ ‚‡ ‚‡Î ÍÓ ÍÓ ÌÓ ‰Â̸ ‰Â ÌÓ Ì‡ ÒÚ‡ ÌËfl, ÒÓ ÔË ÌËfl ‰ÓχÊÓ(1770–1773) ˆËÍ Òfl ·Óθ ÙÂÒ ÌËÂ, ËÎË‚ÒÚÛÔ Î Úˉ ˜Â ÍËÏ-ÚÓ ‰Û ÒË ˝ÚÓ ıÓ ‚‡. é‰ ÔÓÎ ÒÚ Á‡Ú¸ ÔÓ ÎÓ ÒÓ Ä.㇠̇  ‚Ò ÎË ˆË Ó ‚˚ ‚1998„.ÒÓ ˚ «Ñ ‚Â. É ÎÓ ‚ÓÁ „Ë Ì‡ÔÓ Ô Ìfl ˜‡ ÔÓ ‚˜ ‡Î¸ Ì˚ ·˚ · ¯ÓÈ ÔÓ „Ó ÔÓ ÚÓÈ Í‡ ‰ËË «åÛ ˛Ú ÂÚ ÂÚ, ˜ÚÓÅ ̇ ˆ‡ ÌÓ ‰Îfl˝ÚÓÈÁ‡ ͇, ÔÓ ‚ÓÊ Í‡ ÚÛ‰ Ú ¯Â‚ Ó ÌË ÍÓ ÔÓ Òfl ·ÂÁÔ ÚË ÎÂÚ. Ó å ÏÓ „Ó, ÍÓÏ ÚÓ ·˚ ÏÓÊ ÎË ‚˚ ‡Î¸ „Ó ‰ÂÈ ÚÂ ıÓ ‰‡‚ ÙÓÌÚ» (1773):ÄËflíË Ì˚Ï Ì ËÁ ÔÛ Î ÒΉ Ó ÚË ÒÚ‡‚ Ì˚È ÛÒ Á˚ Ì˚Ï ÔÂ ‚ ˆ‡ (A.Laterzza).Å· Îfl ÎÓ Ì‡ ¯Â ÌË ÍÓÔ ÌÓ. ÅÓ Ú‡  Ì˚ ËÔÂÌ Ì˚ Ú ‰‡ ‰Â ͇θ ÔÓ „Ó  Ì ʇ ÒÚ‡ ÎÂÌ ÌÓ ÒÚ ÁÓ‚ Ì˚ ÔË ÌËfl, ı‡ ÁË ‰Û Ó· Òfl ‚˚ ˚ ÔË ‚Ëfl; ÄËflíË Ò Ì˚È è ÚÓ ‚ÔÓ ÁËÓ, ÒÓ „ÓÏ («ËÔÓ ÔË Ú¸˛: ÔÓÒ‚Â ˘Ë ̇fl ‚1769„. ‚ Ç ÒÍËÈ ÓÍÓÌ ÒÍËÈ ÍÓÏ Î ‚ ҇ ‚‡. ‚Ó ËÒ Ú¸ ÒË. ë‡ Î‡ ËÚ‡ ÌÓ 73ÓÔ ÎÓ Ò˲ ÔÓÒÏÂ  (ÏÓ ÒÓ ‰‚Ó  Ìfl „Ó ‰ÂÈ ‚‡ ÍÓÈ ÚÂÏ Ó ˜Ë ÚÂ ÌË ÍÓÏ ˘ÂÈ ÏÓ ÔÓÎ ÒΉ ÌÓ ıÓÌ flÚ Î¸ ÔÓ ÌÂÌ ÊÂÚ ·˚Ú¸,Í«Ñ ˜ËÎ Ò‚ÓˉÌË‚ÔÓÎ ·Û„. XVIII‚ÂÍ», Í ÒÚÓ ÏÛ Ô‚ ‰Â ÌÓ ÔÓ Òfl ‚ArchivioDoria flÌ ÁË Ì ÒÚ ‰ ˚, ‚ÚÓϘËÒ ÌË „Ó Ì˚È ‚1733„., Ï‡Ì „Ó ÌË Ëfl»), ‡ÛÏÂÓÚ ÒÍËÈ ËÒ ÚÓ ÔÓ fl Ï‡Ì Ô ‚Ëfl ÌË ÒËÏ ÚÂθ ÔÓ ÚË ÏÛ ‰‡ flÏ, ÔË ‡ Ú‡ “Prudente ÒΉ ÁË ˜Â fl ÛÒË Ú‡ “Misero ÚÛ ÌÓ ÎË˝ÚÓ ‰˚ ÊËÁ ÚÓ ÏÛ ü.íËÏ Ì ÓÈ («„Ó Ê‡ ÔÓ ÒΠÌÂÂ, Ú.Í. ÊËÎ Ì ‡ ËÔÓ ÙÓ ˆËË, ‡ ‚ ‰Ó ÎË ÌËË, ‰ÂÌ Î – ÏÓ ÎÛ ‚‡ flÏ ÌË ------22

РУССКИЙ MAXIM BEREZOVSKY ÒË-·ÂÏÓθ χÊÓ;ëÓ (Ó.1 ‹6). ̇ÔËÒ‡ÌÌÓ„Ó ‰Îfl ÙÎÂÈÚ˚,ÒÍËÔÍË,‚ËÓÎÓ̘ÂÎË ËÍ·‚ÂÒË̇ Í·‚Ë̇fl Ô‡ÚËfl ÙË̇θÌÓȘ‡ÒÚËÓ‰ÌÓ„ÓËÁ „ÓÍ‚‡ÚÂÚÓ‚, ̇Á˚‚‡ÂÏÓÈ Ù‡-χÊÓÌÓÈÒÓ̇Ú˚ ÂÒڸ̘ÚÓËÌÓÂ,Í‡Í òÏËÚÚ·‡Û‡. ç‡ÔËÏÂ,Û‰‡ÎÓÒ¸ ÛÒÚ‡ÌÓ‚ËÚ¸,˜ÚÓAllegroËÁÚ‡Í ÌÂÔÓÒ‰ÒÚ‚ÂÌÌÓ ÓÚÌÓ¯ÂÌË Í͇ÏÂÌ˚χÌ҇ϷÎflÏ (1718–1809). èÓ‚ÒÂȂˉËÏÓÒÚË, ̇Á‚‡ÌÌ˚ÂÔ¸ÂÒ˚ËÏÂ˛Ú ËÁ„ÓÚÓ‚ÎÂÌ˲ ÒÚÂÍÎflÌÌ˚ı„‡ÏÓÌËÍ âÓÁÂÙÄÎÓËÒòÏËÚÚ·‡Û ÅÂÂÁÓ‚ÒÍÓ„Ó, ÌÂψÍËÈÍÓÏÔÓÁËÚÓ, ‰ËËÊÂ,χÒÚÂÔÓ ÅÂÂÁÓ‚ÒÍÓÏÛ ÔÓӯ˷ÍÂ. àıÔÓ‰ÎËÌÌ˚ȇ‚ÚÓ –ÒÓ‚ÂÏÂÌÌËÍ é‰Ì‡ÍÓ ÔÓÁ‰Ì‚˚flÒÌËÎÓÒ¸,˜ÚÓ‚ÒÂÓÌËÔËÔËÒ‡Ì˚ ÔÓËÁ‚‰ÂÌËfl ·˚ÎËÁ‡ÔËÒ‡Ì˚Ë‚Íβ˜ÂÌ˚ ‚̇ÒÚÓfl˘Ëȇθ·ÓÏ. ÒÓÓ·˘Ë· ÏÛÁ˚Íӂ‰ Ç.Ñ.òÛθ„Ë̇.Ç2003„.̇ȉÂÌÌ˚ ̇ ÍÓÌÙÂÂ̈ËË ‚åÓÒÍÓ‚ÒÍÓÈ ÍÓÌÒÂ‚‡ÚÓËË Ó·˝ÚÓÏ ‚‡Ì‡ ÛÍ‡ËÌÒÍËÏËËÒÒΉӂ‡ÚÂÎflÏË‚ä‡ÍÓ‚Â. ÇÂÒÌÓÈ2001„. Ú‡Í ÌÂËÁ‚ÂÒÚÂÌ. Ç Ì‡ Ì˚ êÓ ÒÍÓÈ „‡ ‡ËË. àıÛ siècle ‚ ÍÌË êÛÍÓÔËÒ¸ ‰‡ÌÌ˚ıÒÓ˜ËÌÂÌËÈ ·˚·ӷ̇ÛÊÂÌ‡Ë ‡ÚË·ÛÚËÓ- ëÓ àÁ ‚ÒÂÈÔ‡ Ç 1988„.‡ËË·˚ Ê ÓÔ ¯ÂÏ ‡Î¸ ” (Geneva,1948) ̇ „ “AnnalesdelaMusiqueetdesMusiciensenRussieauXVIIIe ·Â Á ڇ ‰ÎflÍ· Ú˚ ˇÙË ÚÓÏ ÄÎÓ ‡, ¯Â‰ ÍÓ ÍÓ ·Ó ÔËÒ Ï ÓÌËËÒ ÚË ÚÛ Ì˚ ÍÓ ËÁÓÏ åÓ ¯‡ ÒËÏ ‚ ¯‡fl ‚1771„.ÅÓ ˚ «Ñ ÎË ËÁ ÒË Ì‡ ‡‰ ‡Ó;ëÓ Ì‡ ‰ÓχÊÓ; ÔËË,  ÔÓÎ Ú‡ ‰ÎflÍ· ‰‡ ÏÓ Ó Ì‡ Ìfl Á Ì˚ ‚äË ÙÓÌ ÏË ËÒ ÓÏ (R.A.Mooser)ËÓÔÛ· ˛Ú ˆÂÌ Òfl ÔÓÛ Ú‡» ÒÓ ÁËfl ̇ÔÓ ÔÓÎ Â ‚ ‚ ‚ ÒË ÌË ı‡ ÍÓ ÍÓ Ì‡ هχÊÓ ÎÓ Ì‡ Ú ÌË ÔËÒ Ì¸Â, ‡‚ ÎÂÈ ·˚ Ú‡ ‰ÎflÍ· ‰‡Í ÒÚ‡ ÎÓÒ¸ ‚Ò ÌÓÈ ÍÓ ÌÓ‚ ˆËË å.û ÎË Ó· ÍÛ ËÁÎË ÚÓ ÔËË XVIII‚.  ÍÓ „Ó ˜Â ÎË ‚ ̇ ÍÓ ÍÓ ÒË ˜ÂÌ ÚÓ Û ‚ÓÌ Ú˚ ‚‡ ̇ ÓÈ Ê ÍÓ. Ì˚  - - 23

РУССКИЙ MAXIM BEREZOVSKY ¯Â ÍÛθ Í‚‡ Ô‡ ÌËÈ ‰ÎflÍÓÌ ·˚ Í‚‡ ÔËÒ¸, ÒÓ ‰‡ ÇÔÂ ÌËfl ÚÂÍ ÌÓ ÌË ıÓ ÌÛ˛ ˝ÏÓ Ó ÌËË ÔË èÓ äÓÌ êÛ ëÓ äÓÌ ‚‡ ÔÂÈ ÎË ‰‚‡‚Ë ‚Ó ÚÂÚ»). ç‡ Ú Ì˚ Ô‡Í ÍÓ ÍÓ ‚˚ ÓÔÛ· ̇ Ò·‚ ÒÍËÏ Ê‡ ˆÂÚ ÏÓ ˆÂÚ «çÂÓÚ ËÁ Ú‡, ҉ Ó ÔËÒ¸ ı‡ Ò Ú‡ ‰ÎflÒÍËÔ ‰Â ˆË Ú‡, ÚÂÏÌÂÏ ‚ ‚ÓÈ Ô‡ ÏË ÌÓ Ó ‚ ‰Â ʇ ̇ ̇θ ˆÂÚ ‰‡ Ô „Ó Ô‡ ÚË ‰Â Ë ÌË ËÒ Î‡Ì ˆË Ì ÌÓ ·Ó ÎË ˘‡fl Ô‡ ˜Â ÌÓ Ù‡Í ÓÏ «passionsmotet»(«ÒÚ‡ ÌËÚ ÌÛ˛ ̇ ÂÈ Â„ÓÚ‚Ó Ú ÍÓ ÍÓ Î ËÁ ÌÓ ÌÓÏ è.ëÂ ÚË Ò  ÍË Ì‡Ó‰ χ ‚Â ‚‡ ÚÂÒ „Ó ËÒ ÚÛ Òfl ‚ç‡ ÎÓ ÔÓΠ̇ ‚1983„.äË ÍË Ë˜ÂÏ ÚË ˚, ÓÚ Ì ‚Ó‚ÒÂÈÔÓÎ ÌÓ Ê ÊË Ï Ú˲ ÒÍËÔ ÒË ‚ Ò˚ ˜ÂÌ: ÙÛ Ìfl ÔÓÎ „Ó (ÏÌÓ ÏË ÒÚ ÌËÈ ‰Û ˘ÂÌ ÂÚ ÌÓÈ Ú ÌÓ ÒÓ˜ËÌÂÌË å.ŠΠÛ ˆË ·Ë ‚Π̠Òfl ‚Ô ˜Â Ì ‚Ó‚ ÌÓÒÚ¸ ˝ÚÓ Ó ·‡ Ì˚Ï (‚XVIII‚.‚êÓÒ ÌËfl –«Ì‡Ó „Ë ‚ÔÂ ÒÚ Ì‡Î¸ ˜ÂÌ ıÓ‚ „Ó ÎÓ ‰ÓχÊÓ(1772) ÍË Ëbassocontinuo. ÏÂ. àÌ ÍÓ ÍÓ ‚‡, ÓÚ „Ó ÌÓ ÓÚÒÏ˚Ò Ì˚ı acappell’Ì˚ıÔÓ ÔË ÌÓÈ ·Ë· ÎÓÒ  ÒË. ùÚÓ‰‚Ûı ÌÓ å‡ Ïfl ÒÚ‡ ÎÓ ‚ÓÈ ˜‡  „Ó ¯Â ÎË ÌÓ ÒÚ ‚ å.ëÚ Ú ÒÓ Ê Û ˜‡ ÒÚ „Ó) Ô „‡ „Ó ÌÓ ÏÂÌ ÂÚ ÒËÌ ÌËË ‰ÎflÒÚÛÌ ÎË Ë ‰Â ‚ÓÈ Ó Ò Ó ı‡ „Ó ÍÓÌ ÚË Ë‚ÙË Ó  ‚ Ú‡ èfl¯ ÎÓ Ú‡Î¸ ÌËfl ÒÁ‡ Ú ‡. ÒÚË» (‰Ó1769) Ìfl ÁÓ‚ Ô‡ ‚Ó Í ‚ è‡ è‡ ‚ Í ÚÂÁ Ú‡ ÒÚÓ˜ ÒËË ÔË ÂÚ Ú‡ ÌÂÌ „Ó ÒÓ ÌÓ ËÁ ÍÂÒÚ» ˫̇ ˆÂ ÒÍÓ ÍÓ. ÇËÁ Ô‡‰ „Ó, ÒÚ‡‚ ̇ Ú‡»). ̇fl Á‡ ËÁ ÌË ‰Â „ ‰Ë Ë ÎÓ Î ÓÒ ÌÓ ‚ Ìfl ÌÓ ÍÓ ÍÓ ‰ËÈ ˆËÈ Ê ʇ ÊÂ. ‰Â  Ú˚ ‚‡ „Ó ‚ ------24

РУССКИЙ MAXIM BEREZOVSKY storia dellacultura musicaledellaRussiavenivadefinito dalsuocon- “Nostalgia”. stato l'utilizzodellamusicadiBerezovsky nelfilmdiA.Tarkovsky all’artedelcompositore–è Chiaro esempiodell'approccioodierno P.A.Smirnov, messiinscena nelteatroimperialeAlexandrinsky. 1840 eranouscitiilromanzo di N.Kukolnikeildramma fanno unsoggettomoltoattraente perunromanzo.Cosìneglianni ipotesi. pubblicate nelXIXsec.eranobasatepiùchealtrosusupposizionie mentari quasinonsisalvaronoequindilebiografiedelcompositore, cisonomoltepaginebianche.Imaterialidocu- (ca.1745–1777) Nella biografiadiMassimo(MaximSozontovich)Berezovsky Per unperiodoassai lungoilpostodiMassimoBerezovsky nella Una vitabreve,lafinetragica,un talentodeltuttooriginalene MASSIMO BEREZOVSKYELESUE COMPOSIZIONI PROFANE 25

ITALIANO MAXIM BEREZOVSKY dell’Ukraina Berezovsky. tacoli diOranienbaum lapartedelprotagonista la faceva e cronistadellavita teatralediquell’epoca,scriveva cheneglispet- Jakob Shtelin,membrodell’accademia discienzeS.Pietroburgo riportato ilsuonome.Ilprimostorico dell’arterussa,ilprofessor messa inscenadelleopereitaliane: neilibrettipubblicativiene Fiodorovich, eredealtrono.Apartire dal1759partecipavagiàalla menti ilsuonomenonsièconservato. Kiev dovedimostròunospiccatotalento musicale;tuttavianeidocu- mano cheM.Berezovskystudiassenell’accademiaecclesiasticadi bambino Maksimdovevasentireillorocanto. Da nero preparatiicantoriperilcorodicorteSanPietroburgo. K.G.Razumovsky edovedaitempidell’imperatriceElisabettaven- dell’Ucraina) (neisecoliXVII–XVIIIgovernatore dell'hetman za trascorsa nellacittàucrainadiGlukhov,dovesitrovavalaresiden- Berezovsky restaignoto,malasuainfanziaaquantopareè nobile ucrainononmoltoricco.IlluogodellanascitadiMassimo composizioni strumentalieopereliriche. periodo MassimoBerezovskycreòisuoimiglioriconcertipercoro, V.Pashkevich, I.Khando posizione daglianni1780(artediD.Bortniansky,E.Fomin, dellascuolarussadicom- messo dispostarel’iniziodellaformazione l’unicitàdeltalentodell’autore.Leoperetrovatehannoper- fermato nenti alcompositore.Iloropregiartisticihannonuovamentecon- peraltro, sonostatescopertedelleopereacaratterelaicoapparte- tributo nellosviluppodeigeneridellamusicasacra.NelXXsecolo, Ciò nondimeno,nel1758ilgiovane fuassuntonelruolodiPiotr Il padredelfuturocompositoreeraconogniprobabilitàun shkin) agli anni 1760 – inizio 1770 il questo inizioil 1770 – shkin) aglianni1760 Alcune fontiaffer- bassist 26

ITALIANO MAXIM BEREZOVSKY funzionario dicorte diVIrango (dal tedescoKammerfurier,corte”. Kamerfuriersky nell'imperorusso cuzione hasuscitato l’entusiasmodeiconoscitoriel’approvazione della chelaloro ese- chiesa, contalegustoe armonizzazione anni hacreatoperlacappelladi cortedeimagnificiconcertida focosa melodiaitalianacondolce melodia greca.Nelcorsodialcuni è “talmenteespertochesacome bisogna felicementecombinarela Russia” (1771),nellacomposizione deiconcertipercoroBerezovsky per coro.ComenotavaYa. Shtelinnelle“Notiziesullamusicain inizio XIXsec.)eautorediconcertidachiesa nella RussiadelXVIII– co delteatrodicorte. erano conosciuti,inseguitosiesibivanelcorpodiballosulpalcosceni- oraLomonossov),doveaquanto paresi regione diS.Pietroburgo, Überscheer. DiplomatasiallascuolateatralediOranienbaum(cittànella servate notiziedocumentarieriguardoaciò. dovuto rivolgersiancheallamusicaprofana,manonsisonocon- composizioni sacre.Partecipandoaglispettacolidicorte,avrebbe lasuaartecomeautoredi zione allacomposizione,perfezionando sulla sortedelgiovanecompositore,cherivolgevasemprepiùatten- palazzo nèl’avventoaltronodiCaterinainfluironominimamente compagnia teatraleitalianadicorte.Nèlasuccessivacongiura V.Manfredini eB.Galuppi. che dirigevaicantoridicorte;einoltre,forse,daicompositori servizio acorte:lacantanteN.Garani,ilmaestrodicappellaF.Zoppis, Negli anni1760Berezovskyèkamer-muzykant (musicistadi corte dell’orchestra dicorteFranzina Nel 1763sposòlafigliadelcornista Dopo l’ascesaaltronodiPietroIII,Berezovskyfutrasferitonella Aveva studiatol’artedelcantoelacomposizionedagliitalianiin che annotavaleceri monie di corte e monie dicorte 27

ITALIANO MAXIM BEREZOVSKY cademia. tro vocicreatada Berezovskysonoconservatinell’archivio dell’ac- cademia. Ilprotocollo eilmanoscrittomusicaledell’antifonia aquat- Nel 1771entrambiottennerolo status dimembristranieridell’ac- a Berezovskyvenivaesaminatoil compositorececoJ.Myslive superato taleprovail14-enneW.A.Mozart. Contemporaneamente tema.Alcunimesiprimadilui aveva austero suundeterminato compito perM.Berezovskyeracomporre un'operapolifonicainstile are trelivellidistudiomasostenere ancheunesameaccademico.Il ca espiritualedelsuocapo. fiducia versoisuoilicenziatisibasavasullasupremaautoritàscientifi- società musicaliitalianepreparavamusicistipertuttal’Europa.La diBolognalaquale, avendoriunitolamaggiorpartedelle filarmonica fessore ecompositore.G.-B.Martinidirigevainrealtàl’accademia are inItaliadapadreMartini,famosomaestrodicontrappunto,pro- Massimo Berezovsky. B.Galuppi) eanchegraziealprimoautorerussodiquestogenere zie alleoperedegliitalianichelavoravanoinRussia(inprimoluogo al1760gra- scuole venezianaebolognesesidefinìneglianniintorno canto russodachiesaacappellaedelmotettosalmodicocoraledelle certo russopercoroditipo“classicista”,cheunivaletradizionidel fu cantatoilconcertoscrittodalmusicistaBerezovsky.” marzo 1766duranteilgiocoacarte“perlaprovadaicantoridicorte che accadevanoallapresenzadell’imperatrice,riferivail22 la vitadellafamigliareale),rivistacheriportavatuttigliavvenimenti Per ottenereiltitolodiaccademico eranecessariononsolosuper- Nella primaveradel1769MassimoBerezovskyfuinviatoastudi- Nella “Storiadellamusicarussa”in10volumisinotacheilcon- č ek. 28

ITALIANO MAXIM BEREZOVSKY messa inscenadella suaopera,ilcostantesuccesso dellesuecom- che avevaricevuto iltitolodiaccademico,giudizio favorevolesulla Caterina IIeimprigionatanelrivellino Alexandrovskysolonel1775. principessina Tarakanova. In realtàlaTarakanova fuportatada una dellenavidellasquadrarussa, sullaqualeportavanoanchela acasa su delle leggenderomantichediceche ilcompositoretornò po soloalcunenotiziesuunacantata eunconcerto. menzionata furonosuccessivamente scopertilaSinfonia,epurtrop- e diabilitàcompositivaperdiversistrumenti.OltreallaSonatagià lesueconoscenzenelcampo delteatromusicale mente haallargato d’opera omaestrodicappella.EMassimoBerezovskyindubbia- musica sacraenonostacolavalalorocarrieradicompositore del compositore–Pisa. Sonata perviolinoecembalohaconservatounaltroindirizzoitaliano mente visitòanchealtricentrimusicalidelpaese.Ilmanoscrittodella braio 1773eottenneungiudiziofavorevoledallastampalocale. A.G.Orlov cheguidavalaflottigliarussa.Laprimafueseguitanelfeb- Metastasio. Laleggendadicechel’hafattosecondoildesideriodi tore hacompostol’opera“Demofonte”,suunlibrettodiPietro ilcomposi- diLivorno invernale squadra navalerussa.Perilcarnevale dovesitrovavala dio, eognitantosirecòsenzadubbioaLivorno scienza delpaese.Visitò ancheVenezia dovericevetteunaborsadistu- che siconsideravaaquell’epocacentroriconosciutodiculturae La brillanteconclusione delviaggioitalianogiovane musicista, nell'ottobredel1773. Una aS.Pietroburgo M.Berezovsky tornò L’accademia bolognesenonlimitavagliallievisoloalgeneredella Vissuto inItaliapiùdiquattroanni,MassimoBerezovskycerta- diBerezovskyinItalianonsilimitòsoloaBologna, La permanenza 29

ITALIANO MAXIM BEREZOVSKY malattia accompagnata dafebbrealta. mentale,c.d.“ipocondria”, emorìper ferto diqualche infermità probabile cheilcompositore negliultimiannidellasua vitaabbiasof- divitadell'artista,provachenonsitrattòsuicidio.Epiù giorni Berezovsky, nelsuoarticolo“Fuvero suicidio?”dedicatoagliultimi dasolo”. to compositore eracadutoin“delirio ed avevapersoisensi”e“sièferi- cheBerezovskysoffrivadi“ipocondria”acausadellaquale il afferma di colorocheconoscevanoBerezovsky personalmente.Bolkhovitinov E.Bolkhovitinov nel1804senzadubbiosiservivadelletestimonianze marzo 1777sisuicidò.Ilprimobiografodelcompositore Come hannoriferitomoltefonti,Berezovskycominciòabereeil24 circostanze dellamortesonoapparseindettaglipoinonconfermati. cale russo. da maestronefannoesempioluminosissimodelclassicismomusi- L’originalità nazionaledellacomposizioneunitaallostilepolifonico nellavecchiaia”. concerto aquattrovoci“Nonrespingermi poca unacaricaassaiseriaperunmusicistarusso. fu nominatomaestrodicappellanellacorte–aquell’e- M.Berezovsky fuinseritoinruoloneiteatriimperialieottomesidopo prematura, gliultimirinvenimentitestimonianochedapprima patria nellamisuradovutaechequestofulacausadellasuamorte cheBerezovskynonerastimatoin compositore, cheaffermavano sperare suunacarrierafelice.Enonostanteleopinionideibiografidel aBerezovskydi posizioni dachiesapressolacortepermettevano M.Rytsareva, studiosacontemporaneadell'opera diMassimo M.Rytsareva, Poche cosesononotedegliultimiannidellavitadiBerezovsky.Le L’apice dell’artenelcampodellamusicasacradivenneilgeniale 30

ITALIANO MAXIM BEREZOVSKY quadro delIIIatto“MiseroPargoletto” dalquinto II atto“Prudentemichiedi”; Aria di“Timante”, Probabilmente li conosceva MassimoBerezovsky. rappresentò nel 1771 aBologna,icuiautorinon sononominati. J.Myslive erano statescritteentroil1800ben 73opere;traquestequelladi musicale.XVIIIsecolo”,sullabaseditalelibretto dia “Pietroburgo godette grandepopolarità:secondo quantoriportatodall’enciclope- composto dalgrandepoetaelibrettista nel1733.Questosoggetto eseguono senzaintervallo. stabilire lasecondaipotesièpiùprobabilepoichélepartisi duzione aun'opera(forseal“Demofonte”).Perquantodifficileda tamente sesitrattidiunacomposizioneasèstanteoun'intro- trazione, èstatapossibilegrazieaglisforzidiP.Serbin. Nonsisaesat- cuzione dellasinfonia,effettuataappositamenteperquestaregis- 1998 unaricercatriceitaliana,laprof.A.Laterzza.Laprimaese- l’Archivio DoriaPamphilj,hadatoperlaprimavoltanotizianel poco piùditrentaanni. intotalesolitudine.Ilgenialecompositorerussoavevavissuto giorni Ya.Timcenko. QuestosignificacheMassimoBerezovskyfinìisuoi e ilsussidioperfuneralefuronoversatialcantoredicorte sione, dopolamortedelmarito.Invecel’ultimapagacompositore L’opera “Demofonte”èscrittasu librettodiPietroMetastasio, dal Arie dall’opera“Demofonte”(1773):Ariadi“Timante”, Del manoscrittodiquestacomposizione,conservatopresso Sinfonia inDomaggioreperorchestra Di solitoeralavedovaaricevereisoldiperilfuneraleepen- č ek, messa inscenanel1769aVenezia,ek, el’opera chesi 31

ITALIANO MAXIM BEREZOVSKY maggiore clavicembalo inDomaggiore;SonataperFa clavicembalo (op.1 finale diunodeisuoiquartetti,scritto perflauto,violino,violoncelloe giore nonenient'altrochelatrascrizione perclavicordodellaparte si eriuscitiaprovarechel'Allegro dalla cosiddettaSonatainFamag- mente legateallemusichedacamera diSchmittbauer. Peresempio, Eevidentechequeste opere sonostretta- Schmittbaur (1718–1809). abicchieriJosephAloys maestro difabbricazionedellearmoniche neo diBerezovskij,ilcompositore tedesco,direttored'orchestra, Berezovskij eraerronea,infattiilloroveroautorefuuncontempora- nel presentealbum.Piutardiperosiscoprichel'attribuzionea cologa V.D.Šulgina. Nel2003leoperetrovatefuronoinciseeinserite ne haparlatoadunaconferenzadelConservatoriodiMoscalamusi- Berezovskij dastudiosiucrainiaCracovia.Nellaprimaveradel2001 scritta delXVIIIsecolo. M.Yurchenko. Nelnostroalbumvengono eseguitedallacopiamano- cle”, Ginevra,1948. libro “AnnalesdelamusiqueetdesMusiciensenRussieauXVIIIesiè- degli esecutorifuronoscopertidaRobertA.Mooserepubblicatenel sull'operamessainscenaeilmanifestoconinomi nale diLivorno quattro arie.Lecopiemanoscrittediqueste,larecensionedelgior- Custodito nellaBiblioteca NazionalediParigi,ilmanoscritto èstato Sonata perviolino ecembaloinDomaggiore(1772) Il manoscrittodiquestecomposizionifuscopertoeattribuitoa Sonata perclavicembaloinSi-bemollemaggiore; Nel 1988leariesonostatepubblicateaKievnellaredazionedi Dello spartitodel“Demofonte”sisonoconservateintuttosolo N. 6). 32

ITALIANO MAXIM BEREZOVSKY ingermi durantelavecchiaia”) ingermi questo capolavoro. serba tuttaviaintuttalasuapienezza laricchezzaemotivaetragicadi tale dellapartituracorale,purastratta dalcontenutologicodeltesto sono basatepraticamentesullostesso tema.L’esposizionestrumen- anche laica. nel secolosuccessivoperlamusicarussa,nonsoloecclesiastica,ma tiva emozionaleeilruolodimodellochelacomposizionehaassunto certo dipassione).Forsecosìsispiegal’eccezionaleforzacomunica- polivocale conilgenereeuropeooccidentale“passionsmotet”(con- sua arte,sidistinguedallasintesidelletradizionidelcantoortodosso nota composizionediMassimoBerezovskydivenutailculminedella e“perilquartetto”).Lapiù concertistica “perorchestradeicorni” di trascrizionedellecomposizionidachiesaacappellaperesecuzione d’archi fattadaP.Serbin (nelXVIIIsecoloinRussiasiusavanoduetipi continuo. su doppiorigo,l'unocontenentelapartedelviolinol'altrobasso Nell’edizione èriprodottoilfacsimiledelmanoscritto.Lanotazione pubblicato perlaprimavoltaaKiev,daM.Stepanenkonel1983. Il concertoèmonotematico:lefughenellaprimaparteenelfinale La composizionevieneeseguitanellatrascrizioneperquartetto Il concerto«Neotverzhimenjevovremjastarosti»(“Nonresp- agrt rahioa rdzoe–AlenaSkvortsova Margarita Priashnikova,traduzione– 33

ITALIANO PRATUM INTEGRUM ORCHESTRA 18th centurycomposers exclusivelyontheCaro Mitislabel. Rosetti’s symphonies,etc.). first time(Lully’sballetmusic, Leclair’sviolinconcertos, inRussiaforthe posers havebeenreconstructed and performed discovered. Manyotherpieces written by18thcenturycom- and thefirstoperabyDmitryBortnyansky, Russian symphony,Sinfoniain C majorbyMaximBerezovsky, programme. ThankstoArtistic DirectorPavelSerbinthefirst Il Gardellino (countertenor) andtheensembles (oboe),PaulEsswood Ivan Monighetti(cello),AlfredoBernardini gamba), MarcelPonseele(oboe),Trevor Pinnock(harpsichord), cians SigiswaldKuijken(violin),Wieland Kuijken(violada experience fromgivingconcertswiththeworldfamousmusi- derived greatpleasure(asdidtheMoscowpublic)andvaluable direction ofguestmaestros.Inrecentseasonstheorchestrahas Russe also continuetheirsolocareersintheauthenticensembles from P Since 2003 Besides concertactivitytheorchestraisengagedinaresearch Pratum Integrum The orchestrawasfoundedinMoscow2003withsupport Essential Music a fullrangeofperiodinstruments. in earlymusic.ItistheonlyRussianorchestrathatoffers ratum Integrum and Musica Petropolitana (Belgium). Pratum Integrum performs withoutaconductororunder the performs . Leading (“unmown meadow”inLatin)specialises Pratum Integrum . Bergen Barokk Bergen has beenrecording albumsof Creonte (Norway) and , havebeen performers A la 34

RECORDING DETAILS

Microphones – Neumann km130 DPA (B & K) 4006 ; DPA (B & K) 4011 SCHOEPS mk2S ; SCHOEPS mk41 All the microphone buffer amplifiers and pre-amplifiers are Polyhymnia International B.V. custom built. DSD analogue to digital converter – Meitner design by EMM Labs. Recording, editing and mixing on Pyramix system by Merging Technologies.

Recording Producer – Michael Serebryanyi Balance Engineer – Erdo Groot Recording Engineer – Roger de Schot Editor – Carl Schuurbiers

Recorded: 6.07 & 17–22.08.2003 5th Studio of The Russian Television and Radio Broadcasting Company (RTR) Moscow, Russia P & C 2003 Essential Music, P. O. Box 89, Moscow, 125252, Russia P & C 2003 Музы ка Массам,125252, Россия, Москва, a/я 89 www.caromitis.com www.essentialmusic.ru

ACKNOWLEDGEMENTS The “Luigi Cherubini” Consevatorium (Florence, Italy) for preserving Berezosky’s manuscripts The Pushkin Museum of Fine Arts (Moscow, Russia) for providing the copy of artwork CM 0022003