Background Image Background Image Background Image
background image

CHAN 9840
    2 Ratings
Log in to review this disc
Background Image Background Image Background Image
background image
Chandos Logo
CHAN 9840

Bortnyansky: Sacred Concertos, Vol. 3

The Classical Shop
release date: August 2000

Originally recorded in 1999


Valeri Polyansky

Russian State Symphonic Cappella


Dormition Cathedral of Smolensk and St Sophias Cathedral, Polotsk


Valeri Polyansky


Igor Veprintsev

Record Label




Total Time - 65:53
Background Image Background Image Background Image
background image
Customers who bought this album, also bought...
Bortnyansky: Sacred Concertos, Vol. 1
Elgar: Part Songs - Finzi Singers
Bortnyansky: Sacred Concertos, Vol. 2
Grieg & Gade: Sacred Choral Works
Abel: 6 Symphonies
Vivaldi: Ottone In Villa
Sibelius: Scènes Historiques 1 & 2/ Pelleas and Melisande
Leclair: Violin Concertos, Vol. 3
Leclair: Violin Concertos

Scroll Scroll

background image
mp3question marklosslessoff  
*when you purchase a lossless format, we include the MP3 free of charge
Please Note: On Mp3 format an unavoidable click may be heard on segue track breaks, to avoid this issue please select lossless

Bortnyansky: Sacred Concertos, Vol. 3



Select Complete Single Disc for

Sacred Concerto No. 17

1 I 'How amiable are thy tabernacles, o Lord of hosts!' - 4:04
2 II 'As the Lord loves mercy and truth' - 2:40
3 III 'Blessed is the man that trusteth in thee' 1:45

Sacred Concerto No. 18

4 I 'It is a good thing to give thanks unto the Lord' - 2:24
5 II 'Upon an instrument of ten strings' - 0:56
6 III 'For thou, Lord, hast made me glad through thy work' - 3:09
7 I 'Let all rejoice that trusts in thee' 1:43

Sacred Concerto No. 19

8 I 'The Lord said unto my Lord: sit down at my right hand' - 3:52
9 II 'The Lord shall send the rod of thy strength out of Zion' - 2:47
10 III 'In the beauties of holiness from the womb of the morning' 1:40

Sacred Concerto No. 20

11 I 'In thee, o Lord, do I put my trust' - 2:38
12 II 'Let me never be put to confusion' - 1:59
13 III 'For thou art my hope, o Lord God' - 6:13
14 IV 'And hitherto have I declared thy wondrous works' 2:03

Sacred Concerto No. 21

15 I 'He that dwelleth in the secret place of the most high' - 4:31
16 II 'Surely he shall deliver thee from the snare of the fowler' - 4:10
17 III 'He shall call upon me, and I will answer him' 1:39

Sacred Concerto No. 22

18 I 'The Lord is my light and my salvation' - 1:41
19 II 'Though an host should encamp against me' - 1:22
20 III 'For in the time of trouble he shall hide me in his pavilion' - 3:19
21 IV 'I will sing, yea, I will sing praises unto the Lord' 1:41

Sacred Concerto No. 23

22 I 'Blessed is the people that know the joyful sound' - 3:42
23 II 'Then thou speakest in vision to the holy one' - 3:10
24 III 'I will set his hand also in the sea' - 1:34
25 IV 'My mercy will I keep for him for evermore' 1:11
Valeri Polyansky conducts the third in this five-disc series of Bortnyansky’s complete sacred concertos.

This rare repertoire was recorded in Russia by Russian forces, a combination that has garnered high praise across the board.

Little of this wonderful music is currently available; the Chandos series fills the gap left by this surprising omission.

It was in 1779 that Bortnyansky was appointed Kapellmeister of the Court Cappella, an institution that he would be associated with for the rest of his life. Most of his liturgical works for chorus were written in the early 1790s, and coincided with the last years of Catherine the Great’s reign. As a true reflection of their time, they are imbued with the spirit of the late Baroque and the ideals of enlightenment.

Their function can be regarded as twofold. Firstly, the arts and sciences were seen as spiritually ennobling and edifying, and secondly music at the court of Catherine the Great performed an important state function and had to reflect the prestige and the grandeur of the throne. Of Bortnyansky’s sacred works the sacred concertos, which are nearly all settings of verses from the book of Psalms, are considered to be the most important and mark the high point of the genre in Russia during the eighteenth century.

The concertos in this group contain a wealth of variety and many features that appear for the first time in these works. For example the ‘secular’ style of Concertos Nos 22 and 23 shows how Bortnyansky creates multiform structures within single movements. Another important new feature is the use of fugue, fugato and stretto. In common with some of the earlier concertos, we find many secular features, as in the opening of the second movement of Concerto No. 21 and particularly in the operatic style of Concerto No. 22.

‘Bortnyansky’s choral writing is of the first rank, and perfectly caught by the superb Russian State Symphonic Cappella.’
‘International Record Review’ on CHAN 9783 (Volume 2)

‘Polyansky obtains magnificent results for his singers , and his engineer, Igor Veprintsev, gives him superb sound…’

‘Full marks to everyone involved with this release: excellent recorded sound… superb performances from Valeri Polyansky and his Russian State Symphonic Cappella that allow us to hear Bortnyansky as we ought to hear him – a radical restored.’
‘Fanfare’ on CHAN 9729 (Volume 1)

M Clark

RADIO 3 Would do well to look at the Chandos Label and seek out these hidden gems. Perhaps it would be too difficult for the producers, hence the same old composers everyday. Superb recording with good balance of sound.
G Jones