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Childhood and study in St. Petersburg and Leipzig

Sergei Eduardovich Bortkiewicz was born in Kharkov (Ukraine) on 28 February 1877 as the fourth child of Eduard Bortkiewicz and Sophia Uschinskaja. He spent most of his childhood on the family estate of Artiomowka, near Kharkov. During that time he got pianolessons from Ilja Slatin, the headmaster of the school of music in Kharkov and from Alfred Bensch. After graduating from the gymnasium in Kharkov, Bortkiewicz went to St. Petersburg to study law and to join the Imperial conservatory of music. At the conservatory Bortkiewicz recieved his musical training from Anatol Liadov (1855-1914) and from Karl von Arek (1842-1902). In 1900 het left St. Petersburg and travelled to Leipzig, where he studied at the conservatory of music. He became a student of Alfred Reisenauer (1863-1907), who was a pupil of Liszt, Salomon Jadassohn (1831-1902) and Karl Piutti (1846-1902). In July 1902 Bortkiewicz completed his studies at de Leipzig Conservatory and was awarded the Schumann prize on graduation. On 18 July 1904 he married Elisabeth Geraklitova, a friend of his sister Vera and then returned to Germany where he settled in Berlin.









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First Berlin period (1904-1914)

From 1904 until 1914, Bortkiewicz continued to live in Berlin and started to compose seriously. He gave his first piano recitals in Berlin, Leipzig, Munich and Vienna. He became friends with the opera diva Emmy Destinn (1878-1930) and went on concert tours with her to all the larger cities of Germany.
 
He also appeared in Russia, Paris and Italy. In Berlin he gave private lessons, except for one year when he was engaged as a teacher in the Klindworth-Scharwenka Conservatory, where he was to meet his lifelong friend, the Dutch pianist Hugo van Dalen (1888-1967).
 
Van Dalen owed his marriage with his wife Sophia Wilhelmina Alberdina Rijckholt to Bortkiewicz. In his Erinnerungen Bortkiewicz says: "My opus 15 ten ¨¦tudes for piano had just appeared with the publisher D. Rahter, when in Berlin I got acquainted with my present dear friend, the Dutch pianist Hugo van Dalen. When Van Dalen returned to Berlin after a long absence, he introduced me to his young pretty wife and assured me that he owed his married happiness to me. Naturally, I agreed. He then told me that my concert ¨¦tude opus 15 no. 8 in D flat major pleased a Dutch young woman so much, that se had herself introduced to the pianist in order to ask him about the piece and the composer. From this acquaintance came love, engagement and marriage. Yet more noteworthy is the fact that exactly the same story was told to me later in Vienna by my friend, mr. Ernst Horicky, who came to know his wife in the same way. This time he was the curious one. Since then I have named the piece in D flat major as the Betrothal ¨¦tude, and look on myself as a matchmaker.
Van Dalen premiered Bortkiewicz's pianoconcerto no. 1 opus 16 in November 1913 in Berlin with the Bl¨¹thner Orchestra conducted by the composer


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First World War and Russian Revolution

      The outbreak of the First World War in 1914 changed Bortkiewicz's life. Being a Russian he was initially under house arrest and later to leave Germany. Going through Stockholm and Finland he finally reached St. Petersburg. He did not stay there but travelled to Kharkov, where he established himself as a music teacher, whilst at the same time giving concerts alone or together with the violonist Franta Smit. During his years in Kharkov he composed his cello concerto opus 20 (dedicated to Paul de Conne [1874-1959]), and the violin concerto opus 22 (dedicated to Franta Smit). The cello concerto was premiered in 1923 in Budapest, while the violin concerto was premiered in Prague in 1922 by its dedicatee Franta Smit.

      The end of the first World War saw the beginning of the Russian revolution, which forced the composer and his family to flee the family estate of Artiomowka owing to occupation by the communists. In June 1919 the communists fled in the wake of the White army and Bortkiewicz was able to return and help to rebuilt the family estate, which had completely been plundered. This, however, was short-lived and whilst on a trip to Yalta with his wife, the fall of Kharkov to the Red army meant that his family could not return to Artiomowka. Whit the area now surrounded by the Red army, the composer watched his mother and the husband of his sister Vera, fall ill with typhus fever, of which both died in the chaos of Novorossysk. Bortkiewicz sought to escape from Yalta and succeeded in November 1919 to obtain passage on the steamer Konstantin. Bortkiewicz wrote in his Erinnerungen: "Now was the time for us to push through at any cost. For hours we stood at the stairs. Finally, we were successful in squeezing through, we showed are passenger tickets, and were on board. We breathed a sigh of relief, as we saw our luggage, our last property and wealth, swinging in the air on a cable of a mighty crane. My wife occupied a cabin with a few ladies. I remained on the upper deck without a place. The Konstantin was over-filled to bursting point with people and luggage, there was not even a spot free on the upper deck. The signal for departure was given. 'Adieu, adieu, my native shore', Byron's words flashed through my head." The next day Sergei and Elisabeth Bortkiewicz arrived in Constantinople (Istanbul). Bortkiewicz was ruined: "I had 20 dollars in my pocket, that was all. My 1,5 million Russian roebel were totally worthless! We had only a couple of suitcases with clothes, a little underwear and my manuscripts."


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Life in Constantinople (Istanbul).

    With the help of the Court pianist to the Sultan, Ilen Ilegy, Bortkiewicz began to give concerts and started teaching again in Constantinople (Istanbul). He became well known throughout a number of embassies and made an acquaintance with the wife of the Yugoslavian ambassador Natalie Chaponitsch, to whom he dedicated his Trois morceaux opus 24 pour piano. She organised musical gatherings for Bortkiewicz within the embassy. Despite the good living conditions in Constantinople (Istanbul), Bortkiewicz longed to live in Europe. To Hugo van Dalen he wrote on 18 August 1921: "Naturally I long for Europe, music, culture, art with my whole heart. Over here things are very pitiful in this respect. Only the place and the climate are beautiful. I have engagements for Vienna and Budapest for the 1st September, but for the time being I will remain here till I have accumulated plente of foreign exchange with concerts and lessons. I then hope to move to Vienna or Budapest to recover and finally to compose. Here I do not have the time nor the mood to write even a few notes." With the help of ambassador Chaponitsch the composer and his wife were able to obtain a visa for Yugoslavia. Bortkiewicz and his wife arrived in Sofia via Belgrade, where they had to wait for some time before obtaining an Austrian visa.



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First Austrian period (1922-1928)

  On the 22nd July 1922 Bortkiewicz and his wife arrived in Austria. Initially Bortkiewicz chose Baden, not Vienna, as his residence, where he remained until 1923.

  Together with Franta Smit he gave concerts in The Hague on 29 January 1923 and on 6 February 1923. He also completed his Douze ¨¦tudes opus 29 which he dedicated to his friend Hugo van Dalen. In 1923 he settled in Vienna and remained here five years, supported in a friendly manner by Paul de Conne, his countryman and previous colleague at the St. Petersburg Conservatory.
  Not only did Paul de Conne introduce him to the Viennese music circle and to Viennese publishers, but also helped him through his connections with the Ministery of Education in obtaining his Austrian citizenship, which he finally obtained in 1925. It was through Paul de Conne that Hans Ankwicz-Kleehoven, the founder of the Bortkiewicz Gemeinde, first became aware of Bortkiewicz, because Paul de Conne, who appeared very often in sunday concerts from the years 1925-1931, played the beautiful D flat major prelude (opus 33 no. 8) with great success. "We all liked it so much that he had to perform it every time and awoke the keen desire in all listeners to learn more about this composer unknown in Vienna till now", according to Hans Ankwicz-Kleehoven.
  In Vienna he composed his Pianoconcerto no. 2 opus 28 for the left hand only. This concert was commissioned by Paul Wittgenstein (1887-1961), who premiered the work in Vienna on 29 November 1923 under the direction of Eugen Pabst.
  In Vienna he also composed his Pianoconcerto no. 3 opus 32 "Per aspera ad astra". The premiere of this concerto was in June 1927 in Vienna. The pianist Maria Neuscheller played the concerto under the direction of the composer.




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Second Berlin period (1928-1933)

In 1928 Sergei and Elisabeth Bortkiewicz moved to Paris for a period of six months. In April 1929 the moved again, this time to he beloved Berlin. Shortly before his leave to Berlin Bortkiewicz asked the composer Joseph Marx (1888-1964) in vain to help to find a position as pianoteacher in Vienna. In 1928 one of Bortkiewicz's high points in his pianoworks was published: Ein Roman f¨¹r Klavier opus 35. This is a cycle of eight pianopieces which form together a story: 'Begegnung', 'Plauderei', 'Erwachende Liebe', 'Auf dem Ball', 'Enttäuschung', 'Vorw¨¹rfe', 'Ein Brief' and 'Höchstes Gl¨¹ck'. In Berlin he composed his Russisches Rhapsodie opus 45 for piano and orchestra and his opera Akrobaten opus 50. Bortkiewicz had great financial problems during his life in Berlin. The economic crises and the rise of the Nazi regime made his financial situation every day more serious. Many times he asked Hugo van Dalen for financial help.

In a letter dated 21 April 1933 Bortkiewicz wrote to Hugo van Dalen: "After the Hitler revolution allmost all opera producers, many orchestra directors and others have been removed and now new people have come in with whom I must negotiate again regarding my opera. [...] Dear friend, forgive me my incessant complaining and asking. You are an angel and you understand how difficult, how unpleasant it feels to me to keep begging. If I did not have my poor wife, I would have put an end to my life long ago. [...] Although I have a good reputation in Germany, I still am a foreigner and now one is looked upon very unfavorably if one is not a genuine German, and there are even fewer opportunities for any position [...]". Bortkiewicz was persecuted by the Nazi's and his name struck off programs, so that he preferred to return to Vienna in 1933.


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Second Austrian period  (1933-1952)

In 1933 Bortkiewicz was forced to leave Germany again - being a Russian he was now facing persecution from the Nazi's and saw his name being deleted from all music programmes. He returned to Vienna in 1935 where he found a residence at Blechturmgasse 1 door 5 and more than anything else a landlady in Frau Cernas, who looked after him and his wife with touching, untiring friendliness. He lived there the rest of his life.
During these years Bortkiewicz suffered serious financial difficulties and was sought to ask for financial help from his friend Hugo van Dalen many times, which the pianist always gave freely. To earn some money Bortkiewicz translated from Russian into German the letters between Pjotr Tchaikovsky and Nadesdja von Meck. These letters were published as Die seltsame Liebe Peter Tschaikowsky's und der Nadjeschda von Meck (Köhler & Amelang, Leipzig 1938). Van Dalen adapted Bortkiewicz's book for a Dutch readership and published it as Rondom Tschaikowsky's vierde symphonie (De Residentiebode 1938).
The second World War was also a terrible time for Bortkiewicz and his wife. At the end of the war he described in a letter from 8 December 1945 to his friend Hans Ankwicz-Kleehoven (1883-1962) how he still lived: "I'm writing to you from my bathroom where we have crawled in because it is small and can be warmed on and off with a gas light (!). The other rooms cannot be used and I cannot touch my piano. This is now! What awaits us further? Life is becoming more and more unpleasant, merciless. I teach at the Conservatory with the temperature at 4 degrees, soon even less [...]". During the war Bortkiewicz composed one of his masterpieces, the piano sonata no. 2 opus 60, which he dedicated to Hans Ankwicz-Kleehoven. The sonata was first performed by the composer on 29 November 1942 in the Brahmssaal of the Musikverein in Vienna. Hugo van Dalen gave the Dutch premiere on 9 February 1944 in Amsterdam.
The second World War brought Bortkiewicz to the edge of despair and ruin. The greater part of his printed compositions, which were held by his German publishers, were destroyed in the bombing of German cities and hence he lost all his income from the sale of his music. Bortkiewicz and his wife were physically and mentally exhausted at the end of the war and were both in a desperate situation when there friend, the chief physician Dr. Walter Zdrahal, admitted the couple to the Franz Joseph Hospital in Vienna in order to treat them.
In the Autumn of 1945 Bortkiewicz was appointed director of a master class at the Vienna City Conservatory which helped the composer some of the financial security he so sought. In 1946 he composed his Six pr¨¦ludes opus 66 of which only two have so far been located. These pr¨¦ludes are dedicated to the Dutch pianist Helene Mulholland (1912-2000), who helped him, together with Hugo van Dalen, after the war by sending much needed food and clothes.
After his retirement in 1947 the community of Vienna awarded him an honorary pension. In the years after 1949 and primarily as a result of the war years, Bortkiewicz's wife was diagnosed as suffering from manic depression which caused great concern for the composer.



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Bortkiewicz Gemeinde (Bortkiewicz Society) 1947-1973

Shortly after the second World War Dr. Hans Ankwicz-Kleehoven (1883-1962) took the initiative to found the Bortkiewicz Gemeinde (Bortkiewicz Society).

The objective of the Bortkiewicz Gemeinde was to encourage the performance and to disseminate the works of Bortkiewicz. The request to the authorities of Vienna for permission to found a Bortkiewicz Gemeinde was done by Ankwicz-Kleehoven on 27 November 1946. The executive committee of the Bortkiewicz Gemeinde was formed by Hans Ankwicz-Kleehoven, Bernhard Herzmansky of Doblinger, Dr. Ing. Fritz Vogel and Dr. August Weissel. The inaugural meeting took place in the library hall of the Akademie at Schillerplatz on 10 April 1947 in Vienna.

As a result of that meeting, on the first Monday of each month from November to May, friends of the composer and members of the Bortkiewicz Gemeinde gathered in the K¨¹nstlerhaus and listned to concerts of the composer's music much of which was played by the composer himself.

On 15 December 1947 the first major concert evening was given.

On the programme were two pr¨¦ludes from opus 33, the piano sonata opus 60, Warum? from Fantasiest¨¹cken opus 61, Etude opus 65 no. 2, two ¨¦tudes from opus 29, ¨¦tude opus 15 no. 7 and the Ballade opus 42, which were performed by the composer. The singer Anton Dermota performed songs from Russischen Lieder opus 47 and from Sternflug des Herzends opus 62. The violonist Anton Fietz played the second part Poem from the Violinconcerto opus 22. In a letter from 15 January 1948 to the Dutch pianist and friend Helene Mulholland (1912-2000) Bortkiewicz expressed his enthousiasm about the evening and emphasized that "in spite of the long programme, I had to give four encores."
The last president of the Bortkiewicz Gemeinde was Edmund Schwab. He was assisted by the Vienna singer Elisabeth Schubert-Tscharr¨¦. The Bortkiewicz Gemeinde was dissolved on 6 March 1973.


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Bortkiewicz's last year (1952)

On 26 February 1952 the Bortkiewicz Gemeinde along with the RAVAG Orchestra celebrated the 75th birthday of the composer at a concert in the Musikverein in Vienna. Bortkiewicz conducted the orchestra with Felicitas Karrer playing his Piano Concerto no. 1 opus 16, the violonist Jaro Schmied played his Des Fr¨¹hlings und des Pans Erwachen - ein lyrisches intermezzo nach Gemälden von Sandro Botticelli opus 44 for Violin and Orchestra. The concert was concluded with his Symphony no. 1 opus 52 "Aus meiner Heimat".
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his was to be his last great concert and the excitement of the event was illustrated in a letter from 18 March 1952 the composer wrote to Hugo van Dalen: "The concert itself was a great, glittering success with the public and the press (in agreement!). My soloists were first class, the orchestra played with spirit and joy, and I, as was written and said, conducted like a 25 year old. It was really a verry succesful and happy evening. [...] Finally I had the opportunity to show, in a large hall with a large orchestra and soloists, what I can do. Not only the critics, but others who know me, were surprised and amazed. If I had a rich Maecenas and manager, to arrange such concerts in large cities, followed by a second one, things would be different for me. [...] I can imagine what a success I could have if I were to conduct the Concertgebouw Orchestra in Holland. I can always feel happy to have found so much recognition at the age of 75 years, which, really, comes in most cases after death of someone who really earned it."

The last year of Bortkiewicz was described by Dr. Hans Ankwicz-Kleehoven during a memorial speech on 10 November 1952: "Early in the year [1952] he began to feel ill, but nonetheless appeared in the last Bortkiewicz recitals as accompanist or soloist, during which one noticed distinct signs of his failing strenght and his otherwise so amazing temperament. In the summer of that year he visited the Kurort at Villach, but had to cut off his stay there early due to his stomach ailment, and also could not travel to Reichenhall to attend a performance of his Piano Concerto no. 2 opus 28 for the left hand only by the one-armed pianist Siegfried Rapp, though he very much wanted to do so.
On 4 October 1952 we were guests of our friends, the family of Oberbaurat Anton Schubert. Bortkiewicz was also there and accompanied in some of his songs the singer Elisabeth Schubert-Tscharr¨¦, who had already sung his songs on Radio Graz. He had also received permission from his physician Dr. Walter Zdrahal, who was also present, to break his recommended diet so that he could enjoy the abundant culinary delicacies. There was some talk of that he would go to the hospital for a check-up, although his relatively good condition did not seem to indicate any danger. [...] On 16 October 1952 an examination of the composer was begun in the Urological Department of the General Hospital. I visited him on 17 October 1952 in Room 55, where he lay along with other patients in a small hall. He was out of bed and came with me to the foyer to smoke, complained a lot about the acute pain which the catheter caused and expressed the wish to be able to go home. During my next visit I found he had changed much. He lay in the bed, tossed around in frightful pain and wanted a quick operation so as to be free of these pains. The operation took place on 23 October 1952, apparently produced some relief but also great weakness. My wife found him exhausted on Friday, and it was difficult to understand his words; on Saturday afternoon (25 October 1952) I had the impression that he was doing better. I spoke about our next recital and asked for the score of the melodrama, to which he replied quite clearly that they lay on the grand piano, where they actually were. Full of hope for further improvement, I left him and even miss Schuster and mrs. von Gr¨¹ber found him relatively better in the afternoon. And yet it was a deception, because that same evening he died as the result of a thrombosis. At 21.45h he was released from his suffering, from a difficult life [...]."

Bortkiewicz was buried on 4 November 1952 at the Zentralfriedhof in Vienna. On that occasion Dr. Hans Ankwicz-Kleehoven ended his memorial speech at the grave with the words: "With sincere thanks to the rich treasure of melodies that he has given us, we bid our farewell today to the Master and will continue to honor his name as that of a gifted musician."

His wife, Elisabeth Bortkiewicz-Geraklitowa, who was childless, died eight years later on 9 March 1960 in Vienna.

The graves of Sergei and Elisabeth Bortkiewicz can still be found at the Zentralfriedhof in Vienna.




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what happened after Bortkiewicz' death?
 
Bortkiewicz died on 25 October 1952 in the Algemeines Krankenhaus in Vienna. His wife, Elisabeth Bortkiewicz-Geraklitova was his sole heir. The Bortkiewicz Gemeinde tried to keep the memory of Bortkiewicz' music alive. Elisabeth Bortkiewicz stayed as subtenant of Maria Cernas in the Blechturmgasse 1 T¨¹r 5. On 9 March 1960 Elisabeth Bortkiewicz died in the Willergasse 24, Rodaun, Wien (Vienna). Her heirs were two daughters of her brother Sergei Ilyanko. At the time of her death Elisabeth Bortkiewicz had about € 35.117 (according to todays currency). Elisabeth Schubert-Tscharr¨¦ and Grete Schuster received a legacy. By then the memory of Bortkiewicz' music had already faded away. His music went out of print and orchestral scores became very hard to obtain. But now, times are changing. Bortkiewicz' music has been brought back to his homeland Ukraine and his music is now being played there in concerts and in music schools and new recordings of his music appear. The revival of Bortkiewicz' music has begun!


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