User:Amitchell125/sandbox

• Lead calls him "one of the golden three" and then never references this again. This should have a source, either in the lead, or be expanded on in the body. I am unable to find any reliable reference by musicologists to Berezovsky, Vedel and Bortniansky as a "golden three" (something like how The Mighty Handful is a common name for that group of composers): Kuzma for example calls them "the three great composers of the Golden Age of Ukrainian music, citing Rudnytsky, (https://www.jstor.org/stable/763922); Rudnytsky in his turn calls them the greatest of the second half of the 18th century, but says that it is incorrect to call that period of time "the Golden Age of Ukrainian music". (Українська музика: історично-критичний огляд, pg 55, https://diasporiana.org.ua/wp-content/uploads/books/14276/file.pdf) Another journal article calls them "the most prominent representatives of the golden age of Ukrainian music(second half of the 18th century"(https://elibrary.kubg.edu.ua/id/eprint/45699/1/O_%20Sbitnieva_%20The%20Development%20of%20Ukrainian_kaev.pdf). Maybe something like "Together with Artemy Vedel and Dmitry Bortniansky, he is considered one of the most prominent Ukrainian composers of the 18th century" would work?
• The symphonies by Beresciollo section should emphasize more that the identity of Beresciollo as Berezovsky is likely, but not certain, per the source (the source given says that the connection of Berezovsky to Beresciollo is not certain).
• Earwig flags 45,1% similarity to the Claudio Records source. This is too high. Consider removing or otherwise rephrasing : "He was also the first to raise the theme of the suffering of the Creator to the level of the philosophical concept of the battle between good and evil. The strength of expression of this concept elevates Berezovsky’s compositions to the standing of international masterpieces of the cultural musical world such as those of the later works of Mozart and the symphonies of Beethoven." Analyses of his works and musical style could be used - if needed, I can search for some.
• Additionally, I don't care for this source - Yurchenko was the conductor of the choir that made the recording; I don't see anything that confirms that Yurchenko also wrote the notes (do conductors normally write the CD notes?). Additionally, CD notes aren't peer-reviewed or necessarily held to high standards of accuracy, as far as I am aware. Could this source be replaced by any other sources?

• Userbox says he was born in Glukhov, the text of the article refers to Glukhov as Hlukhiv. Additionally, the lead says that he was educated at "Glukhov Singing School", but the section "Education in Hlukhiv and Kyiv" calls it the "Hlukhiv Singing School". It should be consistent throughout the article.
• Tri Simfoniyi on pg 17 states that there is no documentation of Berezovsky attending the Kyiv-Mohyla Academy (pg 4 in Ukrainian states Києво-Могилянська академія). You have wikilinked this to the Kiev Theological Academy(Київська духовна академія) in the lead, which is a different academy. You have also stated in "Early life" that he was by the accounts of others a scholar at the "Academia Kiioviensis Mohileana" and wikilinked to the Kyiv-Mohyla Academy, although in the body and later in the text you link to the Kiev Theological Academy.
• "His suicide, taken as fact from the early 19th century, may have happened because of debt problems or his wife's death, as opposed to earlier theories such as his supposed poor treatment by the imperial court." Earlier in the text, it is stated that his wife died a year after him.
• "Bolkhovitinov's unsubstantiated biography, written four decades after Berezovsky's death, was used by later writers as the main source of information about the composer" but in the death section, you write "Bolkhovitinov, in his 1804 biography of Berezovsky, used testimonies by people who knew him..." two contradictions: a) 40 years after Berezovsky's death would be 1817, not 1804 (this seems like an error taken from Shumilina's text, as she says almost 40 years); I've removed the four decades. b) Since the biography is described to be taken from people who personally knew Berezovsky, it makes it sound like the biography is in fact substantiated.

I would use the source that's more recent - in this case, Shumilina. While Pryashnikova is an expert in her field, the notes seem to be from 2003, judging by the recording, and research over the last several years have disproven many legends about Berezovsky. Additionally, CD notes aren't normally peer-reviewed, unlike journal articles.

• page 16 of Tri Simfoniyi - Karabits states that Berezovsky was likely born no later than 1740-1741 and cites research from Rytsareva and Lebedeva-Emelina; but this isn't mentioned in the article. I would recommend putting this in the text, especially if the sources from Rytsareva and Lebedeva-Emelina can be found.
• "He no longer sang as a principal after Catherine II became empress in 1762, perhaps because of his age, or because Russian musicians lost favour at court during her rule." Citing Kuzma. Kuzma writes "Berezovs′ky remained as a court singer but no longer sang principal operatic roles; this may have been...due to a change in policy in favour of foreign musicians." I am unfamiliar with what exactly the change in policy was, but the first wording implies that Catherine grew displeased with Russian musicians and demoted or removed all of then, while the way Kuzma writes it implies only that Catherine had hired more foreign musicians. A rewording is not necessary, but I would recommend it. (An explanation of the policy change would be nice, but not at all necessary for GAN.)
• "There he studied with the composer Stanislao Mattei, the assistant of the music historian and composer Giovanni Battista Martini at the Accademia Filarmonica di Bologna." I cannot access Jaffé 2012, but the other source is Shumilina 2015, who says that Berezovsky studied with Battista Martini himself, not Mattei. Other sources I've read about Berezovsky say that Martini in fact gave him high praise, and mention nothing about Mattei.
• "One of the passports is thought to have been for Berezovsky." the cited source states "The first surname is barely legible, but [Rytsareva] assumed that to be Berezovsky. However, in the second edition of the book, the author forwent her hypothesis..." Shumilina(2019) says about the same passport "Researchers believe that this record does not concern M. Berezovsky, because mistakes were made in it in written surnames."(Дослідники вважають, що цей запис не стосується М. Березовського, бо в ньому допущено помилки у написані прізвища.) so the passport according to researchers may not have been for Berezovsky? This should be mentioned.
• Inconsistent layout of sources: not all of the sources are listed in the "Source" section. For example, Kuzma's article about Berezovsky from Grove Music Online is in "Sections", but Taruskin's article, also from Grove Music Online, is not listed in sources. Same issue with the Claudio Records CD notes but lack of Pryashkina's CD notes.

• You have listed ТРИ СИМФОНІЇ(Tri Simfoniyi) by Karabits as being written in Ukrainian, but in the linked document, there is a translation of the Ukrainian text into English. You have cited the English translation. Either the page numbers must be changed to the ones in Ukrainian, or the "in Ukrainian" should be removed. Also, the article in question was not written by Karabits, but by Larisa Ivchenko; Karabits is the editor of the three symphonies that are presented after Ivchenko's article.

I found some articles and media that I believe would improve the article - however, you are not obliged to use all or even any of them.

• Shumilina has an article from 2018 in Russian titled "Myths about Maxim Berezovsky: Reasons for Emergence and Ways to Overcome" that has some useful information; for example, on pg 14, she argues that Berezovsky could not have killed himself, as the laws of the Russian Empire at the time ordered to bury people dead by suicide in unmarked graves, while documents show that arrangements were made to bury Berezovsky. Shumilina also writes that Berezovsky was able to find work after returning to St. Petersburg, as documents show that he was paid 500 rubles a year, (Shumilina, Olga Anatolyevna, title "Мифы о Максиме Березовском: причины появления и пути преодоления", trans-title "Myths about Maxim Berezovsky: Reasons for Emergence and Ways to Overcome" 2018, journal "Вестник музыкальной науки". lang=ru. https://cyberleninka.ru/article/n/mify-o-maksime-berezovskom-prichiny-poyavleniya-i-puti-preodoleniya, pgs 12-19)
• A source talking about several myths about the life of Berezovsky (and other Catherine-epoch composers) and what is actually known about Berezovsky. (Lebedeva-Emelina, Antonina (2017). Berezovsky's death, including Bolkhovitinov's version of events and Ritzarev's hypothesis, is discussed on pgs 12-13. (unfortunately, I was unable to find the actual article by Ritzarev). Title: Биографика композиторов екатерининской эпохи: соотношение документов, легенд и мифов. trans-title: Biographic Writings on the Composers of the Era of Catherine the Great: Correlation Between Documents, Legends, And Myths. journal=Искусство музыки: теория и история (The art of music: theory and history), issue 17, https://imti.sias.ru/upload/iblock/132/imti_2017_17_3_78_lebedeva_emelina.pdf, lang=ru)
• Journal article by Lebedeva-Emilina, Komarov, and Mologin about the publication of Berezovsky's works by Peter Jürgenson. It mentions that Berezovsky's liturgical music was composed in Italy and dates to 1770 or earlier, if that's helpful(pgs 134-135). (https://cyberleninka.ru/article/n/izdanie-duhovnoy-muzyki-m-s-berezovskogo-v-kontse-xix-veka-p-i-yurgenson-k-k-albreht-i-p-i-chaykovskiy, journal=Вестник Православного Свято-Тихоновского гуманитарного университета, issue 135, pgs 130-162, date=2019, authors=Lebedeva Emelina, Antonina Viktorovna; Komarov, Aleksandr Viktorovich; Mologin, Mikhail Semyonich, title=Издание духовной музыки М. С. Березовского в конце xix века: П. И. Юргенсон, К. К. Альбрехт и П. И. Чайковский, trans-title=Publication of sacred music of M.S.Berezovsky at the end of the 19th century: P.I.Jürgenson, K.K.Albrecht and P.I.Tchaikovsky) It also mentions works by Berezovsky (pgs 136-137) that I do not see at all in the table, for example the liturgical work Знаменася на нас.
• Several streets in Ukrainian cities named in honor of Berezovsky. 2 news articles about a street named in honor of Maxim Berezovsky: one in Kyiv in March 2023, and the other in Kremenchuk in September 2023. You might add this to his legacy section. (https://vechirniy.kyiv.ua/news/80764/, https://zmist.pl.ua/news/na-chest-lytovskogo-knyazya-ta-getmana-somka-u-kremenchuczi-perejmenuvaly-12-vulycz This source from the Oles Honchar Kherson Library also states that there are streets named after him in Chernihiv and Rivne, a children's school named after him in Hlukhiv, and the 1995 installation of the statue in Hlukhiv, with the sculptor being Inna Kolomiets.(https://lib.kherson.ua/avtor-pershoi-ukrainskoi-simfonii.htm)
• a 2022 article by Shumilina, analyzing the operas he sang in (including lead tenor role of Seleuco by Araja) and proposing his age based on that + again hypothesizing that Berezovsky was not Beresciollo based on the fact that the style of Beresciollo's symphonies would have been unknown to Berezovsky. Shumilina, Olha (2022). "Опера «Селевк» у творчому житті Максима Березовськоґо" [The opera "Seleuco" in the creative life of Maksym Berezovsky]. Часопис Національної музичної академії України імені П.І.Чайковського (in Ukrainian) (3-4(56-57)): 97–112. doi:10.31318/2414-052X.3-4(56-57).2022.278208. ISSN 2414-052X. )
• а November 2021 conference paper by Shumilina, "Who is Signor Beresciollo?" (ХТО ТАКИЙ СИНЬЙОР BERESCIOLLO?) In the article, Shumilina argues that Beresciollo was not in fact Berezovsky, seeing as the pieces from Beresciollo were dated to 1760, and Berezovsky would have been a 15-year-old opera singer who was not composing music. (pgs 254-258 Shumilina, Olha (November 2021). Хто такий Синьор Beresciollo? (PDF). FIFTH INTERNATIONAL RESEARCH-TO-PRACTICE CONFERENCE. Kyiv. pp. 254–258.)