What unites Beethoven and Ukrainian Cossacks?
Did you know that a Ukrainian, Andriy Rozumovskyi, the son of the last Hetman, was a patron of Beethoven and actively supported his musical development?
Andriy Rozumovskyi, son of the last Hetman of Ukraine, Kyrylo Rozumovskyi, was a distinguished diplomat of the late 18th and early 19th centuries and played a significant role in the Congress of Vienna (1814–1815). But Andriy Rozumovskyi's talents extended beyond diplomacy; he was also deeply involved in the world of music.
Thanks to his father, Hetman Kyrylo Rozumovskyi, who ensured him a superb education at Strasbourg University, Andriy developed a profound appreciation for music. His refined artistic taste allowed him to engage closely with the leading figures of the Viennese Classical School, including Joseph Haydn, Wolfgang Amadeus Mozart, and Ludwig van Beethoven. Rozumovskyi's understanding of the innovative contributions of these composers highlights his remarkable influence and appreciation for music.
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Today, Andriy Rozumovskyi is celebrated as a significant patron of Beethoven.
He provided both moral and financial support to the renowned composer. In appreciation, Beethoven dedicated several of his masterpieces to Rozumovskyi, including Symphony No. 5, Symphony No. 6, and the three string quartets known as the Razumovsky Quartets (Nos. 7, 8, and 9).
In these quartets, Beethoven incorporated melodies from Ukrainian folk songs such as "Oy, nadvori metelytsia" and "Vid Kyieva do Luben nasyiala konopel," showcasing his respect for Ukrainian culture.
By dedicating his iconic Symphony No. 5 to Rozumovskyi, Beethoven not only honoured his patron but also immortalised his name in the world of classical music.
Additionally, Beethoven had access to Rozumovskyi's music library, which featured a rich collection of Ukrainian music, including folk songs and works by Ukrainian composers. Beethoven even created two arrangements of the song "Yikhav kozak za Dunay" and included a motif from the Ukrainian dance "Kozachok" in his Eighth Sonata, and his Appassionata No. 23 was also inspired by this popular rhythmical dance.
Cossack instrument torban
There’s a common stereotype that Cossacks were merely horsemen wielding sabres. However, the Cossack elite were undoubtedly well-integrated into European culture. They attended school, studied languages, and were often more educated than their Russian counterparts. This is a fact!
What's also remarkable is that Andriy Rozumovskyi was so skilled that he could play the second violin part in the quartet he organized.
Additionally, Andriy Rozumovskyi was a talented torban player. The torban, also known as the noble bandura, is an ancient Cossack instrument that was predominantly found in the estates of the gentry. In the photo, you can see Andriy’s descendant, Gregor Rozumovskyi, holding one of the torbans that Andriy used to play Ukrainian songs for Beethoven.
As you listen to Beethoven’s Symphony No. 5, remember that it was inspired by melodies played on the Cossack torban.
Andriy Rozumovskyi's Business Card at the British Museum
Andriy Rozumovskyi, a prominent figure of the Cossack elite and patron of Beethoven, has his business card on display at the British Museum. This artifact reflects his significant role in European cultural and diplomatic circles.Andriy Rozumovskyi was deeply aware of his heritage as the descendant of a Hetman and strongly identified with Ukraine.
In May 2022, one of the world's most prestigious and historic institutions, the British Museum, unveiled his business card from 1783. The card features imagery of Cossacks, elements taken from his father's coat of arms. A closer look reveals a tree depicted behind a stone, resembling an oak tree—the ancient symbol of Cossack strength, endurance, and nobility.
This artefact not only highlights Rozumovskyi's cultural pride but also connects to his family's historical legacy and the broader significance of Cossack traditions.
This fascinating cultural highlight has been prepared for UAID by our dedicated volunteer Olena Tertyshnyk.
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