- 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?
- 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?
- 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.
- "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.
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.
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)