Vasily Polikarpovich Titov
Encyclopedia
Vasily Polikarpovich Titov ( (ca. 1650 – ca. 1715) was a Russian
composer, one of the foremost exponents of the so-called Moscow Baroque
. Although Titov's works are not widely known today, he was famous during his lifetime, and his importance was acknowledged in Russia by both pre-revolutionary and Soviet musicologists.
's choir, the Gosudarevy Pevchie Diaki (Государевы Певчие Дьяки, The Tsar
's Singers) when he was in his twenties; his salary is recorded in 1678. He quickly rose to prominence as both singer and composer. In 1680s he collaborated with Simeon Polotsky (a famed churchman, man of letters and tutor to the children of Tsar Aleksey Mikhailovich
), composing musical settings of Polotsky's psalter and an almanac of sacred poetry. In the 1680s Titov also joined Tsar Ivan
's choir.
When Tsar Fedor died in 1682, Titov retained his position in Tsar Ivan's choir. Tsar Ivan died in 1696 and the choir was disbanded in 1698. It is not known precisely what happened next to Titov. He may have taken up a position as choir master in a church of the Moscow Kremlin
and/or head of a music school in Moscow. Nothing is known of his last years, except that he wrote some compositions associated with the Battle of Poltava
in 1709 and died soon after that.
's Idea grammatiki musikiiskoi (1679), an influential treatise on composition. Znamenny Chant was another important influence on Titov's work: he even wrote a Service setting based entirely on the chant.
In Titov's music the text is the most important element, as it defines both the overall form and the shape of the melodic lines, sometimes resulting in accomplished word-painting. The musical language is largely tonal; melodic lines are treated individually in horizontal manner, with many motivic ornaments. Titov's textures in his large-scale works suggest that these pieces were meant not to separate the choirs in alteration, but to unite them, so there is no direct connection to the Venetian antiphonal style of the Western Baroque. A characteristic feature is the so-called variantnost (вариантность), the linking of melodic motifs by continuous subtle alterations which is also an important element in Russian chant and folk polyphonic traditions.
The prayer Mnogaya leta (Многая лета), or Bol'shoe mnogoletie (Большое многолетие) proved to be the most enduring of Titov's compositions, possibly because its polyphony was more simple and therefore in line with the ideals of Classical music era
. It was sung in Russian churches up to the October Revolution
.
Russia
Russia or , officially known as both Russia and the Russian Federation , is a country in northern Eurasia. It is a federal semi-presidential republic, comprising 83 federal subjects...
composer, one of the foremost exponents of the so-called Moscow Baroque
Naryshkin Baroque
Naryshkin Baroque, also called Moscow Baroque, or Muscovite Baroque, is the name given to a particular style of Baroque architecture and decoration which was fashionable in Moscow from the turn of the 17th into the early 18th centuries.-Style:...
. Although Titov's works are not widely known today, he was famous during his lifetime, and his importance was acknowledged in Russia by both pre-revolutionary and Soviet musicologists.
Life
The scant biographical materials indicate that Titov was born in 1650s. He joined Tsar FedorFeodor III of Russia
Feodor III Alexeevich of Russia was the Tsar of all Russia between 1676 and 1682....
's choir, the Gosudarevy Pevchie Diaki (Государевы Певчие Дьяки, The Tsar
Tsar
Tsar is a title used to designate certain European Slavic monarchs or supreme rulers. As a system of government in the Tsardom of Russia and Russian Empire, it is known as Tsarist autocracy, or Tsarism...
's Singers) when he was in his twenties; his salary is recorded in 1678. He quickly rose to prominence as both singer and composer. In 1680s he collaborated with Simeon Polotsky (a famed churchman, man of letters and tutor to the children of Tsar Aleksey Mikhailovich
Alexis I of Russia
Aleksey Mikhailovich Romanov was the Tsar of Russia during some of the most eventful decades of the mid-17th century...
), composing musical settings of Polotsky's psalter and an almanac of sacred poetry. In the 1680s Titov also joined Tsar Ivan
Ivan V of Russia
Ivan V Alekseyevich Romanov was a joint Tsar of Russia who co-reigned between 1682 and 1696. He was the youngest son of Alexis I of Russia and Maria Miloslavskaya. His reign was only formal, since he had serious physical and mental disabilities...
's choir.
When Tsar Fedor died in 1682, Titov retained his position in Tsar Ivan's choir. Tsar Ivan died in 1696 and the choir was disbanded in 1698. It is not known precisely what happened next to Titov. He may have taken up a position as choir master in a church of the Moscow Kremlin
Moscow Kremlin
The Moscow Kremlin , sometimes referred to as simply The Kremlin, is a historic fortified complex at the heart of Moscow, overlooking the Moskva River , Saint Basil's Cathedral and Red Square and the Alexander Garden...
and/or head of a music school in Moscow. Nothing is known of his last years, except that he wrote some compositions associated with the Battle of Poltava
Battle of Poltava
The Battle of Poltava on 27 June 1709 was the decisive victory of Peter I of Russia over the Swedish forces under Field Marshal Carl Gustav Rehnskiöld in one of the battles of the Great Northern War. It is widely believed to have been the beginning of Sweden's decline as a Great Power; the...
in 1709 and died soon after that.
Music
Titov wrote more than 200 compositions, all of them vocal music. They include complete settings of Divine Services (Sluzhby Bozhie, Службы Божие) and a psalter (by Simeon Polotsky), as well as numerous vocal concertos for feast days. His works range from short, three-voice pieces to large-scale compositions for 12- and 24-voice choirs. Titov was one of the most important followers of Nikolay DiletskyNikolay Diletsky
Nikolay Diletsky was a theorist and composer of Ukrainian nationality, active in Russia. He was widely influential in late 17th-century Russia with his treatise on composition, A Musical Grammar, first survived version of which dated 1677. Diletsky's followers included Vasily Titov.-Life:Little...
's Idea grammatiki musikiiskoi (1679), an influential treatise on composition. Znamenny Chant was another important influence on Titov's work: he even wrote a Service setting based entirely on the chant.
In Titov's music the text is the most important element, as it defines both the overall form and the shape of the melodic lines, sometimes resulting in accomplished word-painting. The musical language is largely tonal; melodic lines are treated individually in horizontal manner, with many motivic ornaments. Titov's textures in his large-scale works suggest that these pieces were meant not to separate the choirs in alteration, but to unite them, so there is no direct connection to the Venetian antiphonal style of the Western Baroque. A characteristic feature is the so-called variantnost (вариантность), the linking of melodic motifs by continuous subtle alterations which is also an important element in Russian chant and folk polyphonic traditions.
The prayer Mnogaya leta (Многая лета), or Bol'shoe mnogoletie (Большое многолетие) proved to be the most enduring of Titov's compositions, possibly because its polyphony was more simple and therefore in line with the ideals of Classical music era
Classical period (music)
The dates of the Classical Period in Western music are generally accepted as being between about 1750 and 1830. However, the term classical music is used colloquially to describe a variety of Western musical styles from the ninth century to the present, and especially from the sixteenth or...
. It was sung in Russian churches up to the October Revolution
October Revolution
The October Revolution , also known as the Great October Socialist Revolution , Red October, the October Uprising or the Bolshevik Revolution, was a political revolution and a part of the Russian Revolution of 1917...
.
List of works
- Psaltïr' rifmovannaya (Псалтырь рифмованная or Псалтырь римфотворная, 1686), a setting of Simeon Polotsky's psalter, for 3 voices
- Mesyatseslov (Месяцеслов), a setting of Simeon Polotsky's almanac of devout verses, 12 pieces for 3 voices
- Services for 8, 16 and 24 voices
- 28 sacred concertos for 12 voices
- 12 concertos for feast days (1709)
- O divnoye chudo (О дивное чудо, O Marvellous Wonder), 8 voices
- Zadostoynik (Задостойник), festal hymn
- Mnogaya leta (Многая лета), prayer with psalm, settings for 6 and 3 voices