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Гатовская Е. Е. Концерты Василия Титова на 4 голоса: новые открытия // Вестник ПСТГУ. Серия V: Вопросы истории и теории христианского искусства. 2016. Вып. 2 (22). С. 90-104. DOI: 10.15382/sturV201622.90-104
This paper analyses seventeen previously unknown concerts for four voices by an eminent Russian composer of the Baroque era Vasily Titov. The paper presents a description of different manuscripts, which allow us to attribute the concerts and the manuscripts to Titov and also to make a compilation of complete or incomplete scores of the concerts.
Titov, concert, manuscript, score, partesny style.

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5. Plotnikova N. Ju. 2013 “Tvorchestvo Nikolaja Dileckogo: novye otkrytija” (Works of Nikolaj Dileckij: New Discoveries), in Muzykal'naja akademija, 2013, vol. 2.
6. Protopopov V. 2011 “Muzykal'noe tvorchestvo Vasilija Titova: K probleme partesnogo stilja” (Musical Works of Vasilij Titov: To Problem of Partes Style), in Protopopov V. V. Iz neopublikovannogo nasledija: Velikie tvorenija mirovoj duhovnoj muzyki. Russkaja muzyka vsenoshhnogo bdenija. Muzykal'noe tvorchestvo Vasilija Titova: K probleme partesnogo stilja, Moscow, 2011.
7. Protopopov V. 1983 “Tvorenija Vasilija Titova — vydajushhegosja russkogo kompozitora vtoroj poloviny XVII — nachala XVIII veka. K probleme partesnogo stilja“ (Works of Vasilij Titov — Outstanding Russian Composer of Second Half of XVII — Begin of XVIII Century. To Problem of Partes Style), in Protopopov V. V. Izbrannye issledovanija i stat'i, Moscow, 1983.
Гатовская Е. Е. Некоторые особенности рефренных форм в четырехголосных концертах Василия Титова // Вестник ПСТГУ. Серия V: Вопросы истории и теории христианского искусства. 2018. Вып. 31. С. 83-101. DOI: 10.15382/sturV201831.83-101
This paper studies refrain forms in those concertos for four voices by a prominent Baroque composer Vasily Titov that have recently been made public. The material is three concertos, two of which — Цвете неувядаемый and В кимвалех устнами чистыми — are dedicated to Virgin Mary, the third concerto — О како беззаконное сонмище — exposes the tragical events of the Great Friday. The refrain forms, widely used in Western European music since the end of the 16th century, were treated in works of Russian Baroque composers as well. Distinctiveness of refrain forms in Titov’s compostitions is the result of his meticulous work with the verbal source and is determined by the choice of a textual refrain or several refrains, their complex relations with the thematic material. Due to making changes in the alternation of lines and certain syntagmata, Titov forms textual refrains that received further musical and rhythmical development and play a prominent role in exposing the image content of the concertos. The article examines multi-refrain compositions and the work with the refrain on macro- and miscro-levels as features of Titov’s art as a composer of fourvoice concertos.
Vasily Titov, partes style, concert, refrain form, Tsvete neuviadaemyi, V kimvalekh ustnami chistymi, O kako bezzakonnoe sonmische
  1. Gatovskaya E. E. (2016) “Kontserty Vasiliia Titova na 4 golosa: novye otkrytiia” [“Vasily Titov’s Four-Voice Concertos: New Discoveries”]. Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta: Seriia V. 2016, vol. 2 (22), pp. 90–104 (in Russian).
  2. Gatovskaya E. E., Plotnikova, N. Iu. (2017) “Kontsert Vasiliia Titova «Tsvete neuviadaemyi»: osobennosti kompozitsii i khorovogo pis'ma” [Vasily Titov’s Concerto Tsvete neuviadaemyi: Features of Composition and Choir Writing”], in Muzykal'naia arkheografi ia 2015: Sbornik statei. Materialy nauchno-prakticheskoi konferentsii “Zvuchashchii mir Drevnei Rusi”, 19–21.11.2014 [Musical Archeography 2015: A Collection of Papers. Proceedings of the Conference “Sounds of the World of Ancient Rus’”]. Moscow, pp. 187–208 (in Russian).
  3. Gerasimova-Persidskaia, N. A. (1983) Partesnyi kontsert v istorii muzykal'noi kul'tury [Partes Concerto in the History of Musical Culture]. Moscow, pp. 66–67 (in Russian).
  4. Katunian M. I. (1994) “Refrennaia forma XVII veka. K stanovleniiu muzykal'nykh form epokhi barokko” [“Refrain Form of the 17th Century. On the Development of Musical Forms of Baroque”], in E. A. Struchalina (ed.) Problemy muzykal'noi formy v teoreticheskikh kursakh vuza. Sbornik trudov [Problems of Musical Form in Theoretical University Courses: A Collection of Papers], vol. 132. Moscow, pp. 70–101 (in Russian).
  5. Kholopova, V. N. (1999) “Russko-ukrainskii khorovoi kontsert” [“Russian-Ukrainian Choral Concerto”], in Formy muzykal'nykh proizvedenii [Forms of Musical Works of Art]. St Petersburg, pp. 302–317 (in Russian).
  6. Perevody bogosluzhebnykh tekstov ierom. Amvrosiia (Timrota) [Hieromonk Amvrosy’s (Timrot) Church Service Texts], available at https://azbyka.ru/bogosluzhenie/triod_postnaya/postmpv. shtml (08.08.2018).
  7. Protopopov V. V. (2011) “Muzykal'noe tvorchestvo Vasiliia Titova: K probleme partesnogo stilia” [“Vasily Titov’s Musical Works: To the Problem of Partes Style”], in T. N. Dubravskaia, N. Iu. Plotnikova, N. I. Tarasevich (eds.) Protopopov V. V. Iz neopublikovannogo naslediia: Velikie tvoreniia mirovoi dukhovnoi muzyki. Russkaia muzyka vsenoshchnogo bdeniia. Muzykal'noe tvorchestvo Vasiliia Titova: K probleme partesnogo stilia [Protopopov V. V. From the Unpublished Heritage: Great Works of World Spiritual Music. Russian Music of Vespers. Vasily Titov’s Musical Works: To the Problem of Partes Style]. Moscow, pp. 301–395 (in Russian).
  8. Simeon, hieromonk (ed.) (2009) Kanony prazdniku Uspeniia Presviatoi Vladychitsy nashei Bogoroditsy i Prisnodevy Marii: tvorenie prepodobnykh i bogonosnykh ottsov nashikh Kozmy, episkopa Maiumskogo i Ioanna Damaskina, inoka i prezvitera lavry Savvy Osviashchennogo [Canons of Dormition of Theotokos: Work by our Reverend and Godbearing Fathers St Cosmas of Maiuma and St John of Damascus, Monk and Presbyter of Holy Lavra Savva the Blessed]. Balashikha (in Russian).
  9. Skaballanovich M. (1995) Khristianskie prazdniki. Rozhdestvo Bogoroditsy. Vvedenie vo Khram Presviatoi Bogoroditsy. Uspenie Presviatoi Bogoroditsy [Chrisian Holidays. Nativity of the Mother of God. Presentation of the Mother of God. Dormition of the Mother of God]. Moscow (in Russian).
Gatovskaya Evgenia
Place of work: St.Tikhon’s Orthodox University for the Humanities; 6/1 Likhov pereulok, Moscow, 127051, Russian Federation;
Post: Senior Lecturer;
ORCID: 0000-0002-6292-1759;
Email: egatovskaya@yandex.ru.
The author would like to thank professor Natalia Plotnikova, D.A. for her constructive criticism.