Vasily Titov’s Two-choir Concertos in Light of Nikolai Diletsky’s Amplification Theory

Of special relevance in the research of Russian music of the Baroque period are the methods of analysis that appeal to the music theory textbooks of that time. This article examines for the first time the theory of amplification developed by Nikolai Diletsky in his treatise Musikiyskaya grammatika [Musical Grammar]: the most significant techniques are disclosed of expansion of composition, which include exact repetition and various types of varied repetition, including modal, metric-rhythmic and melodic transformations of the musical material. It is suggested that the models of the ascending and descending motion, according to Diletsky, the so-called ascents and descents, are also means of amplification. The main aim of the article is the study of the music of the most significant composer of the partesny style, Vasily Titov from the point of view of Diletsky’s theory. The main object of the research is provided by eight two-choir concertos by Titov, the scores of which have been compiled and edited by the author of the article and are presently being prepared for publication. In this work the techniques of expansion of composition are revealed and characterized, their similarities or differences with the examples offered in Musikiyskaya grammatika [Musical Grammar] are established. It is shown that the multitude of techniques of exposition and the development of the material in Titov’s music exceed the usual “tutorial” schemes. Thus, the composer seldom turns to precise repetition, instead, applying timbral-textural variation, including the chorale rule, i.e., antiphonal juxtaposition of the choruses, basing himself on simple or canonic imitations of the respective choruses. Melodic transformations, such as, for instance, inversions are not only given in consecutive juxtapositions with the prime versions, but also combining together the prime and inverted versions in simultaneous sounding. It is established that Titov expands the ambitus of the models of ascending motion suggested by Diletsky, and also makes broad use of the rule of mixing together the types of motion (mixta), forming his own synthetic models. In his artistic realization of the typified schemes, Titov makes use of harmonic and contrapuntal means in a masterful way, achieving great artistic results. The article is accompanied by music examples, which illustrate the theoretical positions.