Vasily Titov—Gerasim (Zavadovsky)—Kirill Zayushevich: Artistic Dialogue, Artistic Emulation

Abstract

The article presents the different types of “artistic dialogues” in Russian baroque music. The research is based on the examination of choral concertos for 12 voices. The prevalent type of an “artistic dialogue” consists in arranging choral music for another combination of voices. The practice of arrangement is typical for baroque musical culture (one of particular cases is so called “parody”). Manifestations of this practice in Western baroque music are well-known, however, Russian music of the same period was never examined in this aspect. The given research demonstrates, that at least the two choral concertos previously attributed to Gerasim (Zavadovsky), belong in fact to Vasily Titov, while  Zavadovsky only made arrangements. Apparently, Zavadovsky was also an inventor of the peculiar “St. Peterburg” choral structure: mixed chorus without altos. 

The much more rare type of an “artistic dialogue” could be called “the artistic duel”. The two choral concertos of the same name composed by Titov and his younger contemporary Kirill Zayushevich are analyzed in connection with the case. The concerto by Zayushevich was composed with the intention to avoid and Titov’s influence and to surpass the elder contemporary using technique complexities.

All the information used in the article is obtained working on the incipit catalogue of baroque (“partes”) choral concertos for 12 voices.

Keywords: Russian Baroque, Vasily Titov, choral concert