Nikolai Titov
Nikolai Alexeyevich Titov | |
|---|---|
Николай Алексеевич Титов | |
 | |
| Born | April 28th, 1800 St. Petersburg, Russia |
| Died | Dec. 22nd, 1875 St. Petersburg, Russia |
| Resting place | Smolensk Orthodox Cemetery |
| Nationality | Russian |
| Occupation | Composer |
| Style | Russian Romance |
| Partner(s) | Sofia Alekseevna Smirnova (1820-?) |
| Children | Nikolai Nikolaevich (1842-?), Alexander Nikolaevich (1842-?) |
| Parent(s) |
|
| Relatives | Sergei Titov (Uncle) Nikolai Sergeyevich Titov (Cousin) |
| Awards | Order of Saint George |
Nikolai Alexeyevich Titov (Russian: Николай Алексеевич Титов, born St. Petersburg, 10 May 1800 - St. Petersburg, 22 December 1875) was a Russian composer, violinist, and Major General in various regiments during the 19th century. He is considered to be the "Grandfather of the Russian Romance."[1] His compositional style was considered to be in the pre-classical orientation, thus setting the groundwork for the developments by Glinka and his contemporaries.
Biography[]
Nikolai Titov was born April 28, 1800 in St. Petersburg, and is the son of General A. N. Titov. Titov's godfather was the Emperor Alexander I, who was then still the heir to the throne of the Russian Empire following Alexander's passing. He received general education until the age of 8 at home, then in the First Cadet Corps, although two years after his admission he had to leave due to poor health, after which he visited several private boarding houses, from which he completed the course at the boarding house of Saint-Florent, Haute-Corse.
In 1817 he was appointed as an Ensign in the Preobrazhensky Regiment. In 1819 he was transferred to the Finnish Life Guards Regiment, and on March 27, 1822 he was promoted to Officer.
In 1830 he retired for domestic reasons, but in 1833, at the suggestion of the sovereign himself, he again entered military service - in the Life Guards of His Imperial Highness, Grand Duke Mikhail Pavlovich's Ulan Regiment . In February 1834, he fell from his horse and was badly hurt, becoming bedridden for a long time after. After his recovery, he left combat services and was transferred as an Official of special assignments to the Commissariat Department, where he later held consecutive positions - Superintendent of a state factory of Officer Affairs, Director of a Moose Factory, and a Member of the General Presence.
On November 26, 1849, he was awarded the Order of St. George 4 cl. No. 8203:
For the impeccable service of 25 years in the officer ranks
He retired in 1867 with the rank of Lieutenant General. He died on December 10, 1875, and is buried at the Smolensk Orthodox Cemetery.[2]
Family and Children[]
Nikolai Alexeyevich Titov was born on April 28th, 1800 in St. Petersburg to a family of art song and small-form composers. Titov also had a younger brother named Mikhail Alekseyevich, who was likewise a notable and technically competent composer of romances and other smaller, incidental genres during the 19th century.[3]
Nikolai Titov was married in 1893 to Sofia Alekseevna Smirnova, Great Grandmother of Russian Postwar, 20th-century painter Natalya Nesterova,[4] and went onto have two sons named Nikolai Nikolaevich and Alexander Nikolaevich.
Titov's family ancestry extends way back, over a millennium in fact, and many prominent musically-inclined persons are included in Titov's chronology. His lineage stems back three cycles and merges military careerdom and musical composition work. Thus, composing and musical adeptness had always been an important secondary, albeit a secondary none of the less. More colloquially known as the Enlightened Amateur status, this class of non-specialist yet highly passionate individuals had been the vital cornerstone of cultural development in Russia during the 19th century, as due to salons, balls, and other artistically-minded groups had sprung up everywhere, giving members of the Russian aristocracy and well-off individuals the chance to create and contribute, despite their varying degrees of formalistic training. Adjacent with the Russian Enlightenment, the amateur composer had taking a foothold in the Russian gentry, and the distinction between Patron, composer, and audience member were forever blurred. In this changing landscape, the Titov "dynasty" would begin to be created.[5]
At the head was Nikolai Sergeevich Titov, a composer, poet and playwright who had primarily dealt with folk-infused musical comedies. However, he is most known for his involvement in contributing to an expansive network of theatrical hostings and private venues in/around 1766-1769 prior to their centralization with the founding of The Bolshoi Theater in 1776. Additionally, his Uncle Sergei Titov and cousin Nikolai Sergeyevich were also involved in the compositional atmosphere in Russia, although their presences and works have all but been forgotten.
Compositions[]
Opera[]
- 1805: Cupid-Judge, or Dispute of the Three Graces (words by Y.B. Knyazhnin)
- Before 1817: These are the Russians, or The Courage of the Kievites" (words of the Knyazhnin, staged in 1817)
- 1823: Nurzahad (words by Y.B. or the Triumph of Oliar)
- The Brewer, or the Lingering Spirit (staged under Catherine II)
- The Trial of King Solomon (words by S. Glinka, staged under Paul I)
- A Minute Delusion (words by S. Glinka)
- Beautiful Tatiana on Sparrow Hills
- The Soldier and the Shepherd
Polka[]
- Птичка Божия не знает
Waltz[]
- В минуту жизни трудную
- Native Sounds
- Родные звуки
- Mon Salut a Pawlowsk
- Весенний букет
- Maria-Valse
- Alexander-Valse
- Die Eigensinnige
Romance[]
- Я не скажу вам, кто она
- Уединенная сосна
- Шарф голубой
- Мальвина
- Коварный друг
- Какая грусть владеет мной
- Звездочка
- К Морфею
- Прости на долгую разлуку
- Призвание
- Гусли мои, гусли
- Мечта любви
- Песня ямщика
- Колыбельная песня
- Горные вершины
Square Dance[]
- Vieux poches in A minor
March[]
- Kia-King March [based on the opera Little Red Riding Hood]
Book[]
- 1867: Memoirs
Recordings[]
- Mascot, Antique Waltz (I.P. Zakharov)[6]
- 1948-1950: 3 Waltzes, Melodia (Yelena Alexandrovna Bekman-Shcherbina)[7]
- 2014: Old Polish March for the Semenovsky Regiment, Historische Armee-Märsche Folge 19 (Blas-Orchester in Historischer Besetzung)[8]
See also[]
Further reading[]
- Titov, Nikolai Alekseevich // Russian Biographical Dictionary : in 25 volumes. - SPb. - M. , 1896-1918.
- V. A. Manuilov. Titov // Lermontov Encyclopedia
- Titov // Musical Dictionary : in 3 volumes / comp. H. Riemann ; add. by the Russian department at co-workers. P. Weimarn and others; per. and all add. ed. Y.D. Engel . - lane. from the 5th it. ed. - Moscow-Leipzig: ed. B.P. Yurgenson , 1904 .
Resources[]
- ^ "РБС/ВТ/Титов, Николай Алексеевич — Викитека". ru.wikisource.org (in Russian). Retrieved 2021-08-25.
- ^ "ТИТОВ Николай Алексеевич (1800-1875)". funeral-spb.narod.ru. Retrieved 2021-08-25.
- ^ "РБС/ВТ/Титов, Михаил Алексеевич — Викитека". ru.wikisource.org (in Russian). Retrieved 2021-08-25.
- ^ 5264674. "Журнал "Третьяковская Галерея", # 2 2021 (71)". Issuu. Retrieved 2021-08-25.CS1 maint: numeric names: authors list (link)
- ^ "ТИТОВ Николай Алексеевич (1800-1875)". funeral-spb.narod.ru. Retrieved 2021-08-25.
- ^ "Старинные вальсы Ноты для фортепиано На сопках Манчжурии Венский и другие в pdf". ale07.ru. Retrieved 2021-08-23.
- ^ Yelena Bekman-Shcherbina plays Nikolai Titov Waltz 3 pieces, retrieved 2021-08-23
- ^ A M II, 62 Marsch Des Leib-Garde Semenovski Regiments, retrieved 2021-08-23
Sources[]
- Russian classical composers
- Russian male classical composers
- Russian Romantic composers
- People from Saint Petersburg
- 1875 deaths
- 1800 births
- 19th-century classical composers
- 19th-century male musicians