Background
Rebikov began studying the piano with his mother.
Rebikov began studying the piano with his mother.
He graduated from the Moscow University faculty of philology. He studied at the Moscow Conservatory with North. Klenovsky, a pupil of Peter Tchaikovsky, and then for three years in Berlin and Vienna with K. Meyerberger (music theory), O. Yasch (instrumentation), and T. Muller (piano).
Rebikov taught and played in concerts in various parts of the Russian Empire: Moscow, Odessa, Kishinev, Yalta, as well as in Berlin, Vienna, Prague, Leipzig, Florence and Paris, where he met Claude Debussy, Oscar Nedbal, Zdenek Needly, and others Rebikov settled in Yalta in 1909. Early works suggest the influence of Peter Tchaikovsky.
He wrote lyrical piano miniatures (suites, cycles, and albums), children"s choruses and songs.
One of his vocal cycles is called Basni v litsach (The Fables in Faces) after Ivan Krylov. He wrote also a stage work Krylov"s Fables (c 1900).
He continued the Russian penchant for the whole tone scale, using it in the piece Les demons s"amusent, included into the melomimic suite Les Rêves (Dreams, 1899). He used new advanced harmony such as seventh and ninth chords, unresolved cadences, polytonality, and harmony based upon open fourths and fifths.
He also was experimenting with novel forms, for instance, in his piano pieces, Mélomimiques Operation
10 (1898), and Rythmodéclamations in which music and mime are combined, and he introduced a type of musical pantomime known as "melo-mimic" and "rhythm-declamation" (see melodeclamation). His orchestral and stage works include more than ten operas, such as Yolka (Ёлка - The Christmas Tree), and two ballets. “Rebikov was already a forgotten figure by the time of his death at age 54.
He was bitter and disillusioned, convinced wrongly that composers such as Debussy, Scriabin, and Stravinsky had made their way into public prominence through stealing his ideas.
Ironically Rebikov is best known by way of his insubstantial music in salon genres. Rebikov"s role as an important early instigator of twentieth-century techniques deserves to be more widely recognized.” (Uncle Dave Lewis, Allmusic).
Quotations:
“Rebikov was already a forgotten figure by the time of his death at age 54. He was bitter and disillusioned, convinced wrongly that composers such as Debussy, Scriabin, and Stravinsky had made their way into public prominence through stealing his ideas. Ironically Rebikov is best known by way of his insubstantial music in salon genres.
Rebikov"s role as an important early instigator of twentieth-century techniques deserves to be more widely recognized.” (Uncle Dave Lewis, Allmusic).
