In Rebikov composer biography

Eastern dance; Cycle "Autumn Dreams", OP. In addition, Rebikov created a number of works for piano that do not have an opus designation: 3 sketches D-dur, A-moll, C-dur. Вторую по значительности область творческого наследия композитора составляют сценические произведения: опера «В грозу» по А. Короленко, , музыкально-психологические драмы: «Елка» по Андерсену, Достоевскому и Гауптману, , «Бездна» по Л.

Андрееву, , «Тэа» по А. Воротникову, , «Женщина с кинжалом» по А. Шнитцлеру, , «Альфа и Omega ”on his own text,“ Narcissus ”and“ Arachne ”on“ Metamorphoses ”by Ovid in the translation of Shchepkina-Curi,; The musical and psychological drama "Noble Nest" according to A. Turgenev,; Children's ballet "Prince Beauty and Princess-World Charm"; musical and psychological pantomime "Snow White" according to L.

Novak; stage "fables of Krylov." Rebikov also belongs to a number of vocal works: “Vocal Scenes”, OP. The composer also created many children's choirs and songs collections “Class Singing”, “Children's World”, “Childhood Days” and several choirs on the texts of Koltsov, Pleshcheev, A. Finally, it is necessary to mention several small orchestrallys of Rebikov among them - “in the East” and “Liturgy of St.

John chrysostomos. " Starting to compose, under the strong influence of Tchaikovsky’s music, which Rebikov himself frankly spoke about, the composer created a number of works that quickly gained well -known popularity. A similar style orientation was preserved until the ninth opus inclusive, after which a three -year creative break came, marked by the most important quality line. All these years have been filled with great internal work, serious thoughts; At the same time, this time is characterized by a kind of “flight” from musical impressions, the appearance of a kind of “fear” of someone else's music, a fear that will also manifest itself from this moment in the future.

The tenth opus, that is, from about a year, a new period of Rebikov’s work opens, at first glance, in many ways completely different from the original. From this moment, the composer’s activity is determined by a whole system of specific aesthetic provisions, leading from which is the motto: “Music is the language of feelings, the means to excite the required feelings and moods.” From now on, Rebikov calls his creative direction “musical and psychological”, emphasizing that he writes “under the dictation of the heart”, and not for the glory of the usual musical conventions.

He believes that “conventions were chased music”, that in traditional - “in German way” - symphonies “there is no mental truth”. And since - from his point of view - the main task of the composer is “finding the internal power of music”, fixing the feelings and the latter - as Rebikov says - never have “pre -established tonality, form, cadence”, then a new attitude to many components of the musical work should be the inevitable consequence of everything.

So - according to Rebikov’s thoughts - the concepts of consonance and dissonance and their contrasts lose their meaning; It is only good that it correctly expresses emotion, even negative, and vice versa. Indeed, starting with the tenth opus, more and more, although not systematically and does not regularly penetrate new features, new means of expression, especially in the palm-harmonic, metro-rhythmic and structural areas.

The first thing that should be noted here is quite unusual in that era of the end of the plays on dissonant unstable harmony, which is already found in “mood sketches”, OP. In the use of this technique, one can see Rebikov’s desire to create a kind of “semantics” of the infinity and freedom of emotional shift “Feeling has no boundaries and predefined endings,” the composer said.

From here, the tendency to avoid harmonious-symmetric reprise shapes that is often observed and often observed. Further, Rebikov for the first time in Russian music begins to widely use the possibilities of a tonky scale as the only basis for building quite large plays OP. It is curious to note that the famous “quarter” Mazurka S. Prokofiev from OP. Finally, in the later opuses of the Rebiks, it comes to the atonality and political education of which was preceded - as “preparatory stages” - various cases of ladotonal variability and uncertainty with the absence of key signs, such as in the published plays from OP.

In the harmonic sphere, this period is characterized by the appearance of “clustric” multi -section sound complexes on white or black keys. Particularly indicative in this sense is "idyll", OP. The fourth dance here is set out without clockwork and with the consistent hold of the right hand in the C-dur, and the left-in FIS-DUR. Rebikov also applies polymetry techniques, for example, in the orchestral suite “in the East”.In parallel with this, starting already from the end of the 19th century, the Rebikov introduces a number of new ones - more meetings of his searches - genre terms and designations, such as “musical -psychological later -“ psychographic ”drama,“ musical and psychological picture ”,“ chalomimics ”and“ meloplasty ”genre, combining the music, facial expressions and plastic movements, finally “Melopieza” is the expression of a new type of “cooperation” of music and poetry.

It is interesting to note his tendency to psychologically shut-off, especially expressive, up to paradoxical names of plays, for example, such as “bitter dances” or “white songs” in the latter used only pure diatonics of white keys. However, along with this rapidly unusual “march of renewal” musical expression, in the work of Rebikov there are constantly different moments, at first glance poorly knitting with innovation.

So, textured simplicity remains almost unchanged, sometimes even excessive; His sympathy for the lyrical piano miniaturism is equally constant. Finally - and this, perhaps, is more significant than the rest - it is not much evolving compared to the initial period of creativity of the melodic -intonation sphere of his music, clearly lagging behind in its development from other aspects of the work sometimes a noticeable advantage of the harmonic beginning over the melodic, which unites the expressiveness of the whole.

All this, of course, informs the work of Rebikov to some inorganism and testifies to some inner inconsistency.

And it was precisely because of this that the music of Rebikov gave rise to the most opposite opinions and caused - and continues to cause - various kinds of criticism. First of all, Rebikov usually reproaches in the manner of Tchaikovsky’s manner. On this occasion, I must say that the increased interest and gravity of Rebikov in Tchaikovsky’s work is far beyond the scope of simple external imitation.

Thus, we can say that the work of Tchaikovsky, as it were, suddenly showed the deep musical and aesthetic potencies that were unconscious by Rebikov himself, strengthening and confirming his point of view to music, as the art of movement of emotions. Thus, Rebikov was not the epigone of Tchaikovsky, he was not a single -sounded, but rather consonant with the style of the great Russian master.

And in such a connection, a further “ultrapsichological” turn in Rebikov’s work, which seems to be arbitrary and deliberate at first glance, is quite natural. It remains only to add that the Rebikov was far from alone: ​​the increased expressiveness of the era of the late XIX - early XX centuries involuntarily attracted the attention of the musicians to the creativity of Tchaikovsky, and among those who experienced his influence, both Malera can be called.