Music of the Repressed Russian Avant-Garde, 1900-1929

By Larry Sitsky | Go to book overview

Part I
The Precursors

2
Vladimir I. Rebikov: The Inventor of Whole-Tone Music

Vladimir Ivanovich Rebikov was born at Krasnoyark in Siberia on May 19, 1866 and died at Yalta in the Crimea on August 4, 1920. Sometimes referred to as the father of Russian modernism, he was one of the first composers to make extensive use of the whole-tone scale.

Rebikov's father was engaged in the gold-mining industry, and among his distant ancestors was a Tartar, who later converted to the Russian Orthodox faith. When Rebikov was ten, the family moved to Moscow, where he attended school. Apart from his musical education, Rebikov graduated from the University of Moscow with a degree in linguistics. His first piano lessons were with his mother, apparently a fine amateur pianist. Seized with a love for and curiosity about music, Rebikov gravitated to studies at the Moscow Conservatoire. He studied with the Moscow conductor and composer N. S. Klenovskiy (theory) and later with G. Muller (piano), K. Meyerberger (theory) in Berlin, and Jaksch (orchestration) in Vienna. Klenovskiy was a pupil of Tchaikovsky, involved at that time with the first presentations of "Eugene Onegin." It is possible that Rebikov's exposure to opera began at this time, although, like all cultured Russians of the period, he would have attended theater presentations. After residing for periods in Odessa ( 1893-1898) and Kishinev ( 1898-1901), where he attempted to establish branches of the Russian Musical Society, he moved on to Berlin, Munich, and Vienna, where he taught. It was in Odessa that the first of his operas ( "In the Storm," after V. G. Korolenko) was produced in 1894. Rebikov had had a problem with the government censor over this opera. Korolenko had been exiled to Siberia for being affiliated to a political organization. Rebikov had to backdate the action of the opera by two hundred years before performance was allowed. The control of the arts by the government under the Soviet regime was not new, but a kind of continuation of a long-established tradition. Still in Odessa, Rebikov established a branch of the Society of Composers, an early attempt to control copyright and

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Music of the Repressed Russian Avant-Garde, 1900-1929
Table of contents

Table of contents

  • Title Page iii
  • Contents v
  • Preface ix
  • Abbreviations xiii
  • Acknowledgments xv
  • 1 1
  • Bibliography 7
  • Part I - The Precursors 10
  • 2 - Vladimir I. Rebikov: The Inventor of Whole-Tone Music 10
  • Bibliography 25
  • 3: Aleksei V. Stanchinskiy 27
  • Part II - The Big Three 38
  • 4 - Nikolai A. Roslavets: The Russian Schoenberg 38
  • Bibliography 58
  • 5: Aleksandr V. Mosolov 60
  • 6: Arthur V. Lourié 87
  • Part III - The Smaller Five 111
  • 7 - Leonid A. Polovinkin: The Partial Avant-Gardist 111
  • Bibliography 132
  • 8 - Vladimir V. Shcherbachev: Old Wine in New Vessels 133
  • 9: Lev K. Knipper 149
  • 10: Boris N. Liatoshinski 158
  • 11 - Vladimir M. Deshevov: The Man of the Theater 171
  • Part IV - The Reluctant Avant-Gardists 183
  • 12 - Samuil E. Feinberg: The Post-Scriabin Pianist 183
  • Bibliography 198
  • 13: Anatoliy N. Aleksandrov 199
  • 14 - Boris A. Aleksandrov: Son of the Composer of the Soviet Anthem 216
  • Part V 217
  • 15: Aleksandr A. Krein 219
  • 16 - Grigoriy A. Krein: Toward Assimilation 225
  • Bibliography 229
  • 17 - Yulian G. Krein: Precocious Cosmopolitan 235
  • 18 - The Ukrainian Bartók and Bloch 241
  • 19: Mikhail F. Gnessin 242
  • Part VI 248
  • 20 248
  • 21: Nikolai Obukhov 254
  • 22: Iosif M. Schillinger 264
  • 23: Aleksandr N. Tcherepnine 273
  • Part VII 283
  • 24 283
  • 25: Leonid L. Sabaneev 291
  • 26 - Dmitriy M. Melkikh: Rhapsodist 309
  • 27: Gavrill N. Popov 310
  • 28: Aleksei S. Zhivotov 318
  • 29: Efim Golyshchev 323
  • 30 - Georgi M. Rimsky-Korsakov: Microtonist 328
  • Appendix: Further Scores for Study and Reference 329
  • Index 343
  • About the Author 349
  • Recent Titles in Contributions to the Study of Music and Dance 351
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