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Rebikov: In the Twilight Op. 23

Discussion in 'Submission Room' started by Affinity, Jun 24, 2012.

  1. pianoman342

    pianoman342 Member Piano Society Artist Trusted Member

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    Ok, I've reuploaded no. 7 and 4. When Monica is able she will upload the page to the main site.

    Now we just need that bio :idea: :!:
     
  2. pianolady

    pianolady Monica Hart, Administrator Staff Member Piano Society Artist Trusted Member

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    Ok, the entire set is up on the main site. I listened to nos. 1 and 7 just now....I like the music. Nice playing, too! :)
     
  3. Affinity

    Affinity Member

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    @pianolady: Oh, thanks a lot.

    I finally have a bio ready... Hopefully it's alright enough for the site. If you need any changes, let me know.

    Also, can you replace nos 2, 3, 4, 5 and 9 with their new, superior versions? I managed to get rid of the irritating hiss in those recordings.
     
  4. pianolady

    pianolady Monica Hart, Administrator Staff Member Piano Society Artist Trusted Member

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    Ok, I have re-uploaded these five files. The tags were a labeled slightly differently than the first upload, so that's probably why they didn't switch out correctly. They should work now.
    I also noticed that you used a compression rate of 128 kbps, which is contributing to your sound quality not being so great. Next time you record you should use 192 kbps.

    Where is the bio? I don't see it here....
     
  5. Affinity

    Affinity Member

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    Hmm alright. And oh. I'll just post it here then.

    Bio

    Vladimir Ivanovich Rebikov, sometimes known as the father of Russian modernism and the inventor of the whole-tone scale, was born at Krasnoyarsk, Siberia, Russia, on May 31 1866. He studied at the Moscow Conservatory with N. Klenovsky, a pupil of Peter Tchaikovsky, and proceeded to teach and play in concerts in various parts of Russia and Europe. He settled in Yalta in 1909 and composed various piano pieces and stage works until his death in 1920.

    His early works were mostly unremarkable salon pieces in the style of Tchaikovsky and Grieg. At some point in time he realized that he was being too influenced by these compositional models, and thus he closed himself off to the music of other composers, determined to forge his own compositional style through self-introspection. He also believed that music ‘was the language of emotions’, and thus purged his own compositions of any academic framework, forgoing development for the sake of expression.

    This led him to formulate numerous musical innovations somewhat ahead of their time, such as quartal harmony, bitonal pieces, utilization of the whole-tone scale, parallel 7ths and 9ths, as well as tone clusters, utilizing them in his operas and piano minatures. He was thus reviled by conservative musical scene of Russia, which condemned his music as ‘chaotic and formless.’ He had more success overseas and managed to garner a small following among the trendy musical circles of Europe, even getting a vote of confidence from Grieg.

    Sadly, his musical theories, as well as his modest talent, prevented him from incorporating these innovations into large scale works, and in this way he was quickly outstripped by composers such as Scriabin and Debussy, who pushed his innovations to heights he had never dreamed of. By the time of his death, he was already obscure and forgotten, bitterly lamenting that others had stolen his innovations for their own.

    Music

    Today, he is chiefly remembered for his Silhouettes for piano Op. 31 (which has a Palmer edition), as well as his Valse (from his opera ‘The Christmas Tree’ Op. 21), popular as an encore piece. His opera, ‘The Christmas Tree’, is still popular in Russia, but most of his output remains unknown.

    For all his modernism, Rebikov was unable to shake off his early influences, and thus his works come across as unique juxtapositions of charming Tchaikovskian lyricism and experimental techniques. He does his best work in his piano minatures, often employing obsessive repetitions, creative harmonies and abrupt endings which make them unique and interesting. He has also composed a few operas (utilizing melodeclamation with very sparse musical accompaniment), though these are completely unknown outside Russia.

    While certainly nowhere near the equal of other modernist composers like Scriabin and Debussy, he deserves to be better known as an important innovator, who, in his best scores, can rival some of his role models. Recently, a few pianists have taken an interest in Rebikov, producing recordings of some of his piano minatures, and we can hope that he can be more appreciated as a composer in the future.
     
  6. pianolady

    pianolady Monica Hart, Administrator Staff Member Piano Society Artist Trusted Member

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    Ok, that's very nice! Thank you, Jonathan. Rebikov's page is now complete.
     
  7. techneut

    techneut Active Member Piano Society Artist Trusted Member

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    After moving house, I'm finally finding some time to listen to recordings again. This set here is very well played. I don't find all of them interesting, but that certainly is not your fault. Your playing is sensitive yet unmannered, the piano sounds good (what make is it ?), the audio quality, while a bit dull, is perfectly acceptable. Great job, and welcome to PS. I like "Il etait une fois" best. Surprising to read that Rebikov was a bit of an innovator - you'd never guess from these slight water color pieces. Tchaikovsky's much-maligned miniatures are much better IMO. Still, very good to have these on the site in such exemplary performances. Your photo is ok too :D
     
  8. Affinity

    Affinity Member

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    Thanks a lot for your kind words; I'm glad I could be of some service to the site. Recording for pianosociety is indeed an interesting way to improve one's piano while increasing awareness about classical music in some way. :D Hopefully I'll get to record some more Rebikov and other charming piano minatures; there might be one or two sets which are more convincing musically than these sets.

    Oh, and it's a Bohemia (123) upright piano with a very warm, round tone.
     

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