Evolution of piano miniature in the early 20th century (exemplified by V. Rebikov's piano work)





musical art of the 20th century, piano miniature, V. Rebikov's work, performing techniques, style and genre


Relevance of the study. One of the features of the piano music of the early 20th century is traditions overcoming of the romantic style and search for opportunities to go beyond it. Numerous composers of a new generation have experimented with musical language, form and phonic visualization. At the same time, the genre of musical miniature did not lose its relevance, on the contrary, it became one of those piano genres where many musical innovations were tested. The study of piano miniature allows us to consider the evolution of small forms in piano music, the process of style and genre transformation, a gradual transition from the established romantic tradition (including the national one) to a new era, marked by the search for contemporary expressive means. The work study of V. Rebikov, an innovative composer who wrote more than 30 cycles of piano pieces and who made a significant contribution to the development of small forms of piano music, is an important stage on the way to a comprehensive understanding of the musical art evolution of the 20th century. Numerous ideas that were tested in his works found their development in the music of next generations of composers and still remain instant and modern. The study of some of V. Rebikov's miniatures key-cycles, which were important stages in the formation of the unique image of the composer, in the context of the figurative and stylistic genesis trends in the art of the first third of the 20th century, allows, with some assumptions, talk about his work as an example of stylistic and harmonic transformations of their time.

Main objective of the study is to identify the fundamental elements of V. Rebikov composer's style, which are manifested in his piano works of small forms, in the context of the patterns development of piano miniature at the beginning of the 20th century.

The methodological baseline is the methods of historical, systemic, harmonic, style and performance analysis.

Results and Conclusions. Analysis of V. Rebikov's musical heritage, as well as of other composers who did not gain great popularity at their time, proved that there are no composers, whose work can be dispensed with, setting the task of identifying the historical stages in the deve-lopment of musical art, since the value of a particular contribution is determined and will be determined by future generations. Therefore, the study of the work of all composers of the early 20th century is necessary for understanding historical formation of musical art, including piano, as well as for identifying the origins and principles that fed the music of the 20th and early 21st centuries.

Author Biography

Pavlo Mingalyov, Makarenkо Sumy State Pedagogical University

graduate student of the Department of Fine Arts, Musicology and Cultural Studies


Arbatsky, Y. (1956). Essays on the history of Russian music. [Etiudy po istorii russkoi muzyki]. New York: Chekhov Publishing House, 412 p. [in Russian].

Balmont, K. (2010). Hymn to the Sun. [Gimn solncu]. Collected works in seven volumes. [Sobranie sochinenij v semi tomah]. Moskow : Knizhnyi Klub Knigovek, Vol. 2, p. 7. [in Russian].

Berberov, R. (1968). V. I. Rebikov. Preface to the music edition [V. I. Rebikov. Predislovie k notnomu izdaniju]. V. Rebikov Pieces for piano [V. Rebikov P'esy dlja fortepiano] Moscow : Muzyka p. 1. [in Russian].

Gakkel, L. (1990). Piano music of the twentieth century. Essays. [Fortepiannaja muzyka dvadcatogo veka. Ocherki]. Leningrad : Sovetskiy kompozitor, 288 p. [in Russian].

Danilova, L. (2005). The Rebikov family in Crimea [Sem'ja Rebikovyh v Krymu]. I. S. Shmelev and literary emigration processes of the twentieth century. XIV Crimean international Shmelev readings [I. S. Shmeljov i literaturno-jemmigracionnye processy XX veka. XIV Krymskie mezhdunarodnye Shmeljovskie chtenija]. Alushta: Alushtinskij literaturnyj muzej im. I. S. Shmeljova, pp. 161–164 [in Russian].

Delson, V. (1973). Prokofiev's piano creativity and pianism [Fortepiannoe tvorchestvo i pianizm Prokof'eva]. Moskow : Sovetskiy kompozitor, p. 137 [in Russian].

Dolinskaya E. (2006). Piano concerto in Russian music of the twentieth century [Fortepiannyj koncert v russkoj muzyke dvadcatogo stoletija]. Moskow: Kompozitor, 560 p. [in Russian].

Druskin, M. (1973). On Western European music of the twentieth century. [O zapadnoevropejskoj muzyke dvadcatogo veka]. Moskow: Sovetskiy kompozitor, 272 p. [in Russian].

Zhitomirsky, D. (1960). Russian composers of the late nineteenth and early twentieth century [Russkie kompozitory konca devyatnadcatogo i nachala dvadcatogo veka]. Moskow: Sovetskiy kompozitor, 66 p. [in Russian]

Keldysh, Y. (1997). Between tradition and modernity. V. I. Rebikov [Mezhdu tradiciej i modernom. V. I. Rebikov]. History of Russian music [Istorija russkoj muzyki]. Moscow: Muzyka, Vol. 10a, pp. 263–273 [in Russian].

Loginova, V. (2011). Faces of the silver age. V. Rebikov, N. Cherepnin, A. Stanchinsky [Liki serebrjanogo veka. V. Rebikov, N. Cherepnin, A. Stanchinskij]. Orenburg: GOU VPO «OGII im. L. i M. Rostropovichej», 262 p. [in Russian].

Loginova, V. (2002). About the musical composition of the early twentieth century: To the problem of author's style (V. Rebikov, N. Cherepnin, A. Stanchinsky) [O muzykal'noj kompozicii nachala XX veka: K probleme avtorskogo stilja (V. Rebikov, N. Cherepnin, A. Stanchinskij)]. PhD diss. (music art). The Gnesins Russian Academy of Music, Moscow, 190 p. [in Russian].

Loginova, V. (2012). Features of the author's style of Vladimir Ivanovich Rebikov [Osobennosti avtorskogo stilja Vladimira Ivanovicha Rebikova]. [online] Available at: https://superinf.ru/view_helpstud.php?id=5469 [accessed 1 Oct. 2020] [in Russian].

Rebikov, V. (1918). Letter to the editor [Pis'mo v redakciju]. Russian music newspaper [Russkaja muzykal'naja gazeta]. Petersburg, Vol. 9–10, p. 157 [in Russian].

Rozanova, L. (2008). Yalta life of the composer V. I. Rebikov (1910–1920) [Jaltinskaja zhizn' kompozitora V. I. Rebikova (1910–1920)]. The Vorontsovs and the Russian nobility. X Crimean international Vorontsov scientific readings [Voroncovy i russkoe dvorjanstvo. X Krymskie mezhdunarodnye Voroncovskie nauchnye chtenija]. Simferopol: N. Orіanda, pp. 256–272 [in Russian].

Rybina, A. (2016). V. I. Rebikov: personality, creativity, aesthetics, style [V. I. Rebikov: lichnost', tvorchestvo, jestetika, stil'] [online] Available at: http://www.dslib.net/muz-iskusstvo/v-irebikov-lichnost-tvorchestvo-jestetika-stil.html#7534262 [accessed 1 Oct. 2020] [in Russian].

Rybina, A. (2016). V. I. Rebikov: personality, preativity, aesthetics, style [V. I. Rebikov: lichnost', tvorchestvo, jestetika, stil']. PhD diss. (music art). Rostov State Rachmaninov Conservatoire, Rostov-on-Don, 251 p. [in Russian].

Sologub, F. (2003). I am the God of the mysterious world [Ja – bog tainstvennogo mira]. Collected works in eight volumes [Sobranie sochinenij v vos'mi tomah]. Moscow: Intelvak, Vol. 7, 448 p. [in Russian].

Tompakova, O. (1989). Vladimir Ivanovich Rebikov: Essays on life and creativity [Vladimir Ivanovich Rebikov : Ocherki zhizni i tvorchestva]. Moscow: Muzyka, 77 p. [in Russian].

Schneerson, G. (1970). French music of the twentieth century [Francuzskaja muzyka dvadcatogo veka]. Moscow: Muzyka, 576 p. [in Russian].

Entelis, L. (1975). Silhouettes of twentieth century composers [Silujety kompozitorov dvadcatogo veka]. Leningrad: Muzyka, 247 p. [in Russian].

Rebikov, V. Three Idyll for piano, op. 50 [Trois Idylles pour piano, op. 50]. Moskow: P. Jurgenson, 1913. p. 2 [in French].

Taruskin, R. Oxford history of Western Music. New York: Oxford University Press, 2010. Vol. 4, 988 p.





Composer's work and performance