Abstract
In tsarist Russia, the musical legacy and views of Vladimir Ivanovich Rebikov (1866–1920) — the "father of Russian modernism" — were often perceived with irony and misunderstanding, being called quackery and pretentious. In Soviet times Rebikov and his music were simply ignored for a long time, being categorically attributed to musical decadence. Interestingly, the British press spoke of Rebikov in a positive way. The publication of sheet music and frequent concert performances of the composer's music in London, in particular at the Proms in autumn 1916, laid the interest of the British audience in the composer, which lasted throughout the 20th century. And in general, the fate and work of Rebikov turned out to be full of unexpected twists, profound and beautiful, and the looming image of the composer is quite different from the usual one. The analysis of academic publications, as well as viola transcriptions of the distinguished British violists Lionel Tertis and Watson Forbes, hitherto unknown in Russia, is based on archival collections from British libraries.
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