AMQS of “Rebus” signed and dated Copenhagen 4 March, 1948 by the Ukrainian-born conductor influenced by Cortot, Boulanger, Monteux & Scherchen among others. Early connections with Diaghilev led to fruitful work in 1930s Paris as conductor & composer where his ballet "ICARE" was an important event. He had permanent posts in Stockholm, Paris, Montreal, Madrid, Monte Carlo & Rome as well as appearances with all the major orchestras and some great recordings. 5 x 6.25 inches (12.7 x 15.9 cm).
"In the 1930s, Markevitch wrote one major work a year, to the point of being hailed as a second Stravinsky. A work from 1931, Rébus, was originally intended to be a ballet with choreography by Leonid Massine. The work was never staged but had its debut in a concert version, with the composer conducting.
A rebus is the depiction of a syllable, a word, or a name through enigmatic images.In the original plan for the ballet, the audience was supposed to guess which proverb was being illustrated by the various scenes. They were to submit their answers at the end of the performance.
The titles for the scenes were:
Prélude au Rébus
Danse de Pauvreté
Gigue des Nez
Variations de Pas
Fugue des Vices
Parade
The final word of each scene, omitting the first and last is: Pauvreté, n’est pas vice (Poverty is no vice). Oddly enough, these scene titles were only in the individual parts, not the full score. We don’t know if the audience was told the puzzle or was even able to sort it out from the concert performance.
However, this work, the product of the 19-year-old Markevitch is remarkable for what it achieves as a concert work in and of itself. The six parts are all done at a quick tempo – there is, as one reviewer said, ‘no andante by way of contrast’ but rather through ‘giving each piece a different character and colour’. The critic for the New York Times in his review of the premiere noted in particular the Variations movement as being of ‘splendid originality. Long melodic phrases unfold themselves as in Mussorgsky, but above them swarms an agitated mass of rhythmic motives curiously interlaced in a subtle counterpoint.’ Through his review he compares Markevitch not only to Mussorgsky but also to Ravel and Stravinsky, starting with his mastery of composition at such a young age."
(Maureen Buja, INTERLUDE, "The Puzzle Dance: Igor Markevitch’s Rebus," January 14th, 2023)
AMQS of “Rebus” signed and dated Copenhagen 4 March, 1948 by the Ukrainian-born conductor influenced by Cortot, Boulanger, Monteux & Scherchen among others. Early connections with Diaghilev led to fruitful work in 1930s Paris as conductor & composer where his ballet "ICARE" was an important event. He had permanent posts in Stockholm, Paris, Montreal, Madrid, Monte Carlo & Rome as well as appearances with all the major orchestras and some great recordings. 5 x 6.25 inches (12.7 x 15.9 cm).
"In the 1930s, Markevitch wrote one major work a year, to the point of being hailed as a second Stravinsky. A work from 1931, Rébus, was originally intended to be a ballet with choreography by Leonid Massine. The work was never staged but had its debut in a concert version, with the composer conducting.
A rebus is the depiction of a syllable, a word, or a name through enigmatic images.In the original plan for the ballet, the audience was supposed to guess which proverb was being illustrated by the various scenes. They were to submit their answers at the end of the performance.
The titles for the scenes were:
Prélude au Rébus
Danse de Pauvreté
Gigue des Nez
Variations de Pas
Fugue des Vices
Parade
The final word of each scene, omitting the first and last is: Pauvreté, n’est pas vice (Poverty is no vice). Oddly enough, these scene titles were only in the individual parts, not the full score. We don’t know if the audience was told the puzzle or was even able to sort it out from the concert performance.
However, this work, the product of the 19-year-old Markevitch is remarkable for what it achieves as a concert work in and of itself. The six parts are all done at a quick tempo – there is, as one reviewer said, ‘no andante by way of contrast’ but rather through ‘giving each piece a different character and colour’. The critic for the New York Times in his review of the premiere noted in particular the Variations movement as being of ‘splendid originality. Long melodic phrases unfold themselves as in Mussorgsky, but above them swarms an agitated mass of rhythmic motives curiously interlaced in a subtle counterpoint.’ Through his review he compares Markevitch not only to Mussorgsky but also to Ravel and Stravinsky, starting with his mastery of composition at such a young age."
(Maureen Buja, INTERLUDE, "The Puzzle Dance: Igor Markevitch’s Rebus," January 14th, 2023)