Vladimir Ivanovich Rebikov (1866 - 1920) [弗拉基米尔·雷比科夫] was a late romantic 20th-century Russian composer and pianist.
He graduated from the Moscow University faculty of philology. He studied at the Moscow Conservatory with N. Klenovsky, a pupil of Peter Tchaikovsky, and then for three years in Berlin and Vienna with K. Mayrberger (music theory), O. Jasch (instrumentation), and T. Müller (piano).
Rebikov taught and played in concerts in various parts of the Russian Empire... as well as in Berlin, Vienna, Prague, Leipzig, Florence and Paris, where he met Claude Debussy, Oskar Nedbal, Zdeněk Nejedlý, and others.
Early works suggest the influence of Peter Tchaikovsky. He wrote lyrical piano miniatures (suites, cycles, and albums), children's choruses and songs. He used new advanced harmony such as seventh and ninth chords, unresolved cadences, polytonality, and harmony based upon open fourths and fifths. He also was experimenting with novel forms, for instance, in his piano pieces, Mélomimiques Op. 11 (1898), and Rythmodéclamations in which music and mime are combined, and he introduced a type of musical pantomime known as "melo-mimic" and "rhythm-declamation".
“Rebikov was already a forgotten figure by the time of his death at age 54. He was bitter and disillusioned, convinced wrongly that composers such as Debussy, Scriabin, and Stravinsky had made their way into public prominence through stealing his ideas. Rebikov is best known by way of his insubstantial music in salon genres. Rebikov's role as an important early instigator of twentieth-century techniques deserves to be more widely recognized.” (Uncle Dave Lewis, Allmusic).