Ferdinand Rebay (1880–1953) was active at one of the most fascinating periods of European music and taught by one of the most respected musicians of the time – Robert Fuchs, at the Vienna Conservatoire. Fuchs was both a composer and a pedagogue, and among his esteemed pupils were Mahler, Wolf, Sibelius, Zemlinsky and Schreker. Fuchs considered Rebay to be one of his best pupils, although the young composer found it impossible to flourish within the environment of the Second Viennese School and continued to work within the late Romantic idiom.
Rebay turned to the guitar due to the influence of his friend Jacobus Ortner, Professor of Guitar at the conservatoire. Aware that the neglect of guitar repertoire for over half a century had led to a decline in the quality of writing for the instrument, Rebay set out to write complex, serious music that continued in the tradition of Giuliani and Sor.
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Ferdinand Rebay (1880–1953) was active at one of the most fascinating periods of European music and taught by one of the most respected musicians of the time – Robert Fuchs, at the Vienna Conservatoire. Fuchs was both a composer and a pedagogue, and among his esteemed pupils were Mahler, Wolf, Sibelius, Zemlinsky and Schreker. Fuchs considered Rebay to be one of his best pupils, although the young composer found it impossible to flourish within the environment of the Second Viennese School and continued to work within the late Romantic idiom.
Rebay turned to the guitar due to the influence of his friend Jacobus Ortner, Professor of Guitar at the conservatoire. Aware that the neglect of guitar repertoire for over half a century had led to a decline in the quality of writing for the instrument, Rebay set out to write complex, serious music that continued in the tradition of Giuliani and Sor.
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