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Introduetion Although Ferdinand Rebay died less than 50 years ago, he is almost completely unkown today. Rebay’s father owned a music store in Vienna, and from an early age the young Ferdinand was taught both violin and piano, the latter by his mother who had been a pupil of Bruckner's. In 1890, aged ten, he was accepted as a chorister at the Heiligenkreus [Abbey where, by the end of his five-vear stay, he had been appointed an alto soloist. Rebay then switched to art studies and, aged twenty, graduated from the Amt school of the ‘Austrian Museum in Vienna. During this period Rebay also took up the horn and enjoyed his first success as a composer ‘of songs, choral works and ineidental muse. In 1901 he entered the piano class of Prof. J. Hofmann at the Vienna Conservatory and studied composition with the eminent pedagogue Robert Fuchs, who counted Gustay Mahler and Alexander von Zemlinsky among his former students, Four years later, at the conclusion af his studies, Rebay’s catalogue already numbered around one hundred compositions, including vocal works and music for piano, ‘ensemble and orchestra. In 1904, Rebay assumed the direc torship of the Wiener Chorverein and thereafter the Wiener Schuberibund, a position he held until 1920 when he was appointed Professor of piano at the Musikakademie. He continued to compose prolifically, mainly in the area of vocal music, producing around one hundred choral works, four hundred Lieder and two operas. After the take-over in 1938, he lost his positions at the Music Academy and the Conservatory, as well as his pension. He died in 1953 in ‘Vienna, fallen in complete oblivion and indigence Not much is known about Rebay's relationship wih the sitar, Fritz Niedermann states in his obituary’ that Rebay hhad composed for the guitar over a period of almost three decades. In fact, Rebay's autographs are quite fesidiously dated and it appears that the earliest known guitar works date from around 1925. Fritz Buek® mentions the premiere of a Sonata for oboe and guitar in Vienna on March 313, 1925. He could well refer to the present sonst, since itis, 45 an exception, not dated, and its only known counterpart, the Sonata in C major, was dated in 1942. The program of this concert is announced inthe Wiener Zeinung. The sonata ‘was performed in the presence of the composer by its dedicates, the oboist Prof. Alexander ‘Wunderer, accom- panied by the guitarist Hans Schlagrad, The young guitar Virtuoso Louise Walker appeared in tho same program! Rebay’s interest in writing for guitar was probably triggered by his niece, the guitarist Gertha Hammersehmied (1906- 1985), who in 1925 was at the start of her professional ‘career. A great number of Rebay's guitar works were ‘dedicated to her, and she is responsible forthe fingering and ‘editing of some of the manuscripts. Rebay composed six hundred pieces for guitar according to Niedermann, though he apparently did not play the guitar himself | Gnarrfreund, Macchen, 4 (1953) 2.34, p38. 2 Die Ghtare und tre Meister, Sed. Bevin 1952, Lsca,p 183, %b, 187, Rebay’s colleague atthe Musikakademie oboist and chairs of the Wiener Philharmoniker “another public performance i mentioned ona pres cuting kept tthe Fonds Rebay: the F minor sonata for obve und guitar was played on the Vienna Broadcasting Staion by ant Kamesch, ‘bos, and Wale Rondor?, guitar, on Ape 4, 1932, Novertheless there can be no doubt that Rebay had an int mate knowledge of the instrument, Most of his compo- sitions are idiomatically written, often with specific fingerings in mind, many supplied by Rebay himself. ‘The majority of Rebay’s guitar compositions include the instrument in an ensemble setting. A much smaller propor- tion are composed for solo guitar. Ina sense this ran eounter to the main thrust of guitar composition, which essentially supported the tradition ofthe guitar asa solo instrument. In his lifetime a few of his pieces for one or two guitars were printed by the Viennese publishers V.Hlatky, J.Hawlik and F Dorr (now Heinrichshofen-Noetzel), but none of the larger ensemble works. Rebay’s most ambitious and {important guitar works are those for guitar and a single line instrument. At present we know of nine such sonstas, two of | cach with violin, lute, oboe or clarinet and one with viola, Given the musical turmoil of the 20 and 30s, Rebay can cnly be deseribed as an archconservative, Although he was familiar with many of the major figures of the second Viennese school, and had close relationships with some of the less progressive composers of the time ~ he arranged the piano reductions for some of the operas of Zemlinsky, Komgold and Schreker - his own works rary stray from romantic or neoclassical language and have at their root a strong melodic invention. Popular and folkloric elements are incorporated into his writing and he often relies on antique formal structures such as suites, serenades, minucts| cor rondos, and for his larger scale chamber music frequently employs a classic sonata structure. Rebay’s E minor Sonata is a rare and unusual work. In the first instance it is one of the very few original works specifically written for the combination of oboe and guitar ~ [Napoleon Coste's works are the only notable contributions to the genre that precede Rebey’s. Secondly it is a sub- stantial four movement work couched in traditional sonata form, and duet sonatas ofthis size and quality are few. The ‘writing for both instruments is idiomatic, charming and, for the oboist particularly, quite demanding. Revision This edition is based on the autograph housed in the International Guitar Research Acchives, University of Califomia, Nortniade (Wadeh Olcot-Biskford Collection) The score is very carefully oated and, in preparing the present edition, underwent only mince ‘ational changes to the guitr pur Additions are marked by unre brackets or by a alah. In Rebuy guter wocks, sluts are {generally employed to indicate phrasing and ony afew indicate leit fund slurs. Foutnetes are eto J Gaitesch Acknowledgements De. R Puce, International Guitar Reveateh Archives, University ‘of Califorsia, Northigie (Vadah Oloot- Bickford Collection. Simon Wynbers, Teron, for having brought Ferdinand Rebey to ‘ty altentin, ara for his help a the revision. Selected Bibliography Dirchtion dee Stabiblithek, Ferctinand Rebay,typewsite bo ‘raphy, |p, unsigned, Wiener Stadtrblothek, Col. C. Dobra, ana Hammmerschmied, Ferdinand Rekay.ypewriten biography T page, Austrian National Library, Ponds Rebay ‘Avon. Ferdinand Rebay, Musikiterarische Blater. No”, Vienna, 1904, p7-9 (wth a work catalogue), Fonds Rebay ‘Adolf Kirhl, Ferdinand Rebay, Program of the Vienna ‘Broadcasting Station, May 21,1935, Fonds Reba Sonate in e-moll 7 Revision: aitnc fiir Oboe und Gitarre Ferdinand Rebay L ST 1 bmp oon ee oa apo Tdgee eas ot sdets i = ete ed settle ore ’ Copyright PhitomoleEations, Geneva Photocopying this musiclelMegal ran chart maison i fy | Lyfe gL. 3 eps : eet t ro fopnllett (omits ee [e-pel Led | SS bit == say ft: epee —_- qth bd Hise SS paar A vo oben herr 10 Coe Sas fe _———— [yg f tr 7 Lone — pret rT) F | ‘ nwt aes hv? hv? a i if 4 rt ” t 57 t grt ae eee = Te Laas — ee ee Ps gap ue epee po os hs mm. 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(1770-1827) 12Doutscho Ténze fr Vain te Klrinete) und Glare (Transition von Ferdinand Rebay)..... PE 2037" BURGMOLLER, Norbert (18101838) Stindchen, WoO, tir Karine, Viola und Gitar. Pema DIABELLL Anton (1781-1858) Seleced Woks fr Solo Guta: Trauermarech op 2 and 2, Ouverture op 2, Deux Rondeeux (WoO) PE 201 Nottrne, WO, pour lon) ou clarinet t Guar. sme PE2O7 Notturno op128 pour deux carnetis (volons) et glare : PE 2033" Gran Vaiazion sopra Di tant ppt dalfopera Tancredl di Rossini, per Ciara, OP.104 noone PE2OAO ‘Serenade No.2 pour doux gular op 52... E2012" ‘Sérénade No’ pour deux gular op 63 Peas? Stranade Nod pour deux guitare op 96 E PEI" Sechs Lieder mit Glare und Flt a ib, Op. 81 Ber. a Grande Séénade Not, pour ite, ao at guitare, op 36 vo PEDOTT Grande Serénade No.2, pour ite, ato ot guitar, op 65 svoe PEDO Eats de Don Glovannlarangs pout deux gulares(Ouverre, Sirenade, Aid eataogu, ‘Air du champagne, Detc) Pe zast® GGANSBACHER, J.B. (1778-1848) Sonate pour vilon ot guitare, op 10 PED ‘Sonate pour vioon ot guitare, op 102 oe Peas’ : GGRAST, Frangoe (1889-185), ‘2 Modis, Ballads et Romances sur des paroles de V. Hugo et de A. de Lamang, pour voix ‘moyenne ot gua. 5 PE 220 REUTZER, Joseph (1780-1840) Vertis sar tn hd is hen inns iter on on, ‘p.15, pour gute... PE 20s Tole rondoaux 09.23, pou glare PE 219 \artions sur God save the King, op 12, et su Kin, wil 0p 13, pour guitar, PE m8" TW pour ae, Woon et gutare, op. Ga ma enn PE 28? Tre pour ft, volon et guitare, op 9/2 (ni min). ae PE zoo ‘GeLHOYER Antoine (1768-1851) Are vari et fanasies, pour guitare, WoO... Eos aes im PEZI6* WATIEGKA, Wenzeslaus (17734830) Sérénede pour guitare et volon op. 222. ne PEO Grosses Tif Vene, Bratsche und Glare, Cech overs Clevirmusik metmorphosit) PE 2008 (Grand Trio pour guitare, vilon et ato, op. 24 Peaar? NEUMANN, Heinvich (1782-1861) 2 8érinades pour ao (u or debate guitare, op 16 25. : PE 203" | \araions ot Plonaiee sur Nel cor pi, pour arin et GUAT, Of.22 navuvnnsoninnennvne PEAY | Serenade op5 fr Karinte und Gare... ante PE 2036 | EBAY, Ferdinand (18601953) Zahn Kline Lieder one Wort, fr Glare o> PE 204 i ‘rel Vorragsticke fr Klrnetis und Gite Prat, Vinee, Walzs-Rondo). PE 208, ‘Sonate fir Vine und Gitare, Ninel. PE 2009 ‘Sonate fr Vein und Glare, Nr.2inc-oll PED? \Varatonen ber Schubats Heiderlen, fr Voie und Gare. Peas: ‘Vier Sticke (Walzer, 2 Leder ohne Worte, Bolero) fir Viline und Glare eS Pez ‘Sonate fr Kiarineti und Glare in mol no PE 2096" ‘Sonate far Oboe und Ghar in eel vn PE 2022 ‘Sonatin fir Klarnetto und Gitar In B-Dur PE 225" \Varaione ber Schuberts Wagennd und ber on Them von Gasthoven fr Gare PE 2029+ ‘Sonate fr Fléte und Gitare Mr, in Dur (avaiale May 2002) ‘Sonate fr Fist und Glare r.2, in -Dur PE 34 ‘avaible Nov. 2002) ‘Sonate fr Bratsche und Glare dol. PE 2035+ by the same editor in cooperation with Bérben Elzion! musical, Ancona, kay DIABELL, Anton Grande Serenata per flauoe chiara op. 67 Em67B lr Lider fr hohe Stimme und Giare, WoO eas de LHOYER, Antoine ‘Trois dvetissoments et Variations écossaies op. 43 pour guitare EOnB MATIEGKA, Wenzeslaus ‘Sérenede pour volon gute, op18 eawoB NEUMANN, Henri ‘Seréntde Suse pour clarinet (hautbols, lt) ot guitare, op29 Ea1508 [ Phitomete Edits Geneva This te Sein gper CHIN Geneva PAX #41 22 781 0750 jinn guitzscaspanch