Abstract

The one-act musical-psychological drama The Christmas Tree (Yolka) op. 21 (1900) by V.I. Rebikov (1866-1920) based on the story by F.M. Dostoevsky ‘The Heavenly Christmas Tree’ (also known as ‘The Beggar Boy at Christ’s Christmas Tree’) (1876) was undeservedly forgotten at home for a long time. It is the first version of a literary work by Dostoevsky in the opera genre. In pre-revolutionary Russia, the musical work of Rebikov, who was called the ‘father of Russian modernism’, was perceived with irony and incomprehension, and in Soviet times it was regarded as amusement and decadence. The recently discovered correspondence of the composer opens up new facets in the interpretation of The Christmas Tree and propels Rebikov’s views to a deep philosophical and religious level, consonant with Dostoevsky’s worldview. Little-studied publications in respected British musical outlets since 1907, testify to the interest of the British audience in the composer throughout the twentieth century. An analysis of these archival collections enriches our modern knowledge about turning to Dostoevsky’s work in music.