I love how terrifyingly violent the ending is... (also the ending of the fugue, my god!). The name of the piece is certainly fitting. Tozer's playing here is indeed phenomenal; I especially like what he does at for example 7:05 in the piece; his use of rubato couples perfectly with the extreme dissonance in the chords, resulting in the sound of immense agony and distress. The piece itself really has an extremely disturbing atmosphere, almost like it's crying out against existence. Unlike the nightwind, in which I find the second half always to become tiresome (whereas the first half is breathtaking), this piece sweeps you away from the very first bars, right until the explosive coda - leaving one astonished, deeply disturbed, one might say even somewhat destroyed.
I adore this piece, Medtner at his best and most unsettling. Medtner was individual voice ...not a conservative traditionalist. He believed in the fundamental laws of tonality and he may have never outright broke them....but he sure does bend them(especially as heard in this piece).
The third seems to be an important interval throughout Medtner's Piano Sonatas: Op. 11 no. 1 - first interval in the work (first subject is somewhat similar to 17:10 in the Minacciosa). Op. 11 no. 3 - littered with thirds in the first subject after the initial semitone. Op. 22 - tonal structure (G minor - B-Flat Major - D minor - F minor - A minor - C minor - E-Flat Major - G minor; ironically, most of the material is based on the fourth outlined in the introduction). Op. 25 no. 2 (Night Wind) - opening of sonata. Op. 27 (Ballade) - first interval. Op. 30 (After the War) - first subject is full of thirds. Op. 53 no. 1 (Romantica) - first interval. In the Minacciosa it is particularly prominent. The first interval is a rising third - perhaps a question, which is partially answered by the second subject at 02:18 with its falling thirds, although the rising third is still present. The question is reiterated throughout the fugue and recapitulation, before it is resolved in the coda at 17:10. It reappears at 17:21, but is resolutely answered by the falling major third at 17:27.
@@DynastieArtistique No, I'm not. Much of what I wrote 5 years ago is codswallop, but I think I broadly stand by this observation, despite the cloying, over-sentimental language.
@@KingstonCzajkowski ok but the concept of “thirds” become more in traditional use makes no sense, a third is simply just an interval of 2 notes, you can’t compile the history of music at the time to conclusively describe how composers “used thirds more”. A third isn’t a compositional tool, now you can base a work based on the motif of a third, but then again you can do the same with a second, fourth, sixth, etc, it’s just a matter of creative choice within the composition itself.
@@DynastieArtistique Yes but many of their observations are not motifs, they're the intervals between two separate key areas acting in the piece. It's an aspect of form.
What an amazing artist Tozer was. A gorgeous, full sound, immaculate polyphonic textures even in the most complicated passages. A great loss. Hamelin (who has a fairly decent technique, we can say) declared some time ago that the Fugue in the development was among the hardest pieces tackled by him.
He also said that Scriabin's 5th Sonata was one of the hardest pieces he played... Its intersting considering that he played far more difficult pieces (imo): Sorabji's 1st Sonata, Busoni's Concerto, Szymanowski 2nd Sonata, Feinberg 3rd Sonata, Roslavets Etudes, Godowsky's Passacaglia... its almost paradoxical that some (relatively speaking) "easier" pieces are considered to be so hard by one of the greatest pianists of our time.
@@scriabinismydog2439 scriabins 5th is on the lrsm repetore list with the 4th sonata, as opposed to the final exam, the FRSM. When compared with other pieces on the list it blows many of them out the water in terms of difficulty
@@meszian Crazy that anyone would put the Scriabin fourth and fifth sonatas on the same level. The fourth is extremely approachable; the fifth is nearly impossible.
@@DdavidoffC yeah, not sure about impossible, but its certainly the most difficult piece on the LRSM list, and it is far more challenging than many on the FRSM. I always wondered if it was included there simply because it is the last of his tonal sonatas, and potentially a little more manageable than his 7th or in particular 8th.
When I fist listened to this piece it was much less bewildering than some of his other pieces to me, perhaps because I had already acquainted myself with Medtner thanks to Marc-Andre Hamelin's famous - and very useful to me - comments about listening to Medtner over and over to get to know him (Although I feel Medtner is not Hamelin's forte, Tozer is quite a bit better, would be interested in other opinions about this). This and the Night Wind sonata are my two favorites from him, although the Night Wind sonata is much less difficult to comprehend. The Sonata Reminiscenza of course deserves a mention too - I tried to learn it and quickly realized it was a lot more difficult to play than it sounds! Anyway, just some anecdotal rambling, thanks for this upload!
I'd agree with your assessment re Hamelin + Medtner. He's not the best interpreter (by some margin too, I'd venture to say), mostly because the counterpoint is not too clear and some of the most interesting harmonies get blurred when the tempi speed up. I've wanted to upload the Night Wind for some time, but to be honest I've not found any consistently great recording of it. This happens quite often -- I want to share some piece, but can't find the recording that I think will really sell it (or at least does it full justice).
THNX VERY MUCH FOR PROVIDING ALL THE INFO ON THIS PIECE, I HAVE M.A.H RECORDING OF ALL MEDTNERS SONATAS, SO THIS ADDITIONAL INFO IS GREAT, AND A MARVELOUS INTEPRETATION OF TOZER.....BRAVISSIOMO!
I love the description of this piece as being of a gnarled structure and impossible to pin down and shrouded in mystery. Just like the universe we live in. I love this piece.
YES! So happy to see some Medtner appear on this (awesome) channel. I just ordered the second volume of his Sonatas and am attempting to learn the Sonata Romantica, it's a massive piece, musically it's possibly the most daunting piece I've approached yet, and strictly technically speaking it's certainly no walk in the park either. Any chance for a video on this piece in the future, would love to hear your thoughts on it, as I believe it to be massively underrated in the solo piano repertoire.
@@vaadwilsla858 And now another full year later, yes! Reasonably well, I believe. Always room for improvement. I performed it for the entire second half one of my undergraduate recitals and did it in its entirety a few other times and each time got a very good response. It's funny, for all of his supposed impenetrableness (is this a word?) I always have lots of success playing Medtner in front of audiences.
@@vaadwilsla858 Thanks! I've started it twice but yet to finish it, you're tempting me to go back and complete my unfinished business, that fugue still gives me nightmares (in the best way possible). It would be incredible to be able to do the entirety of Op. 53 in one go
"This is unfortunate, for he was [with Rachmaninoff, Godowsky et al] one of the greatest piano composers of his era.)" An understatement. I think it wouldn't be out of place to rank those three among the greatest piano composers of *all* eras, not just their own, and Medtner is arguably the most underappreciated of the three!
I'm just quoting the video description. I love bach and I do certainly consider him one of the very greatest composers, even though calling him a "piano composer" is probably inaccurate.
I’m absolutely in love with medtner. Still I cannot understand the greatness of Night Wind, Minacciosa and War as they say. Lately I could finallly find out the beauty in melodies from Triade. I hope you guys will show me how or more precisely a guide to understand these sonatas. Should be nice if someone tells me the easier works for amateur to practice (I know there’s no easy Medtner‘ work, so it must be easier)
My first Medtner's Sonate was Sonata-Idyll, not Reminiscenza, I still don't find anything interesting in Reminiscenza until now ... perhaps "canzona serenata" still better than this ...
@@vietanho1661 I was gonna tell you Sonata-Idyll is easier than the rest, but then I saw your comment that you have already done that XD Sonata tragica doesn't seem too hard either (and also very short)
listen to night wind a few times, and it will grow on you. war sonata shouldn't be too hard to interpret.... the climax is quite interesting and different from his "melodic/contrapuntal" style (but surprisingly Prokofiev used his theme in prok's 3rd war sonata mvt 3 - and idk for sure, but its quite clear to me that it is the case).
ua-cam.com/video/3hKTGSRPaMU/v-deo.html I didn't do an analysis but still, here is the score version of night wind sonata by tozer and also ponochevny, if it may help you
@@iliketurtles5180 what music do you listen to? for me, this is the hardest sonata to understand out of all 14... night wind literally sounds like an improv, which (to me, at least) makes it so much easier to listen to.......
I feel like I’ve heard 10:34 but it wasn’t this piece, just the harmonies and like chromatic notes going around I feel like I’ve heard somewhere else….. anyone has an answer to that?
I picked this to play initially because it has a long , but attractive theme rather than a curt, dry one . I worked on it for a decade and can now play 😮 ilit. Tozer is like modern John the Baptist to Medtner promotion and the story of his ill treatment by the arts zestablishment in Australia will unfortunately be recorded in the dark annals of his country . The way to play the Minacciosa is to let t
This "menacing sonata" goes beyond menace and into the realms of actual assault. "Concentrando" is Portuguese not Italian, I think, but I guess Medtner was too worked up to notice.
From hard to easy (just IMO): op 25-2 night wind op 53-2 minacciosa op 5 op 53-1 romantica op 22 op 27 ballade op 30 op 39-5 tragica op 25-1 skazka op 56 idyll op 11-3 op 11-1 op 11-2 elegy op 38-1 reminiscenza
It's funny that you should mention that, because around the six minute mark here there is a pretty short section reminiscent of a certain prelude I'm sure we all can remember. Need I even say which one?
Rhytmically, it is related to Op.22 No.5 of Rach, but not in its harmonic language. Also, as a Russian, it is common for Russian composers to use such rhythms. That statement is void, as I could have counted many Russians who he would have been 'quoting.'
Give it time. Medtner was never popular during his lifetime, even though Rachmaninoff thought him the greatest composer of his era: like Brahms he instinctively rejected anything superficial (even though he hated being called the Russian Brahms), and didn't flout contemporary trends as much as remain totally apart from them. Often appreciating Medtner really requires quite intimate familiarity with the work and, *most importantly*, a willingness to ditch any external reference-points we use more or less subconsciously to "get into" a work. I mean, look at Medtner's methods: scales in the LH all the time (thing of how rarely broken chords feature), scalar/sequential(!) melodies without clear arcs which refuse to be either tonal or modal, crazily inventive rhythms, harmonic progressions that circle back in on themselves -- all this stuff occurs in earlier music, of course, but Medtner built an entire style around it. It took me 2+ years to really like Medtner, and now he's definitely one of my favourites if I want to listen to something substantial. He's never quite easy listening, even in the Skazi or Vergessene Weisen, but Goddamn he's satisfying. You really get the whole deal: structural rock-solidity (he was born with Sonata Form, his contemporaries said), harmonic/rhythmic colour + inventiveness, and a panoply of sinuous, muscular melody.
That's the thing. I can analyze him, and acknowledge him as a "genius" (well, I picked up on some of the left-hand stuff you listed, but certainly not all of it), but even when I take all of that into account, it's still only something of the mind, nothing of the heart. Probably he still has to grow on me. I hope to get there eventually. :)
"even though he hated being called the Russian Brahms" Do you have a reference for that? I've wondered about Medtner's thoughts on Brahms for a while. I would've thought him to like Brahms' music a great deal. I was also wondering about the relationship between Medtner and Godowsky, since they both frequented Rachmaninoff's house, I assume they would've met and they too share some characteristics in their music, and they both composed almost exclusively for solo piano. I couldn't find much information about any of this though.
@@SpaghettiToaster yeah it's very hard to find any literature on Medtner's life and works, I don't know if it's really that scarce or just obscure and unpopular.
@@zanexiao4488 And yet I think he's a little less harmonically conservative than Rachmaninoff. In fact, quite a lot of his development sections approach atonality and often sound quite Scriabinistic.
I love how terrifyingly violent the ending is... (also the ending of the fugue, my god!). The name of the piece is certainly fitting. Tozer's playing here is indeed phenomenal; I especially like what he does at for example 7:05 in the piece; his use of rubato couples perfectly with the extreme dissonance in the chords, resulting in the sound of immense agony and distress. The piece itself really has an extremely disturbing atmosphere, almost like it's crying out against existence. Unlike the nightwind, in which I find the second half always to become tiresome (whereas the first half is breathtaking), this piece sweeps you away from the very first bars, right until the explosive coda - leaving one astonished, deeply disturbed, one might say even somewhat destroyed.
I adore this piece, Medtner at his best and most unsettling. Medtner was individual voice ...not a conservative traditionalist. He believed in the fundamental laws of tonality and he may have never outright broke them....but he sure does bend them(especially as heard in this piece).
I know this is an old comment, but I really love the "best and most unsettling" part
This composition is miracle
The fugue section in 8:37 is genius
Tremendous playing by Tozer.... beautiful voicing...always lucid...never sounds rushed or strained... true virtuosity.
The third seems to be an important interval throughout Medtner's Piano Sonatas:
Op. 11 no. 1 - first interval in the work (first subject is somewhat similar to 17:10 in the Minacciosa).
Op. 11 no. 3 - littered with thirds in the first subject after the initial semitone.
Op. 22 - tonal structure (G minor - B-Flat Major - D minor - F minor - A minor - C minor - E-Flat Major - G minor; ironically, most of the material is based on the fourth outlined in the introduction).
Op. 25 no. 2 (Night Wind) - opening of sonata.
Op. 27 (Ballade) - first interval.
Op. 30 (After the War) - first subject is full of thirds.
Op. 53 no. 1 (Romantica) - first interval.
In the Minacciosa it is particularly prominent. The first interval is a rising third - perhaps a question, which is partially answered by the second subject at 02:18 with its falling thirds, although the rising third is still present. The question is reiterated throughout the fugue and recapitulation, before it is resolved in the coda at 17:10. It reappears at 17:21, but is resolutely answered by the falling major third at 17:27.
This is all a big stretch, I hope you’re aware
@@DynastieArtistique No, I'm not. Much of what I wrote 5 years ago is codswallop, but I think I broadly stand by this observation, despite the cloying, over-sentimental language.
@@DynastieArtistique It's not. Thirds are very commonly used as part of the tonal structure beginning with Wagner
@@KingstonCzajkowski ok but the concept of “thirds” become more in traditional use makes no sense, a third is simply just an interval of 2 notes, you can’t compile the history of music at the time to conclusively describe how composers “used thirds more”. A third isn’t a compositional tool, now you can base a work based on the motif of a third, but then again you can do the same with a second, fourth, sixth, etc, it’s just a matter of creative choice within the composition itself.
@@DynastieArtistique Yes but many of their observations are not motifs, they're the intervals between two separate key areas acting in the piece. It's an aspect of form.
What an amazing artist Tozer was. A gorgeous, full sound, immaculate polyphonic textures even in the most complicated passages. A great loss.
Hamelin (who has a fairly decent technique, we can say) declared some time ago that the Fugue in the development was among the hardest pieces tackled by him.
He also said that Scriabin's 5th Sonata was one of the hardest pieces he played... Its intersting considering that he played far more difficult pieces (imo): Sorabji's 1st Sonata, Busoni's Concerto, Szymanowski 2nd Sonata, Feinberg 3rd Sonata, Roslavets Etudes, Godowsky's Passacaglia... its almost paradoxical that some (relatively speaking) "easier" pieces are considered to be so hard by one of the greatest pianists of our time.
@@scriabinismydog2439 scriabins 5th is on the lrsm repetore list with the 4th sonata, as opposed to the final exam, the FRSM. When compared with other pieces on the list it blows many of them out the water in terms of difficulty
@@meszian Crazy that anyone would put the Scriabin fourth and fifth sonatas on the same level. The fourth is extremely approachable; the fifth is nearly impossible.
@@DdavidoffC yeah, not sure about impossible, but its certainly the most difficult piece on the LRSM list, and it is far more challenging than many on the FRSM. I always wondered if it was included there simply because it is the last of his tonal sonatas, and potentially a little more manageable than his 7th or in particular 8th.
When I fist listened to this piece it was much less bewildering than some of his other pieces to me, perhaps because I had already acquainted myself with Medtner thanks to Marc-Andre Hamelin's famous - and very useful to me - comments about listening to Medtner over and over to get to know him (Although I feel Medtner is not Hamelin's forte, Tozer is quite a bit better, would be interested in other opinions about this). This and the Night Wind sonata are my two favorites from him, although the Night Wind sonata is much less difficult to comprehend. The Sonata Reminiscenza of course deserves a mention too - I tried to learn it and quickly realized it was a lot more difficult to play than it sounds! Anyway, just some anecdotal rambling, thanks for this upload!
I'd agree with your assessment re Hamelin + Medtner. He's not the best interpreter (by some margin too, I'd venture to say), mostly because the counterpoint is not too clear and some of the most interesting harmonies get blurred when the tempi speed up.
I've wanted to upload the Night Wind for some time, but to be honest I've not found any consistently great recording of it. This happens quite often -- I want to share some piece, but can't find the recording that I think will really sell it (or at least does it full justice).
@Brady Dill This, Ponochevny's live performance is the gold standard.
thanks for sharing!
@@AshishXiangyiKumarSevarind Von Eckardstein for me
@@AshishXiangyiKumarSeverin von Eckardstein's account is brilliant
THNX VERY MUCH FOR PROVIDING ALL THE INFO ON THIS PIECE, I HAVE M.A.H RECORDING OF ALL MEDTNERS SONATAS, SO THIS ADDITIONAL INFO IS GREAT, AND A MARVELOUS INTEPRETATION OF TOZER.....BRAVISSIOMO!
I love the description of this piece as being of a gnarled structure and impossible to pin down and shrouded in mystery. Just like the universe we live in. I love this piece.
Amazing description, and amazing piece! This is one of my new favorites from Medtner!
YES! So happy to see some Medtner appear on this (awesome) channel. I just ordered the second volume of his Sonatas and am attempting to learn the Sonata Romantica, it's a massive piece, musically it's possibly the most daunting piece I've approached yet, and strictly technically speaking it's certainly no walk in the park either. Any chance for a video on this piece in the future, would love to hear your thoughts on it, as I believe it to be massively underrated in the solo piano repertoire.
Years late reaction but yes, the romantica is one dragon of a piece, especially the Scherzo... Did you manage?
@@vaadwilsla858 And now another full year later, yes! Reasonably well, I believe. Always room for improvement. I performed it for the entire second half one of my undergraduate recitals and did it in its entirety a few other times and each time got a very good response. It's funny, for all of his supposed impenetrableness (is this a word?) I always have lots of success playing Medtner in front of audiences.
@@pinkzeppelintheater Oh wow! That's one heck of an awesome achievement, congrats! The minacciosa up next?
@@vaadwilsla858 Thanks! I've started it twice but yet to finish it, you're tempting me to go back and complete my unfinished business, that fugue still gives me nightmares (in the best way possible). It would be incredible to be able to do the entirety of Op. 53 in one go
yes!!!! I've always wanted to see medtner sheet music! thank you!!!
From 00:00 to 17:35 is the best part (:
It has taken a while for Medtner to grow on me. This - however - I liked instantly.
"This is unfortunate, for he was [with Rachmaninoff, Godowsky et al] one of the greatest piano composers of his era.)"
An understatement. I think it wouldn't be out of place to rank those three among the greatest piano composers of *all* eras, not just their own, and Medtner is arguably the most underappreciated of the three!
Bach...not on that list? Or does Baroque just not suit you?
I'm just quoting the video description. I love bach and I do certainly consider him one of the very greatest composers, even though calling him a "piano composer" is probably inaccurate.
So you're just not gonna mention liszt, reger chopin, bach, beethoven ravel and debussey
@@p-y8210 the description refers to late romantics
On of the greatest *piano* composers *of his era* like seriously guys just read
überraschend schön! danke.
The amount of references to his other pieces here is crazy
I’m absolutely in love with medtner. Still I cannot understand the greatness of Night Wind, Minacciosa and War as they say. Lately I could finallly find out the beauty in melodies from Triade. I hope you guys will show me how or more precisely a guide to understand these sonatas. Should be nice if someone tells me the easier works for amateur to practice (I know there’s no easy Medtner‘ work, so it must be easier)
My first Medtner's Sonate was Sonata-Idyll, not Reminiscenza, I still don't find anything interesting in Reminiscenza until now ... perhaps "canzona serenata" still better than this ...
@@vietanho1661 I was gonna tell you Sonata-Idyll is easier than the rest, but then I saw your comment that you have already done that XD Sonata tragica doesn't seem too hard either (and also very short)
listen to night wind a few times, and it will grow on you. war sonata shouldn't be too hard to interpret.... the climax is quite interesting and different from his "melodic/contrapuntal" style (but surprisingly Prokofiev used his theme in prok's 3rd war sonata mvt 3 - and idk for sure, but its quite clear to me that it is the case).
Try listening to Caspar Vos' live recording of Night Wind, everything is crystal clear there, voicings, counterpoint, form...
I like your own description of this piece. I will hear it a few time see what I think. Thanks
Are you going to upload the night wind sonata? I would love to hear your comments on that one.
ua-cam.com/video/3hKTGSRPaMU/v-deo.html I didn't do an analysis but still, here is the score version of night wind sonata by tozer and also ponochevny, if it may help you
@@SeigneurReefShark it did thanks!!
Any plans to do Medtner’s Night Wind sonata? The recording by Andrey Ponochevny here on UA-cam is fantastic.
Is it just me, or is this a lot easier to listen to than the Night Wind?
just you imo
I am of the same opinion as the op
@@iliketurtles5180 what music do you listen to? for me, this is the hardest sonata to understand out of all 14... night wind literally sounds like an improv, which (to me, at least) makes it so much easier to listen to.......
@@ConcordMass I listen to a lot of Liszt and Scriabin - I feel like his later works helped preempt me for this sonata.
@@ConcordMass I agree, took me way more listens to get this sonata. doesnt mean i didnt instantly love it tho, i always knew this sonata was special
I feel like I’ve heard 10:34 but it wasn’t this piece, just the harmonies and like chromatic notes going around I feel like I’ve heard somewhere else….. anyone has an answer to that?
maybe the fugato in liszt sonata? just a vague gues
If it's not what@@nandovancreijsuggested it might be the Fugue from Taneyev's Prelude and Fugue.
10:10
I picked this to play initially because it has a long , but attractive theme rather than a curt, dry one . I worked on it for a decade and can now play 😮 ilit. Tozer is like modern John the Baptist to Medtner promotion and the story of his ill treatment by the arts zestablishment in Australia will unfortunately be recorded in the dark annals of his country .
The way to play the Minacciosa is to let t
B
To let the themes unfold without rushing. The menacing aspect is only psychological and should not manifest aS physical violence.
Ohhh... thanks a lot for this.
This "menacing sonata" goes beyond menace and into the realms of actual assault. "Concentrando" is Portuguese not Italian, I think, but I guess Medtner was too worked up to notice.
Anyone have an approximate difficulty ranking of Medtner's piano sonatas?
From hard to easy (just IMO):
op 25-2 night wind
op 53-2 minacciosa
op 5
op 53-1 romantica
op 22
op 27 ballade
op 30
op 39-5 tragica
op 25-1 skazka
op 56 idyll
op 11-3
op 11-1
op 11-2 elegy
op 38-1 reminiscenza
minacciosa
That Italian word seems to translate into "threatening". Hmmmm
Menacing may be more accurate in English.
Steven Vesti Turnbull Thank you.
which word?
minacciosa
👏👏👏👏👏👏👏👏SABADELL (BARCELONA) SPAIN
8:36 fugue
Medtner - perhaps the closest to Rachmaninoff?
how is it possible to play like that if you are not an alien?
Strange. I enjoy this sonata but not Op.53 No.1...
So this is Rachmaninov and Rachmanilater.
It's funny that you should mention that, because around the six minute mark here there is a pretty short section reminiscent of a certain prelude I'm sure we all can remember. Need I even say which one?
Rhytmically, it is related to Op.22 No.5 of Rach, but not in its harmonic language. Also, as a Russian, it is common for Russian composers to use such rhythms. That statement is void, as I could have counted many Russians who he would have been 'quoting.'
@@lukecash3500 i just noticed, thx for pointing that out
Medtner's style of writing is similar to Rachmaninoff's.
More late Beethoven & late Brahms than Rachmaninoff really
They were close friends and both were influenced by each other.
Yeah but Medtner is more dense texturally and contrapuntally and less lyrical melodies.
@@zanexiao4488nothing about Medtner reminds me of Brahms or Beethoven. Medtner is just Medtner, a unique voice!
Not at all they couldn't be further apart.
最後、Liszt/Funeraillesと何か関係があるのか？
I'm so ambivalent towards Medtner. I can understand his genius, but I just don't like him.
Give it time.
Medtner was never popular during his lifetime, even though Rachmaninoff thought him the greatest composer of his era: like Brahms he instinctively rejected anything superficial (even though he hated being called the Russian Brahms), and didn't flout contemporary trends as much as remain totally apart from them. Often appreciating Medtner really requires quite intimate familiarity with the work and, *most importantly*, a willingness to ditch any external reference-points we use more or less subconsciously to "get into" a work.
I mean, look at Medtner's methods: scales in the LH all the time (thing of how rarely broken chords feature), scalar/sequential(!) melodies without clear arcs which refuse to be either tonal or modal, crazily inventive rhythms, harmonic progressions that circle back in on themselves -- all this stuff occurs in earlier music, of course, but Medtner built an entire style around it.
It took me 2+ years to really like Medtner, and now he's definitely one of my favourites if I want to listen to something substantial. He's never quite easy listening, even in the Skazi or Vergessene Weisen, but Goddamn he's satisfying. You really get the whole deal: structural rock-solidity (he was born with Sonata Form, his contemporaries said), harmonic/rhythmic colour + inventiveness, and a panoply of sinuous, muscular melody.
That's the thing. I can analyze him, and acknowledge him as a "genius" (well, I picked up on some of the left-hand stuff you listed, but certainly not all of it), but even when I take all of that into account, it's still only something of the mind, nothing of the heart. Probably he still has to grow on me. I hope to get there eventually. :)
"even though he hated being called the Russian Brahms" Do you have a reference for that? I've wondered about Medtner's thoughts on Brahms for a while. I would've thought him to like Brahms' music a great deal. I was also wondering about the relationship between Medtner and Godowsky, since they both frequented Rachmaninoff's house, I assume they would've met and they too share some characteristics in their music, and they both composed almost exclusively for solo piano. I couldn't find much information about any of this though.
@@SpaghettiToaster yeah it's very hard to find any literature on Medtner's life and works, I don't know if it's really that scarce or just obscure and unpopular.
Sometimes this composer sounds pretty great but at other times rather mediocre. Kind of an insane Rachmaninoff with a touch of Scriabin.
no
He is far more harmonically conservative than Scriabin...I don't really see any connection.
@@zanexiao4488 And yet I think he's a little less harmonically conservative than Rachmaninoff. In fact, quite a lot of his development sections approach atonality and often sound quite Scriabinistic.