Overview
Nikolai Medtner (1880–1951) was a Russian composer and pianist known for his highly intricate and lyrical piano works, often compared to those of Rachmaninoff and Scriabin. Unlike his contemporaries, he remained deeply rooted in late-Romantic traditions, rejecting modernist trends in favor of complex counterpoint, rich harmonies, and an emphasis on classical structures.
Key Points About Medtner:
Musical Style: Medtner’s music is characterized by intricate textures, lyrical melodies, and a deep sense of harmonic richness. He was influenced by Beethoven and Brahms, often favoring counterpoint and motivic development.
Notable Works: His most significant compositions include Sonatas (he wrote 14 for piano), Fairy Tales (Skazki, short programmatic piano pieces), and Piano Concertos (three in total). His Violin Sonatas, particularly the Violin Sonata No. 3 (“Epica”), are also highly regarded.
Relationship with Rachmaninoff: Medtner was a close friend of Rachmaninoff, who admired and supported his music. Rachmaninoff even dedicated his Fourth Piano Concerto to him.
Later Life and Legacy: Due to the Russian Revolution, Medtner left Russia and settled in London, where he struggled financially but continued composing. His works remained underappreciated during his lifetime but have gained more recognition in recent years.
His music, though challenging to play and interpret, rewards listeners with its depth and expressiveness, making him one of the most underrated composers of the late-Romantic era.
History
Nikolai Medtner was born in Moscow in 1880 into a German-Russian family of musicians. From an early age, he displayed exceptional musical talent, leading him to study at the Moscow Conservatory, where he was trained as a pianist under Vasily Safonov. Despite his remarkable abilities as a performer, Medtner’s true passion lay in composition. While still a student, he became deeply influenced by Beethoven and Brahms, forming the foundation of his musical language—one that would remain staunchly Romantic even as the world around him embraced modernism.
By the early 20th century, Medtner had established himself as both a composer and pianist, earning praise for his intricate piano works. However, his music never achieved widespread popularity, especially compared to that of his friend and admirer Sergei Rachmaninoff. Medtner, a deeply private and philosophical artist, refused to chase fame or alter his style to fit contemporary tastes. Instead, he devoted himself to writing deeply personal works, many of which—such as his Sonatas and Fairy Tales (Skazki)—require a high level of technical and interpretive skill.
The Russian Revolution of 1917 forced Medtner into exile, as his aristocratic background and artistic ideals were incompatible with the new Soviet regime. He spent time in Germany before eventually settling in England. Though he continued composing and performing, his financial situation was precarious. Unlike Rachmaninoff, who found success in the West, Medtner struggled to gain a substantial audience. He was sustained in part by the generosity of admirers, most notably the Maharaja of Mysore, who funded the recording of his performances in the 1940s.
Despite his difficulties, Medtner remained committed to his artistic ideals. His later years were marked by declining health, but he continued composing until his death in 1951. Over the decades, his music faded into obscurity, though a revival in recent years—led by pianists such as Marc-André Hamelin and Hamish Milne—has brought renewed attention to his work. Today, Medtner is regarded as one of the most significant, if underappreciated, composers of the late-Romantic tradition.
Chronology
Early Life and Education (1880–1900)
1880 – Born on January 5 (December 24, 1879, Old Style) in Moscow, Russia, into a German-Russian family.
1892 – Enters the Moscow Conservatory, studying piano under Vasily Safonov.
1900 – Graduates from the conservatory with a gold medal but chooses to focus on composition rather than a career as a concert pianist.
Early Career and Recognition (1900–1917)
1903 – Publishes his first set of Fairy Tales (Skazki), short piano pieces that would become a hallmark of his style.
1909 – Appointed professor at the Moscow Conservatory.
1910s – Gains recognition in Russia as a composer, though his music remains less popular than that of Rachmaninoff and Scriabin.
1914 – Marries his cousin, Anna Medtner, a singer who would become a lifelong advocate of his music.
1917 – Russian Revolution forces Medtner into an increasingly precarious position as his conservative musical ideals conflict with Soviet artistic policies.
Exile and Struggles Abroad (1918–1935)
1921 – Leaves Russia, settling first in Berlin, where he struggles to gain financial stability.
1924 – Moves to Paris, continuing to compose and perform but remaining in relative obscurity.
1927 – Publishes The Muse and the Fashion, a philosophical treatise criticizing modernist music and defending classical traditions.
1928 – Moves to London, seeking better opportunities.
Later Years and Maharaja’s Support (1935–1951)
1935 – Returns briefly to the Soviet Union but ultimately decides to remain in the West.
1936–1940s – Struggles financially but continues composing, producing some of his final major works, including the Third Piano Concerto and Violin Sonata No. 3 (“Epica”).
1946 – Receives financial support from the Maharaja of Mysore, who funds recordings of his piano works.
1950 – His health declines, and he stops composing.
1951 – Dies on November 13 in London, largely forgotten outside a small circle of admirers.
Posthumous Recognition
1970s–Present – Pianists such as Marc-André Hamelin, Hamish Milne, and Geoffrey Tozer champion his works, leading to a resurgence of interest in his music.
Characteristics of Music
Nikolai Medtner’s music is deeply rooted in the Romantic tradition, with an emphasis on lyricism, rich harmonies, and intricate counterpoint. Unlike his contemporaries Rachmaninoff and Scriabin, he resisted modernist influences and remained committed to classical forms and structures throughout his career. His music requires both technical brilliance and deep interpretative insight, making him one of the most refined yet underappreciated composers of his time.
1. Harmonic and Melodic Language
Late-Romantic Chromaticism: Medtner’s harmonies are rich and complex but never stray far into atonality or extreme dissonance. He preferred smooth voice leading and logical harmonic progressions.
Tonal Ambiguity: While firmly rooted in tonality, Medtner often blurs key centers through unexpected modulations and chromaticism. His music can shift seamlessly between major and minor modes, creating a sense of fluidity.
Lyrical and Songlike Melodies: Many of his piano works, especially his Fairy Tales (Skazki), feature long, expressive melodies reminiscent of Russian folk tunes. His vocal music also demonstrates a deep sensitivity to text and phrasing.
2. Complex and Intricate Counterpoint
Polyphonic Texture: Medtner was heavily influenced by Bach and Beethoven, often employing contrapuntal writing with interweaving voices.
Imitative and Fugal Passages: Many of his sonatas and larger works contain fugato sections or thematic transformations that show his skill in counterpoint.
3. Classical Forms with Romantic Expansion
Sonata Form Mastery: Medtner composed 14 piano sonatas, each demonstrating a deep understanding of classical structure while expanding upon it with long, flowing lines and intricate development.
Theme and Variations: He frequently used variation techniques to develop musical ideas, adding layers of complexity and depth.
Cyclic Form: Medtner often connected themes across multiple movements of a work, creating a sense of unity and cohesion.
4. Rhythm and Phrasing
Flexible Rhythms: His music often features subtle rhythmic shifts and syncopations, making it feel improvisatory yet highly structured.
Long, Flowing Phrases: Unlike the shorter, fragmented motifs of Scriabin or Debussy, Medtner preferred extended melodic lines, which demand careful breath control and phrasing from performers.
5. Emotional Depth and Philosophical Nature
Spiritual and Mystical Undertones: Medtner saw music as a means of expressing eternal truths, rejecting trends that he believed were superficial or sensational.
Balance of Drama and Intimacy: His works range from grand, dramatic sonatas to intimate and introspective miniatures, each imbued with a sense of sincerity.
6. Pianistic Style and Technical Challenges
Virtuosic but Not Flashy: Unlike Liszt or Rachmaninoff, Medtner’s technical demands are not for show but serve the musical expression. His works require precision, stamina, and deep understanding of structure.
Rich Textures and Thick Chords: His piano writing often features full, resonant chords, requiring strong finger independence and careful pedaling.
Demanding Left-Hand Passages: Many of his pieces contain intricate left-hand figurations, making them challenging to balance with the right-hand melodies.
Key Works That Exemplify His Style
Piano Sonatas (e.g., Sonata Reminiscenza, Op. 38 No. 1) – A perfect example of his nostalgic lyricism and structural mastery.
Fairy Tales (Skazki) – Short piano pieces that blend storytelling with deep musical craftsmanship.
Piano Concerto No. 2 in C Minor, Op. 50 – One of his grandest orchestral works, combining virtuosity with intricate thematic development.
Violin Sonata No. 3 (“Epica”) – A large-scale work showcasing his ability to weave expansive, lyrical themes with counterpoint.
Medtner’s music is often described as requiring a “composer’s mind” to play—it demands not only technical prowess but also a deep intellectual and emotional understanding. While his works never reached mainstream popularity during his lifetime, they have gained recognition among pianists and scholars for their richness, depth, and unique fusion of Romantic tradition with a personal, introspective voice.
Relationships
Direct Relationships of Nikolai Medtner
Nikolai Medtner was deeply connected to various musicians, patrons, and institutions throughout his life. Although he remained somewhat isolated due to his conservative musical style and lack of interest in self-promotion, he maintained significant relationships with several important figures.
1. Fellow Composers
Sergei Rachmaninoff (1873–1943) – Close Friend and Supporter
Medtner and Rachmaninoff were lifelong friends who greatly respected each other’s work.
Rachmaninoff dedicated his Piano Concerto No. 4 (1926) to Medtner.
In return, Medtner dedicated his Piano Sonata in E minor, Op. 38 No. 1 (“Sonata Reminiscenza”) to Rachmaninoff.
Rachmaninoff frequently promoted Medtner’s music, even helping him financially at times.
Alexander Glazunov (1865–1936) – Early Supporter
As a leading figure at the St. Petersburg Conservatory, Glazunov admired Medtner’s music and encouraged his career.
He facilitated the early publication and performances of Medtner’s works in Russia.
Pyotr Ilyich Tchaikovsky (1840–1893) – Indirect Influence
Although Medtner never met Tchaikovsky, his music was shaped by Tchaikovsky’s lyrical and harmonic style, especially in his early works.
Medtner’s use of Russian folk elements in some pieces can also be traced to Tchaikovsky’s influence.
Alexander Scriabin (1872–1915) – Contemporary and Rival
Medtner and Scriabin were both students at the Moscow Conservatory but had sharply contrasting musical philosophies.
Medtner disapproved of Scriabin’s increasingly mystical and atonal style, considering it “fashionable excess.”
Despite their differences, Scriabin respected Medtner’s pianistic ability, though they were not close personally.
2. Performers and Conductors
Fritz Kreisler (1875–1962) – Violinist and Collaborator
Medtner composed the Violin Sonata No. 3 (“Epica”), dedicated to Kreisler.
Kreisler championed Medtner’s violin works and performed them internationally.
Benno Moiseiwitsch (1890–1963) – Pianist and Advocate
A noted pianist of the early 20th century, Moiseiwitsch frequently performed Medtner’s works.
He helped introduce Medtner’s piano music to Western audiences.
Igor Stravinsky (1882–1971) – Opponent of Medtner’s Musical Philosophy
While Medtner and Stravinsky knew of each other, their artistic views were in complete opposition.
Medtner criticized Stravinsky’s The Rite of Spring and modernist tendencies, calling them “anti-music.”
Stravinsky, in turn, viewed Medtner’s work as outdated and overly conservative.
Albert Coates (1882–1953) – Conductor of Medtner’s Piano Concertos
A British conductor who led several performances of Medtner’s Piano Concertos in England.
He was instrumental in bringing Medtner’s orchestral music to wider audiences.
3. Patrons and Supporters
Maharaja of Mysore (1884–1940) – Financial Benefactor
The Maharaja of Mysore was one of Medtner’s most generous supporters in his later years.
He funded the “Medtner Society” recordings in the 1940s, allowing Medtner to record his own works.
Without this financial support, Medtner might have fallen into complete obscurity.
Henry Wood (1869–1944) – British Conductor and Supporter
Helped Medtner gain recognition in England.
Conducted some of Medtner’s orchestral works.
Alexander Goedicke (1877–1957) – Cousin and Early Patron
A composer and organist who supported Medtner in his early career.
Helped promote his music within Russian musical circles.
4. Institutions and Publishers
Moscow Conservatory – Education and Teaching
Medtner studied at the conservatory under Vasily Safonov.
Later became a professor there, but left after the Russian Revolution.
Universal Edition & Zimmermann Publishers – Early Publishers
Published many of Medtner’s works in the early 20th century.
Limited commercial success led to financial struggles.
BBC (British Broadcasting Corporation) – Last Public Performances
The BBC provided Medtner with some late recognition by broadcasting his works in the 1940s.
However, this exposure was not enough to bring him widespread fame.
5. Non-Musician Figures
Leo Tolstoy (1828–1910) – Philosophical Influence
Medtner was deeply influenced by Tolstoy’s ideas about art and morality.
Tolstoy once heard Medtner play and reportedly told him, “You are a true artist.”
Medtner shared Tolstoy’s belief in the spiritual and moral responsibility of artists.
Maxim Gorky (1868–1936) – Indirect Relationship
Gorky, a Soviet writer, admired Russian artistic traditions but had no direct interaction with Medtner.
Medtner was critical of Soviet ideologies, making an official relationship unlikely.
Conclusion
Medtner’s relationships reflect both his musical conservatism and his outsider status. While he had strong friendships with figures like Rachmaninoff and Kreisler, his rejection of modernist trends and reluctance to promote himself left him relatively isolated. His support from figures like the Maharaja of Mysore and Henry Wood helped sustain him in exile, but his music remained underappreciated during his lifetime.
Similar Composers
If you’re looking for composers similar to Nikolai Medtner, here are some that share aspects of his style, including rich harmonic language, intricate counterpoint, and a commitment to late-Romantic traditions:
1. Sergei Rachmaninoff (1873–1943) – Russian Romanticism & Virtuosic Piano Writing
Medtner and Rachmaninoff were close friends, and their music shares a lyrical, expressive quality.
Both wrote highly demanding piano music with deep emotional depth.
Rachmaninoff’s Études-Tableaux and Moments Musicaux resemble Medtner’s Fairy Tales (Skazki) in their storytelling nature.
However, Rachmaninoff’s music is generally more outwardly dramatic, while Medtner’s is more introspective.
Similar works:
Piano Sonatas Nos. 1 & 2 (compare with Medtner’s sonatas)
Études-Tableaux, Op. 39 (similar to Medtner’s Fairy Tales)
Piano Concertos (Medtner’s three concertos resemble Rachmaninoff’s)
2. Johannes Brahms (1833–1897) – Classical Structure & Rich Harmony
Medtner admired Brahms and was deeply influenced by his use of counterpoint and thematic development.
Both composers favored traditional sonata structures over experimental forms.
Medtner’s thick-textured, often contrapuntal writing resembles Brahms’ approach to piano composition.
Similar works:
Brahms’ Piano Sonata No. 3 in F minor, Op. 5 (similar to Medtner’s large-scale sonatas)
Handel Variations (shares Medtner’s love of variation form)
Intermezzi, Op. 117 (similar to Medtner’s more lyrical miniatures)
3. Alexander Glazunov (1865–1936) – Russian Lyricism & Romanticism
Glazunov and Medtner both maintained a Romantic style while modernism was rising in Russia.
Glazunov’s lush harmonies and orchestration resemble Medtner’s writing.
However, Glazunov’s music is often more straightforward, while Medtner’s is more intricate.
Similar works:
Piano Sonata No. 1 in B-flat minor, Op. 74 (comparable to Medtner’s sonatas)
Concert Waltzes (similar to Medtner’s lighter piano works)
4. César Franck (1822–1890) – Cyclic Form & Spiritual Depth
Medtner’s use of cyclic form and rich harmonies has parallels with Franck’s music.
Both composers infused their music with deep spirituality and introspection.
Medtner’s Violin Sonata No. 3 (“Epica”) has similarities with Franck’s famous Violin Sonata in A major.
Similar works:
Piano Quintet in F minor (shares Medtner’s structural depth)
Prelude, Chorale and Fugue (similar to Medtner’s contrapuntal style)
5. Gabriel Fauré (1845–1924) – Lyricism & Subtle Chromaticism
Like Medtner, Fauré favored long, flowing melodic lines and intricate inner voices.
Both composers used chromaticism subtly, never abandoning tonality.
However, Fauré’s music is more harmonically delicate compared to Medtner’s denser textures.
Similar works:
Nocturnes (similar to Medtner’s lyrical piano pieces)
Barcarolles (comparable to Medtner’s intimate Fairy Tales)
6. Moritz Moszkowski (1854–1925) – Pianistic Writing & Romanticism
Like Medtner, Moszkowski composed highly pianistic works that demand virtuosity.
However, Moszkowski’s music is often more extroverted and brilliant, whereas Medtner’s is more introspective.
Similar works:
Études de Virtuosité, Op. 72 (shares Medtner’s pianistic challenges)
Piano Concerto in E major, Op. 59 (comparable to Medtner’s concertos)
7. Samuel Feinberg (1890–1962) – Russian Late Romanticism & Complex Textures
Feinberg’s piano music shares Medtner’s intricate counterpoint and harmonic density.
However, Feinberg’s style has a more mystical and impressionistic quality.
Similar works:
Piano Sonatas Nos. 2–6 (resemble Medtner’s sonatas in complexity)
Études, Op. 11 (similar to Medtner’s technical yet expressive piano works)
8. Nikolai Myaskovsky (1881–1950) – Russian Romanticism & Melancholy
Myaskovsky and Medtner were both Russian composers who retained Romantic ideals while modernism took over.
Myaskovsky’s music is often melancholic and deeply expressive, like Medtner’s.
Similar works:
Piano Sonata No. 2 in F-sharp minor (shares Medtner’s introspective nature)
Symphony No. 27 (similar in atmosphere to Medtner’s larger works)
9. Ludvig Norman (1831–1885) – Scandinavian Romanticism
A lesser-known composer whose piano music has a lyrical, song-like quality similar to Medtner’s.
His works blend Romantic and Classical elements in a way that resembles Medtner’s balance of form and expressiveness.
Conclusion
Medtner’s music sits at the crossroads of Russian lyricism, German contrapuntal rigor, and Romantic expressiveness. If you enjoy his music, exploring the works of Rachmaninoff, Brahms, Glazunov, and Franck would be a natural next step.
As a Pianist
Nikolai Medtner was not only a composer but also a highly skilled pianist. Though he never achieved the international fame of virtuosos like Rachmaninoff or Horowitz, his playing was admired for its depth, clarity, and intellectual rigor. He was a pianist who prioritized musical integrity over showmanship, focusing on structural cohesion and expressive nuance rather than sheer bravura.
1. Pianistic Style and Technique
Emphasis on Clarity and Articulation: Medtner’s playing was noted for its transparency and precision, even in dense textures. His contrapuntal lines remained distinct, reflecting his admiration for Bach and Beethoven.
Deep, Singing Tone: Like Rachmaninoff, Medtner cultivated a warm and resonant tone, particularly in lyrical passages.
Controlled Virtuosity: While he possessed formidable technical ability, he rejected flashy or exaggerated gestures. His playing was often described as “pure,” with every note serving the music rather than personal display.
Strong Left Hand: Medtner’s compositions often feature intricate left-hand writing, and his own playing demonstrated remarkable control and independence between hands.
Rhythmic Flexibility: Though structurally disciplined, he allowed for subtle rhythmic freedom, particularly in his lyrical passages. His rubato was natural and unforced.
2. Performance Career and Challenges
Limited Concertizing: Unlike Rachmaninoff, Medtner was not a touring virtuoso. He preferred composing to performing and rarely sought widespread public attention.
Struggled with Stage Fright: He reportedly suffered from nerves before performances, which may have contributed to his reluctance to pursue an extensive concert career.
Best Known for Performing His Own Works: Most of his public performances featured his own compositions, particularly his Piano Sonatas and Fairy Tales (Skazki).
Declining Technique in Later Years: As he aged, his playing became less technically secure, possibly due to health problems and financial stress.
3. Legacy as a Performer
Recorded His Own Works: Medtner made several recordings in the 1930s and 1940s, largely thanks to the patronage of the Maharaja of Mysore. These include his three Piano Concertos and various solo works.
Admired by Fellow Musicians: Rachmaninoff, Moiseiwitsch, and others spoke highly of Medtner’s pianism, even if he did not reach the same level of fame.
Influenced Later Pianists: Pianists like Marc-André Hamelin and Geoffrey Tozer have championed Medtner’s music, following in his footsteps by emphasizing both the intellectual and emotional dimensions of his works.
4. Comparison with Other Pianists
Pianist Style Compared to Medtner
Sergei Rachmaninoff – More overtly virtuosic, broader dynamic range, more dramatic contrasts.
Alexander Scriabin – More mystical, impressionistic, and improvisatory.
Benno Moiseiwitsch – Shared a refined, non-flashy approach similar to Medtner.
Bach & Beethoven (as influences) – Medtner’s precise articulation and structural clarity stemmed from these composers.
5. Notable Recordings by Medtner
Some of his most important performances include:
Piano Concerto No. 2 in C minor, Op. 50 (recorded with Albert Coates conducting)
Piano Sonata in G minor, Op. 22
Fairy Tales (Skazki), Op. 20 & Op. 26
These recordings, though limited in number, give insight into his thoughtful and refined pianism.
Conclusion
Medtner was a pianist of deep intellect and expressive subtlety, valuing musical depth over virtuosity. While he never gained the public recognition of some of his peers, his recordings showcase an artist devoted to the integrity of his music. His playing remains a fascinating example of a composer-pianist dedicated to his own artistic vision rather than commercial success.
Forgotten Melodies, Op. 38 & Op. 39
Forgotten Melodies (Vergessene Weisen, Забытая мелодия) is a two-volume collection of piano pieces by Nikolai Medtner, composed between 1918 and 1922. The set is one of Medtner’s most significant contributions to piano literature, balancing lyrical introspection, virtuosic demands, and structural complexity.
The pieces are highly personal, with Medtner drawing inspiration from Russian folklore, poetry, and classical forms. Despite the title, the “forgotten melodies” are not literal quotations but rather evocative themes that feel nostalgic, as if recalling something distant and timeless.
Op. 38 (1919–1920) – 8 Pieces
This set contains eight pieces, ending with the famous Sonata Reminiscenza. It blends lyricism, folk-like melodies, and virtuosic writing.
1. Sonata Reminiscenza, Op. 38 No. 1
One of Medtner’s most well-known works and a masterpiece of Russian piano music.
A single-movement sonata filled with nostalgia, gentle flowing arpeggios, and a melancholy theme.
Features cyclic development, meaning the opening theme reappears in different variations.
Evokes a dreamy, wandering atmosphere, almost like a reverie.
2. Danza graziosa (Graceful Dance), Op. 38 No. 2
A delicate and elegant dance, with quick, light textures and subtle shifts in harmony.
Less dramatic than the first piece but full of charm.
3. Danza festiva (Festive Dance), Op. 38 No. 3
A joyful and rhythmic dance, much more forceful and dynamic than No. 2.
Filled with dotted rhythms and bold chords, resembling a Russian folk dance.
4. Canzona fluviala (River Song), Op. 38 No. 4
Flowing, liquid-like arpeggios and gentle, songful phrasing evoke an image of a river.
Medtner was known for creating music with a strong sense of movement and natural imagery.
5. Franticheskaya pesn’ (Frauenlied or French Song), Op. 38 No. 5
A tender and lyrical piece, evoking a French chanson.
Marked by subtle melancholy and delicate phrasing.
6. Feya (The Fairy), Op. 38 No. 6
Fast-moving, light, and magical—one of Medtner’s most whimsical pieces.
Rapid figurations in the right hand create an airy, almost impressionistic feel.
7. Ovod (The Gadfly), Op. 38 No. 7
A restless, agitated piece, with buzzing left-hand figures.
Short but highly rhythmic and intense.
8. Mephisto-Walzer, Op. 38 No. 8
A dark and mischievous waltz, similar in spirit to Liszt’s Mephisto Waltz.
Features sharp contrasts, sudden harmonic shifts, and devilish energy.
Op. 39 (1920–1922) – 4 Pieces
This set is shorter but includes one of Medtner’s most powerful sonatas. It continues the themes of the first volume but with a deeper, more philosophical tone.
1. Sonata tragica, Op. 39 No. 5
A dramatic, stormy one-movement sonata, full of heroic struggle and intensity.
Dense, Beethovenian textures, yet unmistakably Medtner in harmonic language.
Contains driving rhythms, passionate climaxes, and a tragic, defiant ending.
2. Danza jubilosa (Joyful Dance), Op. 39 No. 6
Bright and celebratory, acting as a contrast to the darkness of the previous sonata.
Full of sparkling figurations and playful rhythms.
3. Elégie, Op. 39 No. 7
A piece of deep sorrow and longing, almost like a musical lament.
Rich harmonic progressions and a singing melodic line create a sense of loss.
4. Canzona serenata, Op. 39 No. 8
A gentle, song-like finale to the collection, closing with lyrical simplicity.
Combines romantic nostalgia with clarity, serving as a farewell.
Musical and Stylistic Characteristics
Highly lyrical: Every piece is melodically rich, often resembling Russian folk songs or vocal lines.
Counterpoint & harmonic depth: Medtner’s love for Bach and Brahms is evident in the way voices interact.
Virtuosic but never flashy: The difficulty lies in voicing, phrasing, and emotional depth, rather than sheer speed.
Cyclic structures: Many themes reappear throughout the set in different forms.
Russian spirit: Medtner’s harmonies, rhythms, and forms remain deeply tied to Russian musical traditions.
Significance and Reception
Forgotten Melodies is one of Medtner’s greatest piano works and showcases his mature compositional voice.
Though not as famous as Rachmaninoff’s piano works, it has been highly respected among pianists for its depth and originality.
Sonata Reminiscenza and Sonata Tragica are often performed as standalone pieces due to their emotional power and structural brilliance.
Recommended Recordings
If you want to hear this work interpreted by great pianists, consider:
Marc-André Hamelin – One of the best recordings, with both power and nuance.
Nikolai Demidenko – A strong, highly expressive version.
Emil Gilels (historical recording) – Captures the Russian spirit of Medtner’s music.
Geoffrey Tozer – A complete Medtner specialist, offering deep insight into his works.
Conclusion
Forgotten Melodies represents Medtner at his most personal and expressive. Sonata Reminiscenza and Sonata Tragica are particularly important highlights, showcasing his ability to blend deep emotional expression with formal mastery. If you appreciate lyrical yet complex piano music, this collection is a must-listen.
Russian Fairy Tale, Op. 42 No. 1
Overview
“Russian Fairy Tale” (Русская сказка) is the first piece in Medtner’s Two Fairy Tales, Op. 42, composed in 1924. It is one of his most evocative and dramatic fairy tales (Skazki), a genre that Medtner uniquely developed as part of his piano output.
Though the piece does not narrate a specific Russian folktale, it captures the spirit of Russian folklore with its mystical atmosphere, modal harmonies, and energetic drive. The music conveys a sense of legendary heroism and enchanted landscapes, reminiscent of the world of Russian myths.
Musical Characteristics
Key: C-sharp minor
Time Signature: 6/8 (with sections in 9/8)
Tempo: Allegro molto
Form: Loose ternary (ABA) with dramatic contrast between sections
1. The Opening – Mysterious and Brooding
Begins with a dark, swirling left-hand accompaniment that suggests an enchanted, otherworldly setting.
The right hand introduces a haunting, folk-like melody, with ornamental turns and modal inflections that evoke Russian folk tunes.
The harmony is modal, often shifting unpredictably, creating a sense of magic and uncertainty.
2. The Middle Section – Heroic and Bold
A contrasting march-like theme emerges, featuring powerful chords and rhythmic propulsion.
The bassline moves in large leaps, reinforcing a sense of epic grandeur, possibly evoking a Russian bogatyr (knight or warrior) setting off on a quest.
The interplay between hands becomes increasingly complex, with the melody soaring above dramatic harmonic shifts.
3. The Return – Spirited and Unpredictable
The main theme returns with greater intensity, incorporating stormy triplets and syncopations.
Builds towards a whirlwind climax, then suddenly fades into mystery, leaving an impression of a story that continues beyond the music.
Stylistic Influences and Connections
Russian folk music: The use of modal melodies, irregular phrase structures, and ornamentation resembles traditional Russian folk songs.
Tchaikovsky & Rimsky-Korsakov: The fairy tale atmosphere recalls Tchaikovsky’s The Nutcracker or Rimsky-Korsakov’s Scheherazade, though Medtner’s approach is more abstract and piano-centered.
Scriabin & Rachmaninoff: The rich, chromatic harmonies and dramatic tension show similarities to these composers, though Medtner maintains a more classical sense of structure.
Interpretation and Performance Challenges
Balancing mystery and power: The performer must contrast the brooding, magical quality of the beginning with the bold, heroic middle section.
Complex texture: The swirling left-hand patterns and intricate right-hand ornamentation require clarity and control.
Rhythmic flexibility: The transitions between lyrical rubato and strict rhythmic drive must feel natural.
Notable Recordings
Marc-André Hamelin – Brilliant technical control and storytelling.
Geoffrey Tozer – Emphasizes Medtner’s lyricism and Russian character.
Nikolai Demidenko – A deeply expressive, authentic interpretation.
Conclusion
“Russian Fairy Tale” is a mystical, powerful piece that embodies Medtner’s ability to capture legendary storytelling through music. It remains one of his most captivating and evocative piano miniatures, blending Russian folk elements, virtuosic writing, and narrative depth into a unique and unforgettable work.
Two Fairy Tales, Op. 48
Two Fairy Tales, Op. 48 (Две сказки) is one of Medtner’s later piano works, composed in 1928–1929, during his exile in France. These pieces exemplify Medtner’s mature harmonic language, intricate textures, and deep lyricism, while still retaining the Russian fairy tale atmosphere that defines his Skazki (Fairy Tales).
Unlike some of his earlier Skazki, which are lighthearted or dance-like, the Op. 48 Fairy Tales are more philosophical, dramatic, and harmonically complex, reflecting the challenges he faced during his later years.
1. Fairy Tale in F minor, Op. 48 No. 1
Mood & Character
A dark, stormy piece with a narrative intensity resembling a heroic struggle.
The brooding, restless atmosphere suggests an epic Russian legend or tragic tale.
Musical Features
Opening: Begins with powerful, rolling chords that immediately create a sense of urgency.
Driving Rhythm: The relentless, galloping motion in the left hand propels the piece forward.
Chromatic Harmony: Features unpredictable harmonic shifts, adding mystery and tension.
Contrast: The middle section introduces a more lyrical, song-like melody, but the dramatic energy soon returns.
Virtuosic Demands: Requires strong articulation, precise control of rapid passages, and dynamic contrast.
Interpretation
The pianist must balance power and clarity, ensuring the agitated sections do not become muddy.
The lyrical interlude should provide contrast without losing momentum.
Comparison with Other Works
Similar to Medtner’s Sonata tragica in its drama and intensity.
The propulsive energy and dark harmonies are reminiscent of Rachmaninoff’s Études-Tableaux, though Medtner’s structure is more classical.
2. Fairy Tale in B-flat minor, Op. 48 No. 2
Mood & Character
A more lyrical, melancholic piece, with an elegiac quality.
Feels contemplative and nostalgic, possibly reflecting Medtner’s personal struggles in exile.
Musical Features
Gentle Opening: Begins with delicate, expressive phrasing, resembling a Russian folk song.
Flowing Arpeggios: The left hand often provides soft, rippling accompaniment, creating a dreamlike effect.
Rich, Chromatic Harmony: Subtle modulations and harmonic shifts add emotional depth.
Climactic Build-up: The melody becomes more passionate and intense, reaching a sweeping climax before fading away.
Interpretation
Requires deep lyrical expression and delicate voicing to bring out the inner emotional nuances.
The pianist must shape the dynamic arc carefully, ensuring the climax feels organic.
Comparison with Other Works
Shares similarities with Medtner’s Elégie (Op. 39 No. 7) in its introspective mood.
Has echoes of Chopin’s Nocturnes in its singing melody and harmonic subtlety.
Stylistic and Thematic Significance
Late-period Medtner: Shows his increasing harmonic complexity and structural refinement.
Russian spirit: Despite being in exile, Medtner retains a strong Russian folk influence in these works.
Emotional depth: Unlike earlier fairy tales that might evoke fantastical imagery, these pieces feel more introspective and tragic, as if telling a forgotten legend or personal reflection.
Notable Recordings
Marc-André Hamelin – Offers a highly polished, technically flawless interpretation.
Geoffrey Tozer – Captures Medtner’s lyrical phrasing and depth of emotion.
Nikolai Demidenko – Brings a powerful, Russian-style interpretation with dramatic contrasts.
Conclusion
Two Fairy Tales, Op. 48 represents Medtner’s mature style, blending virtuosic intensity with profound expressiveness. The first Fairy Tale is stormy and dramatic, while the second is lyrical and nostalgic, making them a complementary pair.
Romantic Sketches for the Young, Op. 54
Overview
“Romantic Sketches for the Young”, Op. 54 (Романтические наброски для юношества), is a collection of short piano pieces composed in 1932–1933. These works were written during Medtner’s later years while he was living in exile in France and England. Unlike his more complex, mature works, these miniatures are simpler, more accessible, and lyrical, intended for young pianists but still rich in Medtner’s signature style.
The pieces maintain a warm, Romantic character, similar to Schumann’s Album for the Young and Tchaikovsky’s Children’s Album. However, Medtner’s sketches are still deeply expressive and structurally refined, often containing hints of Russian folk melodies and fairy tale elements.
Structure and Musical Characteristics
Op. 54 consists of two books, each containing six pieces. These pieces vary in mood, tempo, and difficulty, offering young pianists an introduction to Medtner’s musical world.
Book 1 (Op. 54 No. 1–6)
Prologue – A majestic, noble opening piece, almost like an overture to the set.
Dialogue – A gentle, conversational exchange between two musical voices.
Danse Rustique – A light, folk-inspired dance, with playful rhythms and simple textures.
Canzona Matinata – A song-like morning piece, evocative of a peaceful sunrise.
Capriccio – A whimsical, lively piece with sudden shifts in dynamics and articulation.
Canzona Serenata – A lyrical, evening serenade, closing the first book with a sense of nostalgia.
Book 2 (Op. 54 No. 7–12)
Danse Masquerade – A mysterious and slightly mischievous dance, with a sense of theatrical drama.
Danse Champêtre – Another rustic, folk-like dance, but more rhythmically energetic.
Elégie – A poignant, expressive lament, one of the most emotionally deep pieces in the set.
Fughetta – A short fugue, showcasing Medtner’s love for counterpoint.
Valse Lente – A delicate, dreamlike waltz, with a touch of melancholy and nostalgia.
Epilogue – A reflective closing piece, bringing the set full circle with echoes of the Prologue.
Stylistic and Thematic Features
Romantic & Lyrical: Despite being written in the 20th century, the pieces embrace a late-Romantic idiom, rather than modernist trends.
Russian Folk Influence: Some pieces contain subtle modal melodies and dance rhythms reminiscent of Russian folk tunes.
Accessible but Meaningful: While technically simpler than Medtner’s major works, the pieces retain his depth of expression and harmonic richness.
Miniature Masterpieces: Like Schumann’s Kinderszenen or Tchaikovsky’s Children’s Album, these are not just for children—they hold expressive depth for more mature musicians as well.
Comparison with Medtner’s Other Works
Unlike his complex piano sonatas and concertos, these are more direct and accessible, yet still bear his signature harmonic language and melodic inventiveness.
Similar in intent to his other small-form pieces, such as the Fairy Tales (Skazki), though less intense and more lyrical.
Stands alongside Schumann’s and Tchaikovsky’s piano collections for young pianists, but with a more Russian and classical spirit.
Notable Recordings
Geoffrey Tozer – One of the most expressive recordings, capturing the charm of these pieces.
Hamonatuhara Shozo – Offers a delicate, poetic approach to Medtner’s writing.
Conclusion
“Romantic Sketches for the Young” is one of Medtner’s most approachable and charming piano collections, blending lyrical beauty, gentle playfulness, and subtle depth. It provides an excellent introduction to his music, particularly for younger pianists, while still holding expressive depth for seasoned musicians.
Eight Mood Pictures, Op. 1
Overview
“Eight Mood Pictures” (Восемь настроений) Op. 1 is Medtner’s first published work, written between 1895 and 1896 when he was still a student at the Moscow Conservatory. This collection consists of eight short character pieces, each capturing a distinct mood or atmosphere.
Despite being an early work, the Mood Pictures already showcase many hallmarks of Medtner’s mature style, including rich harmonic language, lyrical melodies, and intricate textures. The set reflects the Romantic tradition, influenced by Schumann, Chopin, and Brahms, yet it also hints at the composer’s later deeply personal and introspective voice.
Structure and Musical Characteristics
Each piece in this collection represents a specific emotional state, resembling musical sketches or poetic vignettes. The titles suggest impressions of nature, dreams, or inner emotions, akin to Schumann’s Carnaval or Kinderszenen.
1. Andante (E minor)
A soft, introspective opening, setting a contemplative tone.
Features delicate phrasing and chromatic harmonies, reminiscent of Chopin’s Nocturnes.
2. Allegro (F minor)
A dramatic, stormy piece with a restless, turbulent character.
Rapid, driving rhythms and dark harmonies create a sense of urgency.
Similar to Scriabin’s early Études in its virtuosic intensity.
3. Allegretto (A-flat major)
A graceful, waltz-like miniature with lyrical charm.
Flowing accompaniment and expressive rubato create a sense of elegance.
Has echoes of Schumann’s lyrical piano pieces.
4. Andante (D-flat major)
One of the most poetic and nostalgic pieces in the set.
The melody sings with Romantic expressiveness, supported by lush harmonies.
Resembles Tchaikovsky’s lyrical piano works, such as The Seasons.
5. Allegro (G minor)
A rhythmically driving, energetic piece.
Features sharp contrasts and bold dynamic shifts, resembling Brahms’ Capriccios.
6. Allegro non troppo (E-flat minor)
A brooding, melancholic piece, evoking a sense of longing or mystery.
The use of chromaticism and shifting harmonies foreshadows Medtner’s mature harmonic language.
7. Allegro con vivacità (C-sharp minor)
Lively and dramatic, featuring bold leaps and rhythmic syncopation.
Virtuosic in nature, requiring clear articulation and precise dynamic control.
8. Allegro molto (E major)
A joyful, uplifting conclusion to the set.
Features brilliant passagework and bright harmonies, closing on a radiant, triumphant note.
Stylistic and Thematic Features
Romantic Influence: The work is deeply rooted in Romantic piano traditions, particularly Chopin, Schumann, Brahms, and early Scriabin.
Narrative & Emotional Depth: Each piece functions like a musical poem, expressing a distinct emotion or scene.
Virtuosic Elements: While some pieces are lyrical and song-like, others demand technical brilliance, hinting at Medtner’s later virtuosic writing.
Hints of Medtner’s Mature Style: Even in this early work, we see Medtner’s characteristic rich harmonies, contrapuntal textures, and Russian lyricism.
Comparison with Other Composers & Works
Schumann’s Carnaval or Kinderszenen – Similar in its miniature, character-driven approach.
Chopin’s Preludes – Shares the short, expressive nature and variety of moods.
Scriabin’s Early Études & Preludes – Some pieces resemble Scriabin’s youthful energy and harmonic experimentation.
Significance in Medtner’s Oeuvre
First published work, marking the beginning of his career as a composer.
Already demonstrates a unique personal voice, despite clear Romantic influences.
While Medtner later moved towards more intricate structures (e.g., piano sonatas, fairy tales), this collection remains a beautiful, accessible introduction to his style.
Notable Recordings
Geoffrey Tozer – A definitive interpretation, capturing both lyrical beauty and technical brilliance.
Marc-André Hamelin – Highly polished, with clarity and expressive depth.
Conclusion
“Eight Mood Pictures” is a fascinating early work that already showcases Medtner’s lyrical expressiveness, rich harmonies, and emotional depth. It serves as an excellent gateway to his later, more complex works, offering a blend of poetic intimacy and virtuosic energy.
Other Piano Works
Nikolai Medtner was a prolific composer for the piano, and his works span a wide range of forms, from large-scale sonatas to short character pieces. Below is an overview of his major piano works, categorized by type.
1. Piano Sonatas (14 Sonatas)
Medtner’s sonatas are some of his most significant works, known for their dense counterpoint, harmonic richness, and lyrical expressiveness.
Sonata in F minor, Op. 5 (1896–1903) – Early but already dramatic and well-structured.
Sonata-Triad, Op. 11 (1904–1907) – Three sonatas forming a connected cycle.
No. 1 in C minor
No. 2 in F minor
No. 3 in E minor
Sonata in G minor, Op. 22 (1909–1910) – Medtner’s most concise and lyrical sonata.
Sonata-Skazka in C minor, Op. 25 No. 1 (1910–1911) – A fusion of his Fairy Tale style with sonata form.
Sonata romantica in B-flat minor, Op. 53 No. 1 (1930) – Passionate and expressive, reminiscent of Rachmaninoff.
Sonata minacciosa in F minor, Op. 53 No. 2 (1931) – A dark, dramatic work with an ominous character.
Sonata tragica in C minor, Op. 39 No. 5 (1918–1920) – A compact yet intense single-movement sonata.
Sonata-Ballade in F-sharp minor, Op. 27 (1912–1914) – A fusion of epic narrative and dramatic tension.
Sonata in A minor, Op. 30 (1914–1917) – Highly chromatic and emotionally charged.
Sonata-Idylle in G major, Op. 56 (1937) – Medtner’s most pastoral and serene sonata.
Sonata in E minor, Op. posth. (unfinished) – Medtner’s last work, left incomplete.
2. Fairy Tales (Skazki) – Short Character Pieces
Medtner’s Fairy Tales (Сказки) are among his most famous and beloved piano works, blending Russian folklore, fantasy, and deep expressiveness.
Op. 8 (1904) – Early set, with lyrical and dramatic elements.
Op. 9 (1905) – Expands on folk-inspired themes.
Op. 14 (1906) – Contains some of his most poetic miniatures.
Op. 20 (1909) – Features the famous “March of the Paladin”.
Op. 26 (1912) – More harmonically adventurous.
Op. 34 (1920) – Contains the well-known “Russian Fairy Tale”.
Op. 42 (1924) – Features the brilliant and technically challenging pieces.
Op. 48 (1928–1929) – The Two Fairy Tales are highly dramatic.
Op. 51 (1931–1932) – Late set, showing his mature harmonic language.
3. Other Major Solo Piano Works
These works showcase Medtner’s lyrical, poetic, and virtuosic writing outside of his sonatas and Fairy Tales.
Mood Pictures & Sketches
Eight Mood Pictures, Op. 1 (1895–1896) – Medtner’s first published work, reflecting Romantic influences.
Romantic Sketches for the Young, Op. 54 (1932–1933) – Lighter, accessible miniatures similar to Schumann’s Kinderszenen.
Larger Cycles
Forgotten Melodies I, Op. 38 (1918–1920) – Contains the famous “Sonata Reminiscenza” (No. 1).
Forgotten Melodies II, Op. 39 (1919–1920) – Features “Sonata tragica” (No. 5).
Forgotten Melodies III, Op. 40 (1920) – Concludes the trilogy with reflective miniatures.
Etudes & Variations
Three Novelles, Op. 17 (1907) – Short but deeply expressive pieces.
Three Intermezzi, Op. 46 (1928) – Meditative, somewhat Brahmsian.
Two Elegies, Op. 59 (1940–1941) – One of his last piano works, filled with nostalgia.
Two Improvisations, Op. 47 (1927) – Playful and experimental.
Three Hymns in Praise of Toil, Op. 49 (1929) – A philosophical work, expressing the struggle and dignity of labor.
Variations & Fugue, Op. 55 (1937) – Highly intricate and contrapuntal.
Final Thoughts
Medtner’s piano works represent a unique blend of Romanticism, Russian folk influence, and classical structure. While often compared to Rachmaninoff and Scriabin, his music has a more intricate, contrapuntal, and introspective quality.
Notable Works
1. Piano Concertos (Piano & Orchestra)
Medtner wrote three piano concertos, each showcasing his unique blend of Romantic lyricism, contrapuntal complexity, and virtuosity.
Piano Concerto No. 1 in C minor, Op. 33 (1914–1918)
A highly dramatic and lyrical work, rich in counterpoint and thematic development.
Features a single continuous movement divided into three sections.
Piano Concerto No. 2 in C minor, Op. 50 (1927)
More expansive and virtuosic, with long melodic lines and orchestral grandeur.
Dedicated to Rachmaninoff, who admired Medtner’s work.
Piano Concerto No. 3 in E minor, Op. 60 (“Ballade”) (1940–1943)
Medtner’s final large-scale work, filled with deep nostalgia and introspection.
More harmonically adventurous, incorporating folk-like elements.
2. Violin & Piano Works
Medtner wrote three violin sonatas, each notable for its expressive depth and contrapuntal textures.
Violin Sonata No. 1 in B minor, Op. 21 (1908–1910)
A deeply lyrical and passionate work.
Rich harmonies and a strong Russian character.
Violin Sonata No. 2 in G major, Op. 44 (“Sonata-Epica”) (1923–1925)
One of Medtner’s most expansive and dramatic compositions.
A grand, heroic piece requiring great technical skill from both violinist and pianist.
Violin Sonata No. 3 in E minor, Op. 57 (“Sonata-Ballade”) (1935–1938)
A late work, marked by elegant lyricism and poetic depth.
Evokes a sense of narrative storytelling, similar to his Fairy Tales.
3. Songs for Voice & Piano
Medtner was deeply influenced by Russian poetry, and he composed a significant number of art songs (romances). Many of these are based on texts by Pushkin, Tyutchev, Goethe, Heine, and other poets.
Notable Song Cycles & Collections
Eight Poems, Op. 24 (1913–1915) – Setting of Russian poetry with expressive piano accompaniment.
Four Poems, Op. 28 (1914–1917) – Includes songs filled with mystical and spiritual themes.
Second Cycle of Songs, Op. 36 (1921) – Medtner’s post-revolution works, with a more melancholic character.
Goethe Songs, Op. 39 (1920) – Settings of German texts, showing Medtner’s connection to European literary traditions.
Pushkin Songs, Op. 46 (1927) – Dedicated to Alexander Pushkin, Russia’s most celebrated poet.
Style & Characteristics:
Unlike Rachmaninoff, who emphasized melodic beauty, Medtner’s songs are often more intricate, with detailed piano accompaniments.
They are through-composed rather than strophic, meaning the music evolves continuously rather than repeating.
4. Chamber Works
While Medtner did not write string quartets or large chamber works, his pieces for violin and piano are among the finest in Russian chamber music.
Three Nocturnes for Violin & Piano (1898–1900, unpublished) – A set of early lyrical works.
“Duo-Sonate” for Two Pianos in E minor, Op. posth. (unfinished) – Intended as a major late work but left incomplete.
5. Choral & Orchestral Works
Medtner wrote very little for orchestra alone, as he strongly preferred piano as the central instrument. However, he did compose:
Cantata The Hymn to the Forces, Op. 49 (1928–1929) – One of his few choral works, based on a philosophical and spiritual text.
Three Hymns in Praise of Toil, Op. 49 (for piano & chorus) – A rare attempt at orchestral choral writing, showing his admiration for human perseverance.
Conclusion
Although Medtner’s piano solo works dominate his output, his violin sonatas, piano concertos, and vocal songs are equally important. His compositions often demand virtuosity, deep musical insight, and an appreciation for counterpoint.
(This article was generated by ChatGPT. And it’s just a reference document for discovering music you don’t know yet.)
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