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Nikolai Karlovich Medtner (Николай Карлович Метнер) ( January 5 1880 – November 13 1951 ) was a Russia n Composer and Pianist . BIOGRAPHY The youngest of five children, Nikolai Medtner was born in Moscow on the Russian Orthodox Christmas Eve. Medtner first took lessons from his mother until the age of ten, when he entered the Moscow Conservatory . Though initially a concert pianist, he went on to compose over sixty groups of works, to most of which he gave Opus Number s. His life's work consists of fourteen Piano Sonata s, three more with Violin (and one more with wordless solo voice,) and three Piano Concerti . He also wrote a Piano Quintet , two works for piano duo, many shorter piano pieces and almost 100 songs. His 38 piano pieces called ''Skazki'' (which translates as "legends" or "folktales" but are referred to as "Fairy Tales" in English at the suggestion of Medtner's wife), are central to his output as a whole and contain some of his most original music. He graduated from the Moscow Conservatory in 1900 at the age of 20, taking the Anton Rubinstein prize, having studied under such teachers as Pabst , Sapellnikoff , Safonov , and Taneyev . Despite his conservative musical tastes, Medtner's compositions were highly regarded by his contemporaries and his skills as a piano virtuoso were second only to Rachmaninov . Although poised to become a concert pianist, he turned instead to composition at the urging of his teacher, Taneyev, and became one of the few composers who took up the musical challenge laid down by Beethoven in his late piano sonatas and string quartets, which served as the starting point for Medtner's own works. During the years leading up to the 1917 Russian Revolution , Medtner lived at home with his parents. It was during this time that Medtner fell in love with Anna Mikhaylovna Bratenskaya, a well-regarded violinist and the young wife of his older brother Emil. Emil was later interned in Germany , where he had been studying when World War I broke out, and generously gave Anna her freedom to marry his brother. Medtner and Anna were married in 1918. Unlike his friend Rachmaninov, Medtner did not leave Russia until well after the Revolution. Rachmaninov secured Medtner a tour of America and Canada in 1924. His recitals were often all-Medtner evenings consisting of sonatas interspersed with songs and shorter pieces. Medtner never adapted himself to the commercial aspects of touring and concerts became infrequent. Esteemed in England, he settled in London in 1936, modestly teaching, playing and composing to a strict daily routine. Hardship really hit at the outbreak of the Second World War ; his income from German publishers disappeared and ill health became an increasing problem. His devoted pupil Edna Iles gave him shelter in Warwickshire where he completed his Third Piano Concerto, performing it at a 1943 Promenade Concert . In 1946 the unexpected happened. The Maharaja of Mysore , (part of India and state of Karnataka now), His Highness Jayachamaraja Wodeyar Bahadur , himself a music lover and amateur pianist, founded a Medtner Society in London to record all of Medtner’s works. Medtner was already in declining health but managed to record his three Piano Concertos plus sonatas, chamber music, numerous songs and shorter works before his death in London in 1951. In one of these recordings he partnered Benno Moiseiwitsch in his two-piano work entitled "Russian Round-Dance", Op 58 No 1, and accompanied Elisabeth Schwarzkopf in several of his Lied er, including ''The Muse'', a Pushkin setting from 1913. These historic recordings demonstrate a forceful creative personality undimmed by failing health. In gratitude to his patron, Medtner dedicated his Third Piano Concerto to the Maharaja of Mysore. He died at his home in Golders Green , London in 1951, and is buried in Hendon . SELECTED WORKS Solo piano The First Piano Sonata, op. 5 in F minor, is a remarkable four-movement work from the years 1902 – 3 suggesting the style of Scriabin or Rachmaninov, but nonetheless entirely original. Medtner's craft gained subtlety and complexity in later years, though this work is already evidence of his unsurpassed mastery of musical structure. An opening ''Allegro'', dramatic and imbued like much Russian music with a bell-like sonority, is separated by a rhythmic and forceful ''Intermezzo'' from a ''Largo divoto'' which reaches a Maestoso climax before plunging into the headlong ''Allegro risoluto'' finale. The Second, Third and Fourth piano sonatas, one-movement works each, can be played separately, but together form the "Sonata-Triad" (op. 11, in A-flat, D minor and C major, written 1904 – 8 .) The First is an ecstatic work with attractive, lyrical themes, prefaced by a poem by Goethe . The Second is entitled "Sonate-Elegie", opening slowly with one of Medtner's most memorable themes, closing with an animated coda (''Allegro molto doppio movimento'', in D major); and the Third returns to the lyricism of the First, a satisfying conclusion to this trio of works. The Fifth and most popular of his sonatas, in G minor opus 22 of 1909 – 1910 , alternates a slow Introduction with a three-theme, propulsive Sonata Movement one of whose themes was heard in the Introduction. The emotional center of this compact work (fifteen minutes in duration) is the ''Interludium: Andante lugubre'' which comprises most of the development section. It is the most recorded of any of his Piano Sonatas. The Sixth Sonata followed soon after, the first of two which comprise his opus 25. It bears the title "Sonata-Skazka," which translates as "Fairy Tale Sonata." This short work in C minor, written in 1910 – 1 , is in three movements (the second and third are connected): ''Allegro abbandonamente'', ''Andantino con moto'', and ''Allegro con spirito''. The first movement is a compact sonata-form, the slow movement rondo-like (the similarity to a famous melody by Rachmaninov is coincidental, as the latter was not written until some thirty years later!). A minatory final march with variations ends with a Coda which revisits earlier material. The other half of opus 25 is entirely different. The Seventh Sonata in E minor, "Night Wind" (after which pairs it with the work Rachmaninov dedicated to Medtner, his Fourth Piano Concerto. The Eighth "Ballad-Sonata" (opus 27, in F-sharp major,) began as a one-movement work, and expanded into its present form over the period 1912 – 4 : Ballade, Introduction and Finale. The tonality and some of the material make passing reference to Chopin's Barcarolle. The first movement opens with one of Medtner’s lovely pastoral melodies. The finale, like the Piano Quintet, has a thematic connection with his Pushkin setting ''The Muse''. Medtner himself made a magnificent recording of this work. The one-movement Ninth Sonata, opus 30 in A minor, seems an odd man out for having no title (unless one counts the opus 5, or calls it "War Sonata" as is occasionally done: prefacing the score are the words "during The War 1914-1917 ") It is a dark, terse and harmonically exploratory work of considerable power. The "Reminiscenza" Tenth Sonata, opus 38 no. 1 in A minor, commences a set of eight pieces entitled "Forgotten Melodies (First Cycle)" (there are three cycles in all, opp. 38, 39, and 40). Both this and the next Sonata were written 1918 – 1920 . This single movement is one of Medtner's most poetic creations; as the title indicates, its character is nostalgic and wistful. Other pieces in opus 38 contain variants of the Sonata's opening theme, such as the concluding "Alla Reminiscenza". Gilels played the "Reminiscenza" often and memorably recorded it. (He also recorded opus 22.) The Eleventh, "Sonata Tragica" opus 39 no. 5 in C minor, concludes "Forgotten Melodies (Second Cycle)". (There is some repetition of themes in this set as well— the piece which precedes the Sonata, "Canzona Mattinata", contains a theme which recurs in the Sonata, and according to Medtner's wishes both pieces are to be played ''attacca'' — without pause.) This is also a single movement sonata-form, but Allegro, dramatic and ferocious, with three themes of which one (the reminiscence from "Canzona Mattinata") fails to return. A violent coda concludes. The Twelfth Sonata, entitled "Romantica", opus 53 no. 1 (B-flat minor) was written some years later along with its twin, in 1931 – 2 . Returning to a four-movement form, it consists of a ''Romance'' (B-flat minor,) a '' Scherzo '' (E-flat minor,) a ''Meditazione'' (B minor,) and a ''Finale'' (B-flat minor,) and was written between the Second and Third Piano Concerti. The ending quotes his Sonata-Skaza, opus 25 no. 1. The Thirteenth Sonata, entitled "Minacciosa" ("Menacing", sometimes mistranslated as "Tempest",) opus 53 no. 2 (F minor) is another one‐movement work — indeed a menacing, highly-chromatic work (if not so much as opus 30), with an impressive fugue. It was dedicated to the Canadian pianist and pupil of Scriabin , Alfred Laliberté , one of Medtner's most loyal supporters. The last of the sonatas, "Idyll-Sonata", opus 56 in G major, was written in 1937. This is a gentle, two-movement work — a short ''Allegretto cantabile'' Pastorale and a Rondo ''Allegro moderato e cantabile (sempre al rigore di tempo)'' with delicate harmonic colorings, in which the "cantabile" indications in both movements reflect the overall mood. Other works – 7 ) pair, the ''March of the Paladin''). The Romanza and Divertimento are each in their own way varied in character, the Divertimento particularly rich in inspiration. Medtner left behind a magisterial recording of this Concerto with the Philharmonia Orchestra, 1947. Piano Concerto No. 3 , "Ballade", op. 60 in E minor, 1940 – 3 . The factors which led to the creation of this work are closely connected to the circumstances of his final years. It is dedicated to his generous patron, the Maharaja of Mysore. Three connected movements: the first, ''Con moto largamente'', sustained and profound, slowly developing motion and energy; the second an Interludium,''Allegro, molto sostenuto, misterioso'' quotes the first movement and prefigures the finale; a lengthy ''Allegro molto. Svegliando, eroico'' vigorously concludes the work. The composer's own recording from 1947, with the Philharmonia Orchestra, is considered a classic. Violin Sonata No. 3 , op. 57 in E minor, 1938 . Recorded by Oistrakh among others. A vast work in four movements, a counterpart to his "Night Wind" Piano Sonata No 7. ''Introduzione — Andante meditamente'', ''Scherzo — Allegro molto vivace, leggiero'', ''Andante con moto'', ''Finale — Allegro molto''. A motto theme in the Introduction juxtaposes chords quietly but insistently, joined by a melody on the violin. The melody becomes the first theme of the — lengthy — sonata-form movement that follows, juxtaposed with other themes including a march in imitation. The folksy and syncopated ''Scherzo'' in A minor, thematically related to the opening movement’s faster sections, is in Rondo-form. After a reminiscence of the motto, the Andante is a lament in F minor, extremely Russian in sentiment. The virtuoso Finale has thematic elements related to Russian Orthodox liturgical music (Medtner was born Lutheran but late in life converted to Orthodox). The Piano Quintet In C Major , Opus Post., was published after the composer's death. He worked on sketches of the work from 1903 until its completion in 1949. Medtner considered it the ultimate summary of his musical life and it contains some of his finest and most spiritual music. Medtner recorded the work in the last years of his life but it has never been commercially released. LEGACY Whether Medtner’s music makes inroads into the wider repertoire or remains the territory of a few performers and listeners depends on whether it is true, as is said (by some other than the aforementioned performers and listeners...) that he sacrificed melodic interest, beauty, and communicativeness (or enough of them) on the altar of complexity, the sonata form, and counterpoint. Nonetheless, it is undeniable that Medtner possessed considerable skill in writing heartfelt melody of rare beauty, and along with his uncanny skill in developing thematic material, his oeuvre constitutes an ideal balance of "head" and "heart". In constant intellectual ferment and, with rare exceptions, a restless quality that demands repeated listenings to penetrate, Medtner's music often has a psychologically intense, almost demonic character. The piano works in particular are notoriously difficult to sight-read and require enormous technical and intellectual resources to perform. Yet at the top of his game, Medtner's melodies speak to the listener on a direct emotional level. It may be that some of his works are better advocates for him in this respect--his songs are much more directly communicative than the solo piano music, the violin sonatas more extroverted--than others (the piano concerti, and indeed, some of these sonatas, perhaps depending on the performance, of course)--and it is also true that his music is now that of a cult composer, at least in reputation and possibly in fact. (The availability now of more of his music on recording should help any debate, of course.) Geoffrey Tozer and Hamish Milne are the only persons to record the complete piano works of Medtner. Others who championed Medtner's work and left behind recordings include Grigory Ginsburg , Vladimir Horowitz , Earl Wild , Benno Moiseiwitsch , Eugene Istomin , Emil Gilels , Marc-André Hamelin , Paul Stewart , Nikolai Demidenko , Dimitri Alexeev , Ziva Scherbakov , and Evgeny Kissin . Renowned Russian mezzo-soprano Irina Arkhipova recorded some of Medtner's songs based on the poems of Pushkin as did Elisabeth Schwarzkopf . In spring 1910 Medtner recorded ten pieces for the Reproducing Piano Welte-Mignon , nine from his own works. PUBLICATIONS Medtner’s one book, ''The muse and the fashion, being a defence of the foundations of the art of music'' (1935, republished 1957 but may not be in print) was a statement of his artistic credo and reaction to some of the trends of the time. He believed strongly that there were immutable laws to music, whose essence was in song. The English translation of The Muse and the Fashion by Alfed Swan is exceedingly difficult to find. Even major university libraries rarely have it; the original Russian version is easier to come by. PRINT SOURCES Barrie Martyn's ''Nicolas Medtner: His Life and Music'' (ISBN 0859679594) is a scholarly account of the composer's entire life. It provides the biographical context of every composition along with solid, in some cases quite detailed, musical analysis or commentary. Interesting extracts from letters, contemporary sources, and compositions are interspersed throughout the narrative. Every detail is attributed to sources listed at the end of each chapter. There are excellent indices of persons and Medtner's works at the end, as well as several pages of photographs. After Medtner's death, his friends and family put together ''Medtner: A Memorial Volume'', also titled ''Nicolas Medtner (1879-1951): A Tribute to his Art and Personality''. It contains photographs and essays from his widow, friends, critics, musicians, composers, and admirers. A few of the contributors were: Alfred Swan , translator of Medtner's The Muse And The Fashion into English, Ivan Ilyin , Ernest Newman , Kaikhosru Shapurji Sorabji , Marcel Dupré , Canadian pianist and close friend of the composer Alfred Laliberté , opera singer Margaret Ritchie , and Medtner himself via extracts from Muse and the Fashion. The editor of the volume was Richard Holt. . It also contains photographs of Medtner. In 2003, David J. Skvorak wrote a doctoral thesis ''Thematic unity in Nicolas Medtner's works for piano : Skazki, sonatas, and piano quintet'' at the University of Cincinnati, published by UMI. It contains theoretical analyses of several of Medtner's works. In 2004, Natalia Konsistorum published, in Russian, ''Nikolai Karlovich Medtner: Portrait of a Composer'' (ISBN 3894875003). The book is particularly notable for the two CDs it contains with original recordings of a variety of Medtner's works. EXTERNAL LINKS |
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