N. Medtner (H. Memhep), Sonata-Elegia, Op. 11, No. 2 in Dm

[rachfan]

Nikolai Medtner (1880-1951), a Russian Late Romantic composer, composed his “Sonata-Elegia”, Op. 11, No. 2 between 1904-1908 as part of a triad of sonatas which can be played as a set or individually. The “Sonata-Elegia” is written in one movement in sonata-allegro form.  

The preceding Sonata, Op. 11, No. 1 carries a dedication to the memory of Andrei Bratenshi, which applies to the entire triad.  Medtner’s wife was Anna Bratenskaya, thus Andrei Bratenshi was a close family member and friend.

When we think of an elegy--Rachmaninoff's "Elegy" from Op. 3, for example—it usually creates a mournful or even funereal mood.  However, Medtner was an inveterate storyteller.  Once, upon hearing Medtner play one of his “Fairy Tales”, Rachmaninoff exclaimed, “Nobody can tell a story like Nikolai!” As I was preparing this sonata, I came to the realization that the piece is not so much an elegy as it is a musical eulogy giving us glimpses into the life and times of Bratenshi.  And what a remarkable eulogy it is!  It contains moments of somberness, romance, pensiveness, nostalgia, anguish, and even jubilation.                  

Do pay attention to the first six melodic notes spread over the first two measures of the introduction, as they form the “germ motif” for the sonata.

I hope you’ll enjoy hearing it.

P.S. A second recording with enhanced sound was added 11/25/11.

Comments welcome.

Piano: Baldwin Model L Artist Grand (6’3”)
Recorder: Korg MR-1000
Microphones: Earthworks TC20 matched pair of small diaphragm omni-directional condenser mics in A-B configuration    

  

[furtwaengler]

My hats off to you, David! Difficult composer in many ways! And difficult piece indeed! How do you effect a balance between the running narrative, the melody which weaves its way throughout the piece, and the many conversations of the thick, complex counterpoint? On top of that you need a transparent sound that's wrapped in the sustained warmth of the vertical harmony, and an emphasis on many character shifts through the course of a singularly focused structure...Medtner's demands are close to impossible! But if you can just catch that imagination...

You obviously know the piece and have taken pains to the detail of the story and the picture of Bratenshi - your scholarship on the music you choose to play is so welcome and appreciated; you're a wellspring of knowledge. There is something very real about this recording, as in all your other recordings. You've chosen something dramatically far removed from your last projects, the Catoire recordings. And you rise to the occasion, giving us a very personal perspective of this emotional eulogy. That's an interesting perspective...a eulogy. I like it. There is the tragedy of a death, masterly mingled with a very heroic description of a life - Medtner was a master of such a balance...such high highs and low lows.

Well your recording has evened the plain a little bit...it's not too excited by the highs, nor is it too depressed by the lows, but it maintains a very lyrical, balanced melancholy color which is very appropriate, and fits the idea of an elegy. It's a truly sung, truly wonderful recording of the Sonata-Elegia, which I think will be kept by my side for a long, long time. You are a master, David, and you never fail to impress and amaze me! This is an astonishing achievement. My hat's off to you!

[rachfan]

Hi Dave,

Thanks so much for all your kind comments.  You know that when one posts a piece like this, there is no way to know whether it'll be a success or a bomb.  So I appreciate your validating comments! Coming from a fine musician and artist, it means a lot to me.

Medtner certainly does have a rich, complex, and difficult idiom.  The harmonies within chords at times seem as prominent as the horizontal melodic line that those chords often form.  At times it brought Debussy to mind.  It used to anger him when pianists chose to "voice" or etch the line.  Debussy insisted that he preferred that all of his colors be heard without emphasizing the melody per se.  I sense there is a some of that same intention in Medtner's composing.

When it comes to repertoire, I think I was born to play mostly Russian and French music.  I never considered myself to be nearly as good in the Germanic piano literature, so generally avoid it.  While Medtner was Russian born, he shares a trait with Catoire.  Catoire was Russian born too, but French influences were in his blood.  Likewise, Medtner was not devoid of his German heritage and influences, especially given his high esteem for Beethoven.  There were many times in playing this sonata that I felt I was back with the music of Beethoven and Schumann again.  I quickly discovered that Medtner never met double-note passages that he didn't love at first sight.  But like we always say, a pianist can never get enough double-notes, and Medtner gladly obliges.  

"Catching the imagination", as you so rightly put it, was always my goal at any moment in this rhapsodic music. The moods and emotions shift quite often, as Medtner shows us more facets of Bratenshi, and I tried to grasp the essence of each as the piece unfolded.  In "singing" this sonata, I took some risks... which resulted in some slips, unfortunately.  I tried to blend them in as well as I could.  As you know, I don't edit my recordings.  The irony is that some of those errors I had not made previously.  And I don't think it's a simple matter of practicing.  There is a spirituality in the moment of performance that urges taking risks, which lie outside the mold of practicing.  And the music is so complex that when I would fix one problem, another would crop up later in the music, again from taking a risk. That could have gone on forever, so I decided, for better or worse, to record the piece and just do my best.  I'm the first to admit that I never had a big technique, so I simply try to capitalize on the strengths I do have.  

I should mention that this piece calls for endurance as well.  By the time I'm into the coda, my hands feel worn out from pushing through Medtner's thick textures.  Germanic music is often rambunctious and takes energy to put it over to the listener.  In all honesty, I'm probably better at lyrical music of other composers.  Nonetheless, this was a wonderful experience for me, and I'm glad I did this sonata.

Thanks, again for the compliments.  

David

      

[lontano]

Thank you rachfan for all the hard work preparing this sonata! I really appreciate the "back-story" as I don't know very much about Medtner, and only became familiar with his music last year (and after buying virtually all his piano music on CDs, I've been devouring it ever since!). I now have the greatest respect for Medtner's music, and every one of his sonatas is a unique gem (and the "Nightwind" is the "Hope Diamond" of the set).

I really appreciate your performance and look forward to more.

Lontano

[rachfan]

Hi lontano,

Thanks so much for listening.  Yes, definitely hard work in preparing this piece, but well worth it.  I always endeavor to include some "program notes" with my posts of recordings.  A bit of background is always welcome, I think, especially for music which is largely unfamiliar to listeners.

Thanks again!

David

[goldentone]

Hi Rachfan,

I thoroughly enjoyed this.  After three listenings, I'm still getting acquainted with this piece, and I like it very much.  The Sonata-Elegia does present different and contrasting feelings and moods that you can expect one might experience while thinking back upon their departed loved one or friend.  I like how it ends crowningly on a high note.  This is a terrific performance, and where Medtner can be dry, you've infused it with passion, and, opulence.

        

[scottmcc]

bravo rachfan!  another in your series of very fine recordings of relatively obscure music.  I keep intending to familiarize myself more with medtner, and i keep not doing it, and then i hear a piece like this and wonder why i didn't.  it's an impressive piece, and i agree with what others have said about your handling of it.  keep up the good work!

[rachfan]

Hi goldentone,

Yes, Medtner takes us on quite a journey of recollections in this piece.  And yes, it does take awhile to absorb it all.  Thanks for your comment on passion and opulence in the playing--exactly my intentions throughout.  And thanks too for listening three times!  

[rachfan]

Hi scottmcc,

Thanks for stopping by and listening.  I'm glad you enjoyed this piece.  I agree, that sometimes, Medtner's pieces are a bit dry and even academic, so I searched for a more lush example of his compositions and presented it here.  To be honest, there are several fluffs in my playing, and I'm doing some intensive practicing on those spots, and hopefully will be back with a better rendition of the piece soon.  It's very difficult to play.  Thanks again for your nice comments.

[rob47]

rachfan really great playing as always

i really enjoyed the build up through the coda to the last chords and thought it was very effective. i think the music of medtner is so heavily textured that it is difficult to discern at first listen what is going on, but in your playing i always here direction and coherent phrasing in melodies (i've said this about other recordings you made i think)

one thing which struck me as not as convincing was in the return of that opening melody. i don't know the piece at all, or much of medtner's music anyway, but i thought your use of rubato gave the impression of one not being entirely sure what the melody was saying.  it's a really sad and beautiful tune and once you arrived at the melody in octaves in g minor with a descending motif in between it (i think), it was over and i was relieved maybe.  it was just that section of 4 bars from the opening with triplet chords underneath, where i thought it could have less rubato, and push towards that grander version of the melody on a slightly more direct path.

anyway i thought you would be interested to know that that is how that section struck me, but i also know you have your own reasons, which are of much more importance than mine, for the decisions you make.  i hope that rambling sentence makes sense.

i felt it was really terrific playing and overall conception; congratulations rachfan!

rob

[rachfan]

Hi rob,

Thanks for listening and your kind comments.  I hope to have a more polished rendition up in the near future.  

Yes, those heavy textures!  By the time I'm into the coda my hands feel worn out from pushing through all that resistance.  

I was interested to hear your viewpoint on the initial part of the reprise of the waltz theme.  You're very perceptive!  Yes, I agonized several times over that rubato.  I was aiming for a  coaxing to overcome a tentative hesitancy as the fellow guided the lady onto the dance floor, and once there, having the romantic theme bloom into a ravishing waltz with an edge of salaciousness to it.  For me, that rubato passage was definitely a larger liberty than customary, which is undoubtedly why I too was a bit uncomfortable with it.  I guess I should make it more straightforward.  I value your thoughts on that.  Thanks!

David

[rob47]

rachfan

wow, listening again i really really liked the rubato, which i previously stated sounded unsure, and thought it was beautifully and effectively done!  so please take my comment from before for what it was: a first time listening and reaction.

either way you decide to play it, i look forward to hearing your next recording of this piece in the future, thanks

rob

[rachfan]

Hi rob,

It's funny you say that.  Last night I listened to the recording, having not heard it for awhile, and as that reprise was about to come up I listened very carefully... and really loved it!  It starts with a tentative feeling, then there's a bit of romantic surge in the rubato, and in the next two measures it comes into its own and up to tempo in time for the more robust playing of the waltz theme.  Overall, I do believe it's a nice effect.  (If only I could play some of the other parts as well!)  Of course it would be easy to play that passage in a more linear way, but I really liked it a lot.  So I'lll probably stick with it.  Hopefully, I can do another recording soon.  Thanks for listening to it again and revising your thoughts on that!

David

[ted]

The reason I have not posted a comment on this until now is because I do not  yet understand the music itself, despite listening to it several times over the last week. The quality of your playing is, as always, unquestionable and the thread cannot be allowed to sink off the first page of the Audition Room at this stage.

I had never heard any Medtner before, but it appears there is a struggle going on between architectural form and romantic intention of a strongly despairing nature, or at least that is my initial feeling; I might be quite wrong, of course. Reading about him on Wikipedia, it seems he was regarded very highly by many major figures of the twentieth century so I am going to keep listening until something else clicks. Obviously, his model of the sonata lies much closer to that of the classicists than to say, Frank Bridge's or Charles Ives', where the title is more or less an arbitrary label. There is a lot of interrelation of parts and self-reference going on here, and the fact that someone like me, who long ago flew off any structural handles, can hear these relationships, is a real compliment to your playing, David.

[rachfan]

Hi Ted,

Nice to hear from you!  I appreciate your "saving" the Medtner sonata from sliding off the page quite yet.  

Thanks too for your kind compliments on my playing, although I believe I can do better.  My tallest challenge with this piece was trying to attain my own standards of performance. There are times in this music where the textures become very thick, and it's very hard on the hands to push through it all.  

I'm not at all surprised by your reaction to Medtner. Some of his piano repertoire is abstruse and not very accessible at first. It's impossible to understand him upon first hearing.  It takes several hearings as you found out.  He was Russian born, but of German heritage, and he loved Beethoven's music most of all. Personally I find much of his music to be very cerebral. Often times he's not exactly generous with a melody, although some of the harmonies are definitely adventurous.  Most of his music is difficult to play, which probably scares away many pianists--which is why he's music is not often heard.  Many of the sonatas leave me cold, frankly, and I cannot say that I enjoy his better known pieces such as the "Sonata Tragica" or the "Sonata Remeniscenza".  Not my cup of tea at all.  So I had to really scout around to find this "Sonata-Elegia" presented here as it does have a beautiful waltz theme.

You're quite right that there are changing moods with strong despair at times.  My sense is that Andrei Bratenshi, whom he eulogizes here, might have been his father-in-law or maybe a brother-in-law or cousin of his wife, but clearly he was also a close friend for Medtner to have written this music and to have dedicated it to Andrei's memory.  

And yes, unquestionably Medtner's idiom is unlike his contemporary colleague-composers in Russia, including Scriabin and Rachmaninoff, never mind other late romantics like Bridge, Bowen, Ireland, Bax, Faure, etc..  To his credit, Medtner totally ignored the modernistic trends of the time, believing that there were still unlimited and untapped possibilities in late romanticism framed in classicism; and so he doggedly did his "own thing" until his death.

I certainly admit outright that I met my match (or more) with this composer.  I did not feel an affinity toward him as I did with the music of Catoire and Bortkiewicz.  So I felt myself persisting, trying to overcome difficulties to express Medtner's ideas.  In the end I felt that we more or less battled to a truce. I'm open-minded about perhaps undertaking another piece or two of Medtner's (provided they have great intrinsic beauty in them).

At the moment I'm trying to smooth out a few things and achieve more accuracy in this "Sonata-Elegia", and hope to have a replacement recording on the way fairly soon.  But every time I practice the piece, I feel he and I are struggling with one another again.  I'll be terribly glad to move on once I get a better recording.

Thanks again for listening (more than once!) and giving your impressions and feedback, Ted.  I really appreciate it!

David

 

[scottmcc]

David, your comments on the technical and cognitive struggles of this piece are very interesting and insightful.  I certainly heard some of this tension as you were playing, but part of me feels that a certain degree of palpable tension is required in a piece like this, much as you would never play Beethoven's Tempest dolce.  It is an elegy after all!

I feel that you are definitely on to something with certain composers "speaking" to you or that you relate to certain composers' music better than others.  It constantly amazes me that there are some composers whose music I can pick up and just play, even "hard" pieces, and they just come naturally, but with some composers, even their "easy" repertoire just doesn't work.  But I'm glad you've fought this and presented the Medtner, and in my opinion your struggle was worth it.

Any ideas what your next project will be?

[rachfan]

Hi scott,

Thanks for those additional comments.  They're validating, and I really appreciate that!

Hmmm... the next piece. I'm not quite sure yet, but it'll be late romantic for sure.  Maybe Liapunoff, Stanchinsky, Beach, Bax, Dutra.  Whatever it is though, it can't be 10 or so pages like the Medtner.  The problem is that I have very limited practice time, such that a shorter piece is more manageable for me within that unfortunate constraint.

David

[ramseytheii]

Medtner is one of my favorite composers to listen to with a score in front of me.  I get much more out of it.  I want to comment on this performance, but I only own the second series of Medtner sonatas, which doesn't contain op.11.  I ordered it; once I get it, I'll comment.  In the meantime, here is your noble effort pushed back to the top.

Walter Ramsey

[rachfan]

Hi Walter,

Thanks for putting some new life into my Medtner sonata!

I look forward to your comments.  As I mentioned, there are a few errors in there (I know where each skeleton is buried ), as it's a long and difficult piece to play, and I have only very limited practice time.  But as everyone here knows, I refuse to edit my recordings, although that would certainly be the easy way out.  I believe there is no perfection in the human condition, thus I prefer to play with freedom, taking some risks along the way, and giving the listener an authentic rather than an edited recording--including the fluffs.  The feedback I've received over the years tells me that listeners prefer that too, finding it a more exciting listening experience overall.

David

[emill]

Hi David ....

Excellently played .... and may I add ....  mouthwatering quality of a recording!!

[rachfan]

Hi emill,

Nice to hear from you again.  And thanks for the very nice compliment!  I'm glad you liked the recorded sound as well.  Me too! I'm very happy with my recording equipment.  For the purpose of making home recordings, I think I made really good choices.  The sound is not professional studio quality, of course, but nor is it intended to be.  The sound is completely neutral and natural, so I never artificially add reverb, for example, as I don't think it needs it.  I'll definitely stick with this recording set-up.  I'm very satisfied with the results.

Again, thanks, emill, for listening and commenting. 

David 

[seamonkey]

Rachfan,

Very impressive playing!  Your piano has impressive base sound, the treble sounds out of tune though.  How far away your mics were from your piano?

[rachfan]

Hi seamonkey,

Thanks for that compliment!  Yes, I admit the treble was a bit out of tune, having last been tuned in September.  I live in Maine which offers a very tough and challenging climate for pianos. A few days ago we hit 61, but last night, for example, it dropped to 20.  Wide humidity swings are equally bad here.  This is not to mention that during practicing, Medtner bashes a piano nearly as well as Scriabin!  I won't be submitting more recordings until late December when the piano will be tuned again.

When I bought my Earthworks TC20 matched-pair mics, I did a lot of experimenting with mic positioning, as it greatly depends on the size and acoustics of the particular room.  Based on that, I position the mics 8 feet in front of the curve of the piano.  (This Baldwin L is very powerful parlor grand, larger than a medium grand.)  The separation between the parallel stereo mics mounted on mic stands (raised about 4 and a half feet) is 12 inches. The mics are angled upward, pointing at the edge of the fully raised lid.  The treble mic sight line is about a foot behind the dampers while the bass mic sight line cuts across the middle of the bass strings.  This A-B configuration allows for a finished and blended sound for classical piano.

Thanks for listening!

[seamonkey]

Thanks for your answer Rachfan!  I look forward to hearing your new release soon!

[rachfan]

My pleasure. 

[scottmcc]

I'm resurrecting this thread as I recently finally got around to listening to more medtner--I bought the Hamelin complete sonatas set.  I'm loving it, and it makes me sad that I didn't invest the time to learn more about medtner earlier.  Anyway, David, thanks again for presenting this lovely piece and for providing at least some of the impetus for me to discover this wonderful composer.

[rachfan]

Hi scott,

I'm flattered that I was the one giving you the nudge to look more into Medtner's music.  Learning this "Sonata-Elegia" on my own was quite a challenge and learning experience.  This was actually the first Medtner piece I ever played!  I don't have the Hamelin CD you mention, but I'd have to bet it's great.  There's virtually nothing that Marc Hamelin cannot play exceptionally well.

At the moment I'm practicing some short pieces by Bortkiewicz and Dutra, but I'm sure that at some point Medtner and I will meet again.

Thanks!

[emill]

Hi David !

First time I heard the piece (and not surprisingly ).... very well played and the excellent recording makes the experience much more pleasant than it is already.  The profile/ID of the piece adds a lot to my education.... bravo!!!

edit:  sorry I already posted a comment earlier... one of my senior moments!

[rachfan]

Hi emill,

I'll gladly take that senior moment!  We all listen to so much music here, it sometimes becomes difficult to keep it all in mind.  Thanks again for the compliment!  I do like to add some background information about the composer and composition if I can, as it helps to set the stage a bit.

[omar_roy]

Excellent work, especially with your pedaling.  Things stayed clear throughout with no more "wetness" than was required.

You took some pretty bold risks there, and I must say that they worked quite well!  I'd be interested to hear you re-record it again in 5 or 6 years and see how your interpretation has changed, especially with a piece as fraught with emotion as this one.

[rachfan]

Hi omar,

Thanks for listening and your kind comments.  I appreciate it!  Believe it or not, this sonata is the first Medtner piece I ever played.  I had been searching for the "right" piece for two or three years.  Much of Medtner's piano music strikes me as being cerebral, austere, and abstruse and many of his pieces are very difficult.  At my age I've specialized in the Late Romantic period. And unless a piece by any composer exudes exceptional beauty, I won't learn and play it.  For me, this early opus of Medtner fits the bill nicely.  Yes, those risks... I was confident I could put the piece over to the listener, so at those places I "willed it" as Josef Hofmann used to say, cast my luck to the Fates, and it all worked out OK.

If I were to take up the piece again in a few years, I'd probably try to imbue it with a greater romantic surge than was the case in this recording.