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Nikolai Medtner | |
|---|---|
| Николай Метнер | |
 Medtner, 1910 postcard | |
| Born | 5 January 1880 [O.S. 24 December 1879] Moscow, Russia |
| Died | 13 November 1951(1951-11-13) (aged 71) Golders Green, England |
| Works | List of compositions |
Nikolai Karlovich Medtner (Russian:Николай Карлович Метнер,romanized: Nikolay Karlovich Metner; 5 January 1880 [O.S. 24 December 1879] – 13 November 1951)[1] was a Russian composer and pianist. After a period of comparative obscurity in the 25 years immediately after his death, he is now becoming recognized as one of the most significant Russian composers for the piano.[citation needed]
A younger contemporary ofSergei Rachmaninoff andAlexander Scriabin, he wrote a substantial number of compositions, all of which include the piano. His works include 14piano sonatas, threeviolin sonatas, threepiano concerti, apiano quintet, two works for two pianos, many shorter piano pieces, a few shorter works for violin and piano, and 108 songs including two substantial works forvocalise. His 38Skazki (generally known as "Fairy Tales" in English but more correctly translated as "Tales") for piano solo contain some of his most original music.
Nikolai Medtner was born in Moscow on 24 December 1879,[2] according to theJulian calendar, or 5 January 1880 by theGregorian calendar. He was the son of Karl Petrovich Medtner (1846–1921) and Alexandra Karlovna Goedicke (1843–1918), and the fifth of their six children.[3] Both of them were of German origin.
Medtner took piano lessons from his mother until the age of ten. He also had lessons from his mother's brother, Fyodor Goedicke (the father of his more famous cousinAlexander Goedicke).[4][5] He entered theMoscow Conservatory in 1891,[6] and graduated nine years later in 1900, at the age of 20, receiving theAnton Rubinstein prize, having studied underPavel Pabst,Wassily Sapellnikoff,Vasily Safonov andSergei Taneyev among others. Despite his conservative musical tastes, Medtner's compositions and his pianism were highly regarded by his contemporaries.
With the support of Taneyev, Medtner rejected a career as a performer and turned to composition, partly inspired byLudwig van Beethoven's late piano sonatas and string quartets. His composing career began professionally in 1903, when he started publishing his music, and it began to be performed.[7] With the publication of his First Piano Sonata in F minor, he was noticed bySergei Rachmaninoff,[1] who would remain a friend of Medtner's throughout his life, as well as a supporter of his composing. Among his students in that period wasAlexander Vasilyevich Alexandrov.
During the years leading up to the1917 Russian Revolution, Medtner lived at home with his parents. During that time, he fell in love with Anna Mikhaylovna Bratenskaya (1877–1965), a respected violinist and the young wife of his older brother Emil. Later, when World War I broke out, Emil was interned in Germany where he had been studying. He generously gave Anna the freedom to marry his brother, and Medtner and Anna were married in 1918.[8]
Unlike Rachmaninoff, Medtner did not leave Russia until well after the Revolution. Rachmaninoff secured him a tour of the United States andCanada in 1924, and his recitals were often all-Medtner evenings, consisting of sonatas interspersed with songs and shorter pieces. He never adapted himself to the commercial aspects of touring and his concerts became infrequent. Esteemed in England, he and Anna settled in London in 1936, modestly teaching, playing and composing, to a strict daily routine.[9]
At the outbreak ofWorld War II, Medtner's income from German publishers disappeared and, during that hardship, ill-health became an increasing problem. His devoted pupil,Edna Iles, gave him shelter inWarwickshire, where he completed hisThird Piano Concerto, first performed in 1944. In 1949, a Medtner Society was founded in London byJayachamarajendra Wadiyar Bahadur, the Maharajah ofMysore (the princely state in Karnataka, southern India). In 1945, the Maharajah became an honoraryFellow ofTrinity College of Music, London, and was the first president of the LondonPhilharmonia Concert Society. He founded the Medtner Society to record all of Medtner's works. Medtner, already in declining health, recorded his three piano concertos and some sonatas, chamber music, numerous songs and shorter works, before his death in London in 1951. In one of those recordings he partneredBenno Moiseiwitsch in his two-piano work entitled "Russian Round-Dance", Op 58 No. 1. In another he accompaniedElisabeth Schwarzkopf in several of hislieder, includingThe Muse, aPushkin setting from 1913. In gratitude to his patron, Medtner dedicated his Third Piano Concerto to the Maharajah of Mysore.
Medtner died at his home atGolders Green, London on 13 November 1951,[10][11] and is buried alongside his brother Emil inHendon Cemetery.
Medtner composed 14 piano sonatas.
The First Piano Sonata in F minor, Op. 5, is a four-movement work written between 1901–3[12] (completed August 1903);[13] though it suggests the style ofScriabin or Rachmaninoff, it is nonetheless original. Medtner's craft gained subtlety and complexity in later years, but this work is already evidence of his mastery of musical structure. An openingAllegro, dramatic and imbued like much Russian music with a bell-like sonority, is separated by anIntermezzo from aLargo divoto that reaches a Maestoso climax before plunging into the headlongAllegro risoluto finale.
The Second, Third and Fourth piano sonatas are unrelated one-movement works. They were written during the period 1904–07 and published as the "Sonata-Triad", Op. 11. The first of the trio, in A♭, is an ecstatic work with attractive, lyrical themes, prefaced by a poem byGoethe.[14] The second, in D minor, is entitled "Sonate-Elegie". It opens slowly with one of Medtner's best-known themes and closes with an animated coda (Allegro molto doppio movimento, in D major) based on the second subject. The third, in C, returns to the lyricism of the first.
The Fifth and formerly the most popular of his sonatas is the G minor, Op. 22, written in 1909–1910. The piece alternates a slow introduction with a three-theme, propulsivesonata movement, one of whose themes was heard in the Introduction. The emotional center of this compact work (sixteen minutes in duration) is theInterludium: Andante lugubre: this comprises most of the development section and contains some of Medtner's loveliest harmonies. There are historic recordings by Moiseiwitch and Gilels.
The Sixth Sonata followed soon after, the first of two that comprise his Op. 25. It bears the title "Sonata-Skazka", usually translated as "Fairy Tale Sonata". This short work in C minor, written in 1910–11, is in three movements; the second and third are connected. The first movement is a compact sonata-form, the slow movement rondo-like (the similarity to one melody by Rachmaninoff is coincidental, as the latter was not written until some thirty years later). A minatory final march with variations ends with a Coda that revisits earlier material. This was the only Medtner sonata that Rachmaninoff performed.
Its companion in Op. 25 is entirely different. The Seventh Sonata in E minor,Night Wind, afterFyodor Tyutchev's 1832 poem "Of what do you howl, night wind...?" (Russian:О чем ты воешь, ветр ночной...?,romanized: O chem ty voesh', vetr nochnoy...?), an excerpt of which provides an epigraph, was completed in 1911 and dedicated to Sergei Rachmaninoff, who immediately recognised its greatness. It is a vast one-movement work, lasting almost 35 minutes, in two major parts: an Introduction andAllegro sonata-form, followed by a Fantasy capped by a shadowy but active Coda, the latter entirely and ingeniously based on material presented in the Introduction. Under the title "Sonata" Medtner added a note: "The whole piece is in an epic spirit" (Вся пьеса в эпическом духе).Geoffrey Tozer said: "it has the reputation of being a fearsomely difficult work of extraordinary length, exhausting to play and to hear, but of magnificent quality and marvelous invention."
The Eighth "Sonata-Ballade" in F♯, Op. 27, began as a one-movement work, and was expanded into its present form over the period 1912–14. It comprises a Ballade, Introduction and Finale. The tonality and some of the material make passing reference to Chopin'sBarcarolle. 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 settingThe Muse. Medtner himself recorded this work.[15]
The one-movement Ninth Sonata in A minor, Op. 30, was published without a title but was known as the "War Sonata" among Medtner's friends; a footnote "duringthe war 1914–1917" appeared in the 1959 Collected Edition.
The Tenth "Sonata-reminiscenza" in A minor, Op. 38, No. 1, commences a set of eight pieces entitled "Forgotten Melodies (First Cycle)". Two further cycles followed, published as Op. 39 and 40. Both this and the following sonata were completed in 1920, the year before Medtner emigrated. 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". This sonata is nowadays the most often performed.
The Eleventh, "Sonata Tragica" in C minor, Op. 39, No. 5, concludes "Forgotten Melodies (Second Cycle)". There is some repetition of themes in this set as well—the piece which precedes the Sonata, "Canzona Matinata", contains a theme which recurs in the Sonata, and according to Medtner's wishes both pieces are to be playedattacca—without pause. This is also a single movement sonata-allegro form, but Allegro, dramatic and ferocious, with three themes of which one (the reminiscence from "Canzona Matinata") does not return. A violent coda concludes. This sonata is well served by recordings, including one by Medtner in 1947.[16]
The Twelfth Sonata, entitled "Romantica" in B♭ minor, Op. 53, No. 1, was completed at the end of 1930, along with its twin. It was premièred in Glasgow in 1931. Returning to a four-movement form, it consists of aRomance (B♭ minor),Scherzo (E♭ minor),Meditazione (B minor), andFinale (B♭ minor). The ending quotes his Sonata-Skazka, Op. 25, No. 1.
The Thirteenth Sonata, the "Minacciosa"[7] ("menacing") in F minor, Op. 53, No. 2, is another one-movement work. It is highly chromatic, and contains a fugue. Medtner described it as "my most contemporary composition, for it reflects the threatening atmosphere of contemporary events".Marc-André Hamelin described it as "the most concentrated 15 minutes of music one could ever hope to play or listen to". It was dedicated to the Canadian pianist and pupil ofScriabin,Alfred La Liberté, one of Medtner's most loyal supporters.
The last of the sonatas, "Sonata-Idyll" in G major, Op. 56, was completed in 1937. It consists of two movements: a shortAllegretto cantabile Pastorale and asonata allegroAllegro moderato e cantabile (sempre al rigore di tempo).
Medtner composed three piano concertos:
Medtner's chamber music includes threeviolin sonatas and apiano quintet:
Medtner published over 100 songs for voice and piano, with words from texts byPushkin,Goethe,Mikhail Lermontov,Fyodor Tyutchev, andAfanasy Fet, among others.
| "I repeat what I said to you back in Russia: you are, in my opinion, the greatest composer of our time." |
| —Sergei Rachmaninoff (1921)[17] |
Edward Mitchell was an early champion of Medtner, and gave the first complete performance ofMedtner'sSonata-Triad in the UK at theAeolian Hall on 3 February 1922.[18]Geoffrey Tozer recorded almost all of Medtner's works for the piano including all the concertos and sonatas.Hamish Milne has recorded most of the solo piano works, whileGeoffrey Douglas Madge,Konstantin Scherbakov andYevgeny Sudbin have recorded the three piano concertos. Other pianists who championed Medtner's work and left behind recordings includeBenno Moiseiwitsch,Sviatoslav Richter,Edna Iles,Emil Gilels,Yevgeny Svetlanov andEarl Wild. In modern times, pianists noted for their advocacy includeEkaterina Derzhavina,Marc-André Hamelin,Malcolm Binns,Irina Mejoueva (ja),Nikolai Demidenko,Anna Zassimova,Boris Berezovsky,Paul Stewart,Dmitri Alexeev,Evgeny Kissin,Andrey Ponochevny,Konstantin Lifschitz,Daniil Trifonov,Gintaras Januševičius,Dina Parakhina,Alessandro Taverna andPaulius Andersson.
Far fewer singers have tackled the songs. Medtner himself recorded a selection with the sopranosOda Slobodskaya, Tatiana Makushina,Margaret Ritchie andElisabeth Schwarzkopf. In recent timesSusan Gritton and Ludmilla Andrew have recorded complete CDs with Geoffrey Tozer, as has Caroline Vitale with Peter Baur. The bass-baritoneVassily Savenko has recorded a considerable number of Medtner songs withBoris Berezovsky,Alexander Blok andVictor Yampolsky. A handful of other singers have included Medtner songs in compilations; particularly notable are historic recordings byZara Dolukhanova andIrina Arkhipova. However, many songs are not available on CD, and some await their first recording. A substantial two-CD set, presenting fifty-four Medtner songs, accompanied byIain Burnside, has appeared in 2018.
Medtner recorded piano rolls of some of his works forWelte-Mignon in 1923 andDuo-Art in 1925, before his later studio recordings for Capitol Records and other labels.
In 2017 the Ukrainian pianistDarya Dadykina and the Russian pianistVasily Gvozdetsky founded theInternational Nikolai Medtner Society in Berlin to popularize his work and to advance cultural exchange in and around Europe. In October/November 2018 the society organized the 1st International Nikolai Medtner Music Festival in Berlin, which brings together artists and musicologists to perform and discuss his work (see the festival programme[1]).
An asteroid called 9329 Nikolaimedtner is named after the composer.[19]
Medtner's one book,The Muse and the Fashion, being a defence of the foundations of the Art of Music[20] (1935, reprinted 1957 and 1978) 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. An English translation of the book was published in 1951 byAlfred Swan.[21]
Medtner also wrote a memoir titled "With S.V. Rachmaninoff" in 1933, in which he writes admiringly about his friend as a composer and as a pianist.
After Medtner's death, the Mysore Foundation sponsored the publication ofMedtner: A Memorial Volume, also titledNicolas 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'sThe Muse and the Fashion into English,Ivan Ilyin,Ernest Newman,Kaikhosru Shapurji Sorabji,Marcel Dupré, Russian music critic Leonid Sabeneev, Canadian pianist and close friend of the composerAlfred La Liberté, singersMargaret Ritchie, Tatania Makushina and Oda Slobodskaya, and Medtner himself via extracts from Muse and the Fashion. The editor of the volume was Richard Holt.
In 2004,Natalia Konsistorum published, in Russian,Nikolai Karlovich Medtner: Portrait of a Composer (ISBN 3-89487-500-3). The book is available in a German translation byChristoph Flamm and is notable for the two CDs it contains with original recordings of a variety of Medtner's works.
There have been numerous dissertations on Medtner's music. One of the most influential isDer russische Komponist Nikolaj Metner : Studien und Materialien byChristoph Flamm. Originally presented as the author's Ph.D thesis (Heidelberg, 1995), it was published by Kuhn (ISBN 3-928864-24-6, 1995, out of print). It includes letters, reviews and other documents in German, Russian, English and French, a bibliography and partial discography.Wendelin Bitzan's dissertation "The Sonata as an Ageless Principle" (Vienna, 2019, available inopen access) was written under guidance from Flamm and presents in-depth analyses of Medtner's sonatas and their historical and aesthetic contexts.
In 2003, David J. Skvorak wrote a doctoral thesisThematic 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.
Bart Berman composedVariations and Fugue based on the theme in Medtner'sTheme with Variations, Op. 55 in 2009.[22]The authorPhilip Pullman declared Medtner as his favourite composer during a short interview available on the BBC website in September 2011.[23]
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