Nicholas Medtner

[Wanderer]

.[asin]B00OMEJ8JE[/asin]

Here's my take on the latest Sudbin release.

First of all, Sudbin gives an inspired, searing performance of the Scriabin concerto. Distinctive, heartfelt phrasing and excellent rapport with the orchestra make this release almost as successful as the magisterial Demidenko (quite a feat in itself) and certainly deserves to be put alongside his at the top of recent recordings of the work.

And that brings us to the Medtner Third, a difficult work, introvert with aspirations to the sublime, and with an allegorical heart (Medtner's Ring one could say). Demidenko (and Ponti) are here major players, but the work still needs the breakthrough recording that will reveal its majesty to the world. For that, apart from a formidable pianist, it needs an orchestra and conductor as dedicated and imaginative as the pianist, with a clear vision of its architecture and tons of rehearsal time to sail through its sometimes peculiar rhythmic world and be able to present it as effortless and flowing as it should be.
Here we have Sudbin succeeding brilliantly to impart a sense of visionary intent to the proceedings and the orchestra is very good, as well. The first movement is like a huge prelude to the work (whose emotional heart is the third movement); it ebbs and flows in a series of cadenzas and false declarations like a primeval sea, until at last, after the tension has become unbearable, a theme is established (which we've already heard in parts and fragments during the opening pages, a typical Medtnerian device) and developed in an impassioned but strangely detached manner. The middle movement is a rhythmically unstable interludium that connects the first movement with the third, which is the true focal point, the heart of the work. The starting theme, menacing and Brahmsian, is devilishly difficult to be presented successfully by the orchestra and this is where many recordings fail. Ponti, taking it at a whirlwind speed, seems the more successful, but then the pianist needs to be able to cope (Ponti does) which is not the easiest thing. Litton is successful here, but he doesn't nail it (although he comes close to).

This is not a battling, piano-against-the-orchestra concerto, it's more in the Schumann tradition of collaborative forces. The piano is nary a moment silent; if it doesn't present some theme or idea, it embellishes what the orchestra states and adds to the narrative from start to finish. As a result, apart from its enchanting pianism and atmosphere, it needs to flow seamlessly, its rhythmic peculiarities integrated into an organic whole. This is where it shows, even with a formidable pianist, if orchestras don't well know it and conductors don't understand its narrative arc (and whether they are able to make sense of its effective, albeit rather monochrome orchestration). Fortunately, this is a performance that succeeds in most of these points. It's not a perfect rendition (we still await for that one), but it is very good, easily in the top three.  Sudbin is excellent and the Bergen orchestra holds its own very well under the baton of Litton; they prove sympathetic, if not always fiery, accompanists to a work that as its title "Ballade" suggests, is not a battle, but a narration of a battle, or even better-put, a spiritual battle (according to Medtner's own description, especially pertaining to the third movement, with the beautiful paean of a theme in its middle section). It may not sound very intriguing put that way, but as Homer and others have proved, listening to a masterful narration can be as exciting as being in the battlefield.

All in all, a splendid final installment of Sudbin's Medtner piano concerto cycle, with excellent fillers (Tchaikovsky 1, Rachmaninov 4, Scriabin). Highly recommeded.

[Florestan]

Excellent review, Tasos! Thanks for sharing.

[Wanderer]

Cross-posting from the like/don't like thread:

(I kind of wish Medtner had written a violin concerto, that would be something to hear)

That would've been something, indeed. He did intend to orchestrate the Violin Sonata No.3 for it to become a violin concerto, but never came around to it.

[Wanderer]

.[asin]B00Q72PT1U[/asin]

This has been a January release in Europe (Janyary 5, Medtner's birthday), but will be released in April in the US.

I've been listening to it quite a bit and impressions are very positive. Taverna (he and Maltempo should open a "pianists with unfortunate names" club) gives a typical, very good rendition of the Reminiscenza (which has seen a relative surge of good recordings as of late), a very potent rendition of the Sonata Romantica (his being in a whole different league from the mainly unimaginative and, in the last movement, rhythmically stodgy and awkward recent Osborne release) and a superb rendition of the Sonata minacciosa, which is the highlight of the disc. Warmly recommended.

[Wanderer]

.[asin]B00Q72PT1U[/asin]


Here's a short Guardian review.

"There was controversy in 2009 when Alessandro Taverna won bronze at the Leeds International Piano Competition – many people thought he should have been awarded the gold. Since then, he's gone from strength to strength, as amply proved by this Medtner disc, which features three of the composer's 14 sonatas – the Reminiscenza, the Romantica and the Minacciosa (effectively nos 10, 12 and 13). They're fine interpretations, and remind us that Medtner's restless music has its antecedents in Chopin's poetic detail and Liszt's expansive form, while at the same time inhabiting a disorienting harmonic territory that is uniquely its own. The Minacciosa could do with a bit more bite in the repetitions of the opening motto, but its climactic fugue is breathtaking. The Reminiscenza and Romantica, though, are both exemplary in their dynamic, emotional and architectural control. The brief, early Ein Idyll – essentially a sketch for the Reminiscenza – is the filler, and beautifully done."

[Wanderer]

Lucas Debargue gave a spell-binding rendition of Medtner's Sonata in F minor, op.5 in the second round of the still-running XV Tchaikovsky competition (followed by a superb Gaspard de la nuit). This (following a well-received Beethoven op.10/3 in the first round) as well as a superb Mozart Concerto No.24 gave him a ticket to the finals. I can't recall another time when Medtner was so prominent in a contestant's program like this. Enjoy while the link is active.

http://tch15.medici.tv/en/performance/round-round-2-piano-2015-06-21-2130000300-great-ha

[Wanderer]

Medtner

1    Prologue from Stimmungsbilder, Op.1 No.1       
2    Skazka, Op.51 No.3       
3    Sonata-Reminiscenza, Op.38 No.1       
4    Skazka, Op.20 No.1       
5    Skazka, Op.26 No.1       
6    Canzona matinata, Op.39 No.4       
7    Sonata tragica, Op.39 No.5       

Rachmaninov

8-13    Six Preludes (incl. Op.23 No.5 & Op.32 No.12)


This new Sudbin SACD will be released in January (seems it's already available in Norway and from the pianist's own site). The programming is excellent: two sonatas (Sudbin even follows Medtner's instructions that the Sonata tragica should always be preceded by the Canzona matinata), three Skazki (Märchen in German, Contes in French, Tales in English) and the exquisite op.1/1 (a stunning piece of polyrhythmic magic) that started it all. The powerful op.20/1 Skazka is deservedly one of the better known ones, the tranquil op.26/1 is a particular personal favourite and the lithe op.51/3 is the only Medtner work that Horowitz (an avowed Medtner enthusiast) ever recorded.

[lescamil]

Shame that Sudbin left off Op 20 No 2 (one of my personal favorites to perform and listen to, along with the famous first). Otherwise, looks like a great program! I can't wait to hear how he does the Prologue and Sonata Tragica, two other favorites of mine. Tozer is still the benchmark for these pieces to me, but we'll see how Sudbin fares. His concerto recordings are decent.

[Wanderer]

I really hope this is the beginning of a complete sonata cycle. If they do that and keep the same programming layout (one or two sonatas, interspersed with Skazki and/or other solo piano works, along with selected Rachmaninov - and/or Scriabin -  fillers) it's going to be a particularly inspired series (with the non-Medtner works providing juxtaposition, as well as maybe enough incentive to lure in the uninitiates).

I, too, love the Campanella. Maybe, hopefully, in vol.2? Quite a number of years ago, I remember Berezovsky played it as an encore here in Athens (damn if I remember what else he played) and it made a huge impression; everyone afterwards was asking what piece it was. Those sitting near me of course got their answer quickly.

[Wanderer]

looks like a great program! I can't wait to hear how he does the Prologue and Sonata Tragica, two other favorites of mine.

It's become available on jpc.de - with samples (which sound very promising) - and on various amazon sites (search for ASIN B0172MIDLQ). My copy ships today.

[lescamil]

Just got the new Sudbin Medtner/Rachmaninoff album. I must say, Sudbin sounds far less restrained than in his concerto recordings, which I found a bit too taut for my tastes. His Medtner on here is mixed in quality, with some odd decisions in the Op. 20 No. 1 especially. The Sonata Reminiscenza and Sonata Tragica receive very strong recordings, though, the latter having a bit more details brought out than I've heard while still sounding rather impassioned. The Prologue, a piece rather close to me, was very sensitively played. His playing on the whole is still something I am wary of, but this Medtner he played kept me listening.

[Wanderer]

Just got the new Sudbin Medtner/Rachmaninoff album. I must say, Sudbin sounds far less restrained than in his concerto recordings, which I found a bit too taut for my tastes. His Medtner on here is mixed in quality, with some odd decisions in the Op. 20 No. 1 especially. The Sonata Reminiscenza and Sonata Tragica receive very strong recordings, though, the latter having a bit more details brought out than I've heard while still sounding rather impassioned. The Prologue, a piece rather close to me, was very sensitively played. His playing on the whole is still something I am wary of, but this Medtner he played kept me listening.

I returned home from Christmas/New Year's holidays and found it on my doorstep. Had a first listen in the evening and first impressions are very positive. I didn't find anything wrong with his take of the op.20/1 Skazka, in fact I thought it was impressively well done. There are personal touches in all works, which I also quite enjoyed. The difficult rhythms in Sonata tragica's coda are brought out very clearly and relentlessly. The op.1/1 Stimmungsbild (a great favourite of mine, as well) is indeed very nicely and affectionately voiced, the singing line brought out amid the polyrhythms with effortless abandon and the mood itself being appropriately lofty and impassioned.

I understand what you are saying about the concerti; these versions, while successful in general, seem to me as well a little hesitant and held-back (the First works best of all), for which I think  the orchestras and conductors are also at fault. As synergy is key in these works, I felt (especially in the rhapsodic Third) that they would've benefited from more rehearsals and/or more performances, to give the ever elusive panoptic view and attain more spontaneity and fluidity. For this, we may need orchestras of a higher calibre. Incidentally, Hamelin is performing the Second Concerto with LPO/Jurowski in Eastbourne, England this March; now, a recording of this would be most welcome.

[Wanderer]

Re-listening to Paul Stewart's first issue of the Medtner piano sonatas on Grand Piano (a 2012 release, time for vol.2!). Beautiful tone and phrasing. The interpretations are stylish and elegant (the word patrician comes to mind); one senses more of the Milne than the Hamelin vibe. The early Sonatina from 1898 comes off particularly fine. The autumnal disposition also suits the Sonata reminiscenza and the op.5 Sonata's Largo divoto like a glove.

[asin]B008N66K3O[/asin]

Pianist Paul Stewart and the Road to Medtner, by Colin Clarke

[Dax]

Incidentally, Hamelin is performing the Second Concerto with LPO/Jurowski in Eastbourne, England this March; now, a recording of this would be most welcome.

I booked tickets for that today. There is a YouTube performance with Hamelin - his rhythmic feel is a bit strange at times e.g., in the opening.

[lescamil]

I love Hamelin, but I am honestly not a huge fan of how he plays that concerto. To be honest, I've still not heard a recording that thrills me (and I've heard all of the commercially available ones, plus a few more). The Tozer comes close, but there are some things in there I would personally do differently. I suppose your standards get higher when you spend so much time with a composer's music.

[Wanderer]

Medtner Festival 2016

[Florestan]

Medtner Festival 2016

Your PM box is full, my friend! Could you save a little space for me? 

[Wanderer]

Your PM box is full, my friend! Could you save a little space for me? 

Done deal. 

I booked tickets for that today.

I almost booked tickets myself, but the dates weren't convenient. Your report will be greatly appreciated.

[Wanderer]

Oleg Kagan and Sviatoslav Richter performing Medtner's Violin Sonata No.1 (Moscow, 1981)


http://www.youtube.com/v/c69RkfsdguE

[NikF]

Oleg Kagan and Sviatoslav Richter performing Medtner's Violin Sonata No.1 (Moscow, 1981)


http://www.youtube.com/v/c69RkfsdguE

That's the first time I've heard this piece and I thought it was great. Thanks for posting it.