After decades of neglect, it seems that Nikolai Medtner's music is
finally beginning to receive some of the attention it deserves.
Interestingly it has been British labels Chandos, CRD, ASV and
Hyperion that have led the pack in this resurgence. Not to be
outdone, Naxos has recorded some of Medtner's piano music, including
his three concertos, and now with this disc launches what should
be a two disc series of Medtner's complete works for violin
and piano.
The disc begins at the end, as it were, with a performance of Medtner's
third violin sonata, his final work for violin and piano. Given
the soubriquet Epica, it is almost symphonic in scale,
comprising four substantial movements. While the music is never
lachrymose, it is pervaded by an affecting sadness, the key
to which is found in the dedication of the sonata: to the memory
of Medtner's brother Emil. This is a significant and tightly
structured work which impresses with its unencumbered beauty
and formal coherence across a wide time-scale. The introduction
to the first movement - tracked separately on this disc - and
the andante con moto third movement are suffused with
bitter-sweet longing and mournful beauty, largely due to Medtner's
use of the Aeolian mode. The outer movements and the scherzo
sparkle with folk dance rhythms and even in the most hectic
passages the music never becomes strident. Throughout, Medtner
maintains interest with the fascinating harmonic turns that
characterise so much of his output and which won the admiration
of Rachmaninov.
The Three Nocturnes take us back to the beginnings of Medtner's oeuvre
for violin and piano. They were written while the composer was
travelling in Germany, between settings of texts by Goethe,
his favourite poet. As the liner notes reveal, he had intended
to set Goethe's Nachtgesang, but instead adapted his
sketches into these three songs without words, replacing the
voice with the violin. Each of the Nocturnes is composed in
a minor key in a simple rondo form. Although none of them lasts
for a full five minutes, Medtner still finds time and space
for plenty of brooding melancholy and an impassioned climax
at the death of each.
Heifetz's arrangement of the first piece from Medtner's Skazka for
solo piano is an ideal encore, both generally and for this recital
in particular. It is the concentrated essence of Medtner - ardently
romantic and harmonically intriguing.
Laurence Kayaleh and Paul Stewart play Medtner's music with affection
and commitment. Kayaleh is a violinist of character. Her tone
is sweet rather than rounded, and she knows how to shape and
colour a phrase. Her tuning is impeccable and she handles the
finger twisting runs, fiendish double stopping and leaps across
the violin's range with easy virtuosity. Canadian pianist Paul
Stewart plays his part with sensitivity and lightness of touch.
While his fingers easily handle Medtner's virtuosic piano writing,
he is not at all showy, preferring to caress Medtner's melodic
lines and romantic harmonies. His interplay with Kayaleh is
delightful. He also contributes the excellent liner notes which
skilfully entwine biographical details with comments on the
music.
Medtner has often been dismissed as a stuffy Russian Brahms born half
a century too late, or as Rachmaninov without the tunes. Both
assessments are unfair, and this disc will show you why with
greater eloquence than I can muster. It will also kindle within
you an affection for this neglected composer and a desire to
know him better. Bring on volume 2!
Tim Perry
