#Medtner

[chuanming-ong]

Some more music-related spot illustrations from this year and last, for VPRO Gids.

[mikrokosmos]

been in a depressed mood lately so have been forcefully injecting dopamine into my ears with very dense and optimistic / symphonic piano music from the turn of the century

what concert showpieces would you include?

[opera-ghosts]

OTD in Music History: Russian virtuoso pianist and composer Nikolai Medtner (1879 - 1951) is born in Moscow. A slightly younger contemporary of Alexander Scriabin (1871 - 1915) and Sergei Rachmaninoff (1873 - 1943), like his more famous colleagues Medtner left behind a substantial body of original work – almost all of which is similarly focused on the piano. His output includes 14 piano sonatas, three violin sonatas, three piano concerti, two works for duo pianos, a piano quintet, many shorter piano pieces, and over 100 songs. He is perhaps best known today for his "Skazki" ("Fairy Tales") for piano solo, which is a set of 38 often-virtuosic character pieces. Unlike his friend Rachmaninoff, however, Medtner did not leave Russia until after the 1917 Russian Revolution. (Scriabin had died in 1915.) When Medtner finally made the move, Rachmaninoff secured for him a concert tour of the United States and Canada in 1924; these recitals were all-Medtner evenings consisting of sonatas interspersed with songs and shorter pieces. Despite the critical and commercial success of that tour, however, Medtner disliked concertizing. Highly esteemed in England, he instead settled in London in 1936, started going by "Nicolas," and spent the rest of his life quietly teaching, practicing the piano, and composing. PICTURED: A photo showing the elderly Medtner staring rather proudly into the camera, which he signed and dated in January 1940.

[lesser-known-composers]

Nicolai Medtner (1880-1951) - Forgotten Melodies, Cycle I, Op. 38: No. 6, Canzona serenata ·

Ekaterina Derzhavina, piano

[cactustaffy]

Twitter requests&doodles

[sunset-supergirl]

Happy birthday Nikolai Medtner

[dove-da-birb]

My Vinyl Collection!

*because idk I want to list things; I'll try to include the year it was published as well

Warning LONG LIST that I nearly cried writing because WHY are classical songs SO DAMN LONG?!

The Philadelphia Orchestra with Eugene Ormandy *unknown date

Afternoon of a Faun (Debussy)

Daphnis and Chloe, No. 2 (Ravel)

La Mer (Debussy)

William the Overture [Philadelphia Orchestra with Eugene Ormandy, again] *unknown date

Offenback: Orpheus in the Underworld

Smetana: The Bartered Bride

Thomas: Mignon

Suppe: The Beautiful Galatea

Highlights from the Sleeping Beauty Ballet by Tchaikovsky [Rias Symphony Orchestra, Herbert Charlier] *1957

... it doesn't list the songs ...

Tchaikovsky's Greatest Ballets: Suites from The Nutcracker/Swan Lake [Arthur Fielder/Boston Pops] *unknown date

The Nutcracker

Overture

March

Spanish Dance; Arabian Dance; Chinese Dance; Trepak; Dance of the Mirlitons

Waltz of the Flowers

Dance of the Sugar-Plum Fairy; Coda

Final Waltz

Swan Lake

Waltz

Dance of the Little Swans

Pas de deux

Hungarian Dance

Spanish Dance

Neapolitan Dance

Final Scene

James Last in Concert *unknown date

Side 1

Theme from "Elvira Madigan", Andante from the concert for piano and orchestra no. 21 in C. major, K. 467. Wolfgang Amadeus Mozart

Presto from the symphony no. 7 in A major, Op. 92. Ludwig van Beethoven

Romance for violin and orchestra in F major, Op. 50. Ludwig van Beethoven

Impromptu no. 2 in A flat major, Op. 142. Franz Schubert

Air from the suite no. 3 in D major, BWV 1068. Johann Sebastian Bach

Impromptu no. 3 in G flat major, Op. 90. Franz Schubert

Side 2

Adiago from the sonata "Pathetique" no. 8 in C minor, Op. 13. Ludwig van Beethoven

Slavonic Dance no. 10. Antonín Dvořák

Andante from the violin concerto in E minor, Op. 64 Felix Mendelssohn

Prelude 1 in C major. Johann Sebastian Bach

Andante from the symphony no. 5 in C minor, Op. 67. Ludwig van Beethoven

Ballet Music from "Prince Igor". Alexander Porfiryevich Borodin

April in Paris [The Melachrino Strings and Orchestra with Trio Musette de Paris] *1963

April in Paris

The Song from Moulin Rouge

Autumn Leaves

C'est si bon

J'attendrai

Madelon

La Seine

The Poor People of Paris

Clopin Clopant

Mon manege a moi; I love Paris

In a French Nursery Garden;

Sur le pont D'Avignon; Au claire de la lune; Frere Jacques

La Mer (Beyond the Sea)

The Piano Classics [unknown artists and date, European Import]

Fur Elise [Ludwig van Beethoven]

Impromptu Op. 142 no. 2 [Franz Schubert] Moment musical no. 3

Traumerei from Scenes of Childhood [Robert Schumann] The Prophet Bird from Woodland Scenes

Nocturne Op. 9 No. 2 [Frédéric Chopin]

Liebestraum [Franz Liszt]

"Raindrops" Prelude [Frédéric Chopin]

"Tristesse" Etude [Frédéric Chopin]

Barcarolle [Frédéric Chopin]

Clair de Lune [Claude DeBussy]

A Piano Invitation to the Dance [Ann Schein] *unknown date

Weber-Tausig: Invitation to the Dance, Opus 65

Medtner: Danza Festiva, Opus 38

Halffter: Dance of the Shepherdess (Danza de la Pastora)

Bartok: Roumanian Folk Dances

Bizet-Rachmaninoff: Minute from "L'Arlesienne"

Chopin: Waltz in D flat major, Opus 64, no. 1 ("Minute) | Mazurka is A flat major, Opus 59, no. 2 | Mazurka in F sharp minor, Opus 59, no. 3 | Polonaise Fantaisie in A flat major, Opus 61

Sander Van Marion: Improvisaties op het orgel in de Evangelisch Lutherse Kerk, Den Haag *unknown date (realized this was religious after further inspection, oh well, it's organ??? music)

PS. 72 ,,Laat Ons De Grote Naam Bezingen"

,,Als Stormen Woeden"

,,Loof De Koning, Heel Mijn Wezen"

,,Heer Van Uw Kerk"

,,Komt Laat Ons Voortgaan Kinderen"

,,O Hoogt" En Diepte Looft Nu God"

PS. 25 ,,Here, Maak Mij Uwe Wegen Door Uw Woord En Geest Bekend"

,,Alle Volken, Looft De Here"

,,Jezus Ga Ons Voor"

,,Neem Heer Mijn Beide Handen"

,,Wat De Toekomst Brenge Moget"

Lawrence Welk Polkas *unknown date

Hoop-dee-doo

Barroom polka

Julida polka

Dakota polka

Laughing polka

Emilia polka

Tinker polka

Kit Kat polka

Chopsticks polka

Russian Folk Songs [assorted choruses] *circa Soviet Russia

The stage coach is racing [Vot mchitsa pochtovaya]

Through the village [Vdol dyerevni]

Oh, my sweetheart [Ekh ty, duschechka]

The week [Nyedyelya]

The shades of night are falling [Noch uzh nastupayet]

Along the dusty road [Po pylnoy doroge]

Vanya can't sleep [Vanye nochenku nye spitsa]

In the Zhiguli hills [V Zhigulyakh]

The wide steppes [Shirokiye styepi]

Oh, you mists [Oi, tumany moyi]

Moravian polka [Moravskaya polka]

The chain-gang [Kolodniki]

@krenenbaker

[sonyclasica]

LUCAS DEBARGUE

SCARLATTI 52 SONATAS

El pianista parisino ya ha alcanzado lo más alto del arte del piano con Beethoven, Liszt y Ravel y ha desatado tormentas románticas en toda regla con la Sonata No.14 para piano en La menor de Schubert y el final de Gaspard de la nuit de Ravel. Ahora, Debargue dedica su nuevo álbum completamente a Domenico Scarlatti.

Consíguelo AQUÍ

Ya tocó cuatro de las sonatas de este maestro italiano en su aclamado álbum debut. Der Spiegel, de Alemania, lo elogió diciendo: El Scarlatti de Debargue recuerda a sus poderosos antecesores. Muestra el toque sutil y el sentimiento que Vladimir Horowitz le otorgó a estas miniaturas y aporta un nuevo sonido a la música de teclado de Scarlatti. Debargue toca los límites externos de la expresión entre la desolación y el éxtasis: uno puede encontrarlo sobrecargado, pero es menos emocionante por eso. Y luego está el suave toque de Glenn Gould.

Debargue está entusiasmado con su nuevo proyecto: Scarlatti es inspirador. Él es el centro de mi pensamiento musical en cuanto a la música para instrumentos de teclado. Me lo tomé como una especie de misión personal para finalmente hacer algo con él.

Aunque Scarlatti generalmente no tiene un lugar establecido en el repertorio —su obra no suele escucharse y casi nunca ocupa un lugar destacado en un recital— es uno de esos hitos que todo pianista debe dominar. Nació en Nápoles en 1685, el mismo año que Johann Sebastian Bach. Pero, a diferencia de su versátil colega alemán, era ante todo clavecinista, un hombre de matices suaves pero muy precisos. Las 555 sonatas de clavicordio son el núcleo de su producción compositiva.

Lucas Debargue es una excepción entre los virtuosos del piano más sutiles de la actualidad. (Der Spiegel) También es conocido por su mente abierta: dejó el conservatorio a la edad de 15 años y tocó el bajo eléctrico en una banda de rock. Luego estudió literatura. Pero una y otra vez se sentía atraído hacia el piano clásico. En 2015 causó un gran impacto a nivel internacional en el Concurso Tchaikovsky en Moscú, tocando Medtner y Ravel. Aunque no ganó, el jurado le permitió tocar en el concierto de los premiados. Fue su trampolín a la fama. Desde entonces, ha pertenecido a la familia del sello Sony Classical. La retrospectiva de Scarlatti en cuatro CD es su cuarto lanzamiento.

Un trabajo brillante y deslumbrante: Debargue completó la grabación en Berlín en apenas cinco días, tocando en la Iglesia de Jesucristo en la Universidad Libre de Dahlem, el mismo estudio donde grabó Karajan y que sirvió como la sala de conciertos principal de la ciudad hasta que la Philharmonie abrió sus puertas en 1963. Debargue habla de sus «condiciones perfectas».

En Scarlatti escuchamos influencias del sur de España, de Andalucía, pero también del Barroco, explica Debargue. A menudo, también hay algo demencial, este impulso de investigar qué instrumentos de teclado son capaces de comunicarlo todo. Me fascina el equilibrio en esta música. Para trasladar a Scarlatti a la era moderna, Debargue tocó en un Bösendorfer 280. Lo hizo sin pedal, y encontró un jeu perlé tan brillante como la luz del sol. Escuchamos la riqueza formal de Scarlatti de una manera nueva. Las octavas insistentes de la Sonata K.14 se asemejan increíblemente a Beethoven.

El objetivo de Debargue era rescatar al maestro italiano de la música antigua. Es cierto que existen grabaciones fabulosas, confiesa, pero los oídos modernos ya no pueden escucharlas. Escucho más clavicordio en ellos que en Scarlatti, explica. El instrumento está siempre en primer plano. Rara vez percibimos la estructura y la forma de estas sonatas a menudo altamente complejas e inteligentes.

Y ahora todo es diferente. Además, Debargue ha buscado una sección transversal de la obra de Scarlatti. Aquí, también, el pianista parisino expone a los oyentes a nuevas experiencias sonoras, presentando obras que se encuentran fuera del rango normal de conciertos. Su repertorio abarca desde la Sonata K6 en Fa mayor, profundamente barroca, donde la mano izquierda funciona como un bajo cifrado, hasta la K 526: una explosión de colores cuyos pasajes legato hábilmente entrelazados presagian el sonido del romanticismo.

CONTENIDO DEL SET

CD 1

01. Sonata K. 206 E major - Andante

02. Sonata K. 531 E major - Allegro

03. Sonata K. 404 A major - Andante

04. Sonata K. 405 A major - Allegro

05. Sonata K. 447 F-sharp minor - Allegro

06. Sonata K. 25 F-sharp minor - Allegro

07. Sonata K. 343 A major - Allegro andante

08. Sonata K. 113 A major - Allegro

09. Sonata K. 258 D major - Andante

10. Sonata K. 214 D major - Allegro vivo

11. Sonata K. 211 A major - Andantino

12. Sonata K. 212 A major - Allegro molto

13. Sonata K. 109 A minor - Adagio

CD 2

01. Sonata K. 6 F major - Allegro

02. Sonata K. 268 A major - Allegro

03. Sonata K. 443 D major - Allegro

04. Sonata K. 45 D major - Allegro

05. Sonata K. 27 B minor - Allegro

06. Sonata K. 244 B major - Allegro

07. Sonata K. 105 G major - Allegro

08. Sonata K. 260 G major - Allegro

09. Sonata K. 491 D major - Allegro

10. Sonata K. 414 D major - Allegro

11. Sonata K. 534 D major - Cantabile

12. Sonata K. 535 D major - Allegro

13. Sonata K. 32 D minor - Aria

CD 3

01. K 431 G major - Allegro

02. K 125 G major - Vivo

03. K 308 C major - Cantabile

04. K 461 C major - Allegro

05. K 196 G minor - Allegro

06. K 477 G major - Allegrissimo

07. K 115 C minor - Allegro

08. K 526 C minor - Allegro comodo

09. K 462 F minor - Andante

10. K 438 F major - Allegro

11. K 106 F major - Allegro

12. K 107 F major - Allegro

13. K 69 F minor

CD 4

01. K 468 F major - Allegro

02. K 469 F major - Allegro molto

03. K 302 C minor - Andante

04. K 242 C major - Vivo

05. K 521 G major - Allegro

06. K 14 G major - Presto

07. K 474 E-flat major - Andante cantabile

08. K 253 E-flat major - Allegro

09. K 172 B-flat major - Allegro

10. K 545 B-flat major - Prestissimo

11. K 192 E-flat major - Allegro

12. K 193 E-flat major - Allegro

13. K 247 C-sharp minor – Allegro

[bauerntanz]

Nikita Volov

#Lingen - Reihe Weltklassik am Klavier #Nikita_Volov Sergej Rachmaninow zum 150. Geburtstag - im Kreise seiner Freunde! Werke von Bach, Tschaikowsky, Skrjabin, Medtner, Rachmaninow Sonntag, 30. Juli 2023  -  17 Uhr Saal der Musikschule des Emslandes, Wilhelmstraße 49. Karten: 30 €, erm. 15 €, Kinder und Jugendliche bis 18 Jahren: frei

Reihe Weltklassik am KlavierNikita VolovRachmaninow zum 150. Geburtstag – im Kreise seiner Freunde!Werke von Bach, Tschaikowsky, Skrjabin, Medtner, RachmaninowLingen (Ems) – Musikschule des Emslandes, Wilhelmstraße 49Sonntag, 30. Juli 2023  –  17 UhrKarten: 30,- Euro, erm. 15,- Euro, Kinder und Jugendliche bis 18 Jahren frei Nikita Volov widmet sein Konzertprogramm widmet Sergej Rachmaninow und…

[opera-ghosts]

OTD in Music History: Russian virtuoso pianist and composer Nikolai Medtner (1879 - 1951) dies, in relative obscurity, in England.

A slightly younger contemporary of Alexander Scriabin (1871 - 1915) and Sergei Rachmaninoff (1873 - 1943), Medtner left behind a substantial body of original work -- all of which includes the piano. His output include 14 piano sonatas, three violin sonatas, three piano concerti, two works for two pianos, a piano quintet, many shorter piano pieces, and over 100 songs. He is perhaps best known today for his "Skazki" ("Fairy Tales") for piano solo, a set of 38 character pieces.

Unlike his friend Rachmaninoff, Medtner did not leave Russia until well after the 1917 Russian Revolution. After he finally made the move, Rachmaninoff secured for Medtner a tour of the United States and Canada in 1924; these recitals were often all-Medtner evenings consisting of sonatas interspersed with songs and shorter pieces. Despite the success of that tour, however, Medtner never adapted himself to the commercial aspects of touring and his concertizing thereafter became infrequent. Esteemed in England, he settled in London in 1936, where he spent the rest of his life teaching, practicing piano, and composing.

PICTURED: An early edition of the sheet music to the first piece from Medtner's "Drei Arabesken" ("Three Arabesques," 1905), "Idyll." The "Three Arabesques" are an early set of character pieces written while Medtner was still living in Russia. Medtner has signed this copy on the cover, and the former (presumably first) owner has added the following interesting indication of history and provenance next to his signature: "[Medtner signed this copy h]ere [on] Jan. 30 / 42 B[irming]ham, [England,] when Muriel sang a group of his songs, Edna Iles, piano." It is also stamped "H.H. Lumby, Violinist, Pianist."

[sheetmusiclibrarypdf]

Rachmaninow D minor Sonata Op 28 II Lento Zoltán Kocsis (Noten)

Rachmaninow D minor Sonata Op 28 II Lento Zoltán Kocsis, Noten, with sheet music Bester Notendownload aus unserer Bibliothek. Please, subscribe to our Library. Thank you!Background Composition Reception Best Sheet Music download from our Library.

Rachmaninow D minor Sonata Op 28 II Lento Zoltán Kocsis, Noten, with sheet music

https://www.youtube.com/watch?v=X4YtSGrxwrM

Piano Sonata No. 1 in D minor, Op. 28, is a piano sonata by Sergei Rachmaninow, completed in 1908. It is the first of three "Dresden pieces", along with Symphony No. 2 and part of an opera, which were composed in the quiet city of Dresden, Germany. It was originally inspired by Goethe's tragic play Faust; although Rachmaninow abandoned the idea soon after beginning composition, traces of this influence can still be found. After numerous revisions and substantial cuts made at the advice of his colleagues, he completed it on April 11, 1908. Konstantin Igumnov gave the premiere in Moscow on October 17, 1908. It received a lukewarm response there, and remains one of the least performed of Rachmaninow's works. It has three movements, and takes about 35 minutes to perform. The sonata is structured like a typical Classical sonata, with fast movements surrounding a slower, more tender second movement. The movements feature sprawling themes and ambitious climaxes within their own structure, all the while building towards a prodigious culmination. Although this first sonata is a substantial and comprehensive work, its successor, Piano Sonata No. 2 (Op. 36), written five years later, became the better regarded of the two. Nonetheless, it, too, was given serious cuts and opinions are mixed about those. Background In November 1906, Rachmaninow, with his wife and daughter, moved to Dresden primarily to compose a second symphony to diffuse the critical failure of his first symphony, but also to escape the distractions of Moscow. There they lived a quiet life, as he wrote in a letter, "We live here like hermits: we see nobody, we know nobody, and we go nowhere. I work a great deal," but even without distraction he had considerable difficulty in composing his first piano sonata, especially concerning its form. The original idea for it was to be a program sonata based on the main characters of the tragic play Faust by Johann Wolfgang von Goethe: Faust, Gretchen, and Mephistopheles, and indeed it nearly parallels Franz Liszt's own Faust Symphony which is made of three movements which reflect those characters. However, the idea was abandoned shortly after composition began, although the theme is still clear in the final version. Rachmaninow enlisted the help of Nikita Morozov, one of his classmates from Anton Arensky's class back in the Moscow Conservatory, to discuss how the sonata rondo form applied to his sprawling work. At this time he was invited, along with Alexander Glazunov, Nikolai Rimsky-Korsakov, Alexander Scriabin, and Feodor Chaliapin, to a concert in Paris the following spring held by Sergei Diaghilev to soothe France–Russia relations, although Diaghilev hated his music. Begrudgingly, Rachmaninow decided to attend only for the money, since he would have preferred to spend time on this and his Symphony No. 2 (his opera project, Monna Vanna, had been dropped). Writing to Morozov before he left in May 1907, he expressed his doubt in the musicality of the sonata and deprecated its length, even though at this time he had completed only the second movement. On returning to his Ivanovka estate from the Paris concert, he stopped in Moscow to perform an early version of the sonata to contemporaries Nikolai Medtner, Georgy Catoire, Konstantin Igumnov, and Lev Conus. With their input, he shortened the original 45-minute-long piece to around 35 minutes. He completed the work on April 11, 1908. Igumnov gave the premiere of the sonata on October 17, 1908, in Moscow, and he gave the first performance of the work in Berlin and Leipzig as well, although Rachmaninow missed all three of these performances. Composition Movement 1. The piece is structured as a typical sonata in the Classical period: the first movement is a long Allegro moderato (moderately quick), the second a Lento (very slow), and the third an Allegro molto (very fast). - Allegro moderato (in D minor, ends in D major) The substantial first movement Allegro moderato presents most of the thematic material and motifs revisited in the later movements. Juxtaposed in the intro is a motif revisited throughout the movement: a quiet, questioning fifth answered by a defiant authentic cadence, followed by a solemn chord progression. This densely thematic expression is taken to represent the turmoil of Faust's mind. The movement closes quietly in D major. - Lento (in F major) In key, the movement pretends to start in D major before settling in the home key of F major. Although the shortest in length and performance time, the second movement Lento provides technical difficulty in following long melodic lines, navigating multiple overlapping voices, and coherently performing the detailed climax, which includes a small cadenza. - Allegro molto (in D minor) Ending the sonata is the furious third movement Allegro molto. Lacking significant thematic content, the movement serves rather to exploit the piano's character, not without expense of sonority. The very first measures of the first movement are revisited, and then dissolves into the enormous climax, a tour de force replete with full-bodied chords typical of Rachmaninow, which decisively ends the piece in D minor. Reception Rachmaninow played early versions of the piece to Oskar von Riesemann (who later became his biographer), who did not like it. Konstantin Igumnov expressed interest upon first hearing it in Moscow, and following his suggestion Rachmaninow cut about 110 bars. The sonata had a mediocre evaluation after Igumnov's premiere in Moscow. Nikolai Rimsky-Korsakov had died several months previously, and the burden of heading Russian classical music had fallen on this all-Rachmaninow programme of October 17, 1908. Although the concert, which also included Rachmaninow's Variations on a Theme of Chopin (Op. 22, 1903), was "filled to overflowing", one critic called the sonata dry and repetitive, however redeeming the interesting details and innovative structures were. Lee-Ann Nelson, via her 2006 dissertation, noted that Rachmaninow's revisions are always cuts, with the material simply excised and discarded. The hypothesis is that the frequency of negative responses to many of his pieces, not just the response to the first symphony, led to a deep insecurity, particularly with regard to length. The musicologists Efstratiou and Martyn argued against, for instance, the cuts made to the second sonata on a formal basis. Unlike other pieces, such as the second piano sonata and the fourth piano concerto, no uncut version of this piece is currently known to be extant. Today, the sonata remains less well-known than Rachmaninow's second sonata, and is not as frequently performed or recorded. Champions of the work tend to be pianists renowned for their large repertoire. It has been recorded by Eteri Andjaparidze, Vladimir Ashkenazy, Boris Berezovsky, Idil Biret, Sergio Fiorentino, Leslie Howard, Ruth Laredo, Valentina Lisitsa, Nikolai Lugansky, Olli Mustonen, John Ogdon, Michael Ponti, Santiago Rodriguez, Alexander Romanovsky, Howard Shelley, Daniil Trifonov, Xiayin Wang, and Alexis Weissenberg. Lugansky performs the piece regularly. Read the full article

[lesser-known-composers]

Nikolai Medtner (1880-1951) - Violin Sonata No. 1 in B Minor, Op. 21: I. Canzona ·

Lydia Mordkovitch, violin · Geoffrey Tozer, piano ·

[masayoshi-kawaharablr]

Medtner: Six Fairy Tales & Piano Sonatas