Composer: Nikolai Medtner
Works: Sonate-Ballade Op. 27, Sonata Minacciosa, Sonate Orageuse Op. 53 No. 2, Four Skazki Op. 26, Sonate-Idylle Op. 56
Performers: Malcolm Binns (piano)
Recording: 1976 and 1991 sessions
Label: Pearl SHE CD 9628
Nikolai Medtner, often overshadowed by his contemporaries Rachmaninoff and Scriabin, emerges in this anthology as a composer of profound introspection and structural elegance. His oeuvre, rich with references to the narrative traditions of both the ballade and the fairytale, reflects an aristocratic sensibility that is at once accessible and deeply complex. This collection, showcasing works from his most fertile periods, elucidates the remarkable depth and lyricism of Medtner’s music, particularly in the hands of Malcolm Binns, whose interpretative flair brings both drama and nuance to the forefront.
The Sonate-Ballade Op. 27 serves as a compelling opening, where the fusion of sonata and narrative form creates an immersive experience. Binns navigates the intricate textures with a deft touch, emphasizing the work’s storytelling quality while maintaining a robust structural integrity. The piano’s voice resonates with a lyrical melancholy, particularly in the expansive development section, where the thematic material undergoes a poignant transformation. Here, one can hear echoes of Schumann’s narrative style, underscoring Medtner’s connection to the romantic tradition while asserting his unique voice.
In the Sonata Minacciosa, part of the Sonata-Triad, Binns displays an impressive command over the contrasting moods embedded within the work. The opening movement’s intensity is counterbalanced by the lyrical second movement, reminiscent of Medtner’s ability to juxtapose drama with delicate poetry. Binns’ interpretation leans toward the dramatic, capturing the tension inherent in the piece while allowing the lyrical moments to breathe, particularly in the central Andante, which unfolds like a wistful reverie.
The sound quality, derived from both the 1976 and 1991 sessions, exhibits a clarity that allows Medtner’s intricate counterpoint to shine. The recording captures the full dynamic range of Binns’ playing, from the whispering delicacy of the Four Skazki to the robust climaxes of the Sonate-Idylle Op. 56. This latter work, recorded in 1991, showcases Medtner’s ability to blend classical poise with a modern sensibility. Binns approaches it with a keen sense of balance, emphasizing its thematic development while avoiding the trap of excessive sentimentality.
Comparatively, this recording stands out amidst the broader discography of Medtner’s works, which includes notable interpretations by Nikolayeva and Hamelin. While these artists bring their own interpretations, Binns’ performance is marked by a palpable intimacy, particularly in the quieter moments of the Sonate-Idylle. His pianistic touch conveys the nuanced poetry of Medtner’s music, creating a listening experience that feels both immediate and profound.
Malcolm Binns’ collaboration with Pearl Records in this anthology showcases an important facet of Medtner’s work that deserves recognition in the larger classical canon. The performances are imbued with a sense of reverence and understanding, as Binns navigates the complexities of Medtner’s music with both skill and insight. This collection not only enriches the listener’s understanding of Medtner’s artistry but also revitalizes interest in a composer whose music is as noble as it is innocent, weaving together threads of narrative, emotion, and technical mastery.
