Composer: Nikolai Medtner
Works: Violin Sonata No. 1; Sergei Prokofiev: Sonata for Two Violins; Anton von Webern: Four Pieces for Violin and Piano; Alfred Schnittke: Violin Sonata No. 1
Performers: Oleg Kagan, violin; Victor Tretyakov, violin (Prokofiev); Sviatoslav Richter, piano (Medtner); Vassily Lobanov, piano (Webern, Schnittke)
Recording: Pushkin Museum December 1981 (Medtner), December 1984 (Prokofiev), Tchaikovsky Hall February 1989 (Webern, Schnittke)
Label: Live Classics
Nikolai Medtner remains a composer whose works often stand in the shadows of his contemporaries, yet his Violin Sonata No. 1 reveals a lyrical beauty that invites deeper appreciation. Composed during a time of great upheaval in Russia, Medtner’s music reflects both the Romantic heritage and a burgeoning modernism that also permeates the works of Prokofiev, Webern, and Schnittke featured on this recording. The juxtaposition of these composers illustrates the evolution of Russian music in the early to mid-20th century, creating a compelling narrative that runs throughout this collection.
Oleg Kagan’s interpretation of Medtner’s sonata is characterized by a fluid lyricism that is both engaging and introspective. His tone, while sweet, occasionally falters under the tension of a fast vibrato, which can compromise the expressiveness of certain lyrical passages. Yet, even in these moments, Kagan’s ability to delineate the contours of the Sonata with both firmness and flexibility remains commendable. The interplay between Kagan and Sviatoslav Richter is notably dynamic, although Richter’s assertive piano playing occasionally overshadows the violin, particularly in the Sonata’s first two movements. However, the third movement, the Ditirambo, showcases a delightful synergy between the two musicians, revealing the exuberance and charm inherent in Medtner’s writing.
Transitioning to Prokofiev, Kagan joins Victor Tretyakov in a high-octane performance of his Sonata for Two Violins. The contrasting vibrato styles of both violinists—Kagan’s rapid oscillations against Tretyakov’s broader, more measured approach—create a rich tapestry of sound that enhances the work’s complex emotional landscape. The second movement, Allegro, stands out for its aggressive character, with both players navigating the sharp contrasts with conviction. They explore the tonal depths of the Commodo, a movement that anticipates the emotional core of Prokofiev’s Second Piano Concerto, rendering it with an impressive balance of anticipation and reflection.
Webern’s Four Pieces for Violin and Piano, performed here by Kagan and Vassily Lobanov, push the boundaries of expressiveness in a much different manner. Kagan’s aggressive bowing near the bridge produces a sharp, almost jarring sonority that captures the essence of Webern’s musical language. The opening Sehr Langsam is imbued with a meditative quality, while the final Bewegt showcases an unpredictable violence that Kagan and Lobanov navigate with precision and a sense of urgency. The clarity of their dialogue speaks to both performers’ deep understanding of the subtleties inherent in Webern’s music.
Schnittke’s Violin Sonata No. 1 presents a sardonic contrast, with Kagan’s interpretation embracing its playful yet dark undertones. The stark shifts in mood, particularly in the Largo, come alive through Kagan’s nuanced phrasing, evoking a haunting beauty amidst the dissonant textures. Lobanov’s robust piano chords underpin the violin’s more reflective passages with a striking contrast that enhances the work’s emotional impact. The concluding Allegretto scherzando, often reminiscent of a theatrical romp gone awry, is executed with a delightful drollery, showcasing the performers’ ability to blend humor with sophistication.
Sound quality across this recording is commendably consistent, with a close miking that captures the intimate nuances of both instruments. The engineering allows for a transparent balance, although there are moments where the ambient noise of the concert venues becomes noticeable—these do not detract significantly from the overall listening experience.
Kagan’s artistry, combined with the formidable talents of his collaborators, results in a compelling exploration of repertoire that deserves a wider audience. The recordings stand as a testament to Kagan’s remarkable versatility and the rich, albeit underappreciated, landscape of 20th-century Russian chamber music. This release not only serves as an homage to a brilliant violinist but also illuminates the diverse and evocative world of Medtner, Prokofiev, Webern, and Schnittke, offering both insight and pleasure to the discerning listener.
