Customer Reviews

Medtner: Complete Piano Sonatas, Forgotten Melodies / Hamelin

5 star:		(14)
4 star:		(1)
3 star:		(0)
2 star:		(1)
1 star:		(0)

 

 

This is not the easiest music to love. Its structure is difficult and extremely cyclic, its textures are often dense, and its technical demands are extreme. But something about it impressed me when I first heard these recordings, and my fascination with it has not let go for six months. I have come to believe that Medtner was as great a musician as many that we revere and infinitely superior to many who are more popular. Do not be misled by observations that his music is like Rachmaninoff's (it's more German than Russian) or that it is boring. His rigorous intellect and devotion to his music are obvious; listening to him is an intellectual challenge. Emotionally, his music is, at times, noble, whimsical, severe, hymn-like, tender, and dramatic. It is rhythmically invigorating and melodically gorgeous, even if it isn't easy to whistle along with his tunes. If all that sounds like a tall order for the listener, what about the poor pianist?

I've learned something about Marc-Andre Hamelin by listening to this set. I came to this music having pigeon-holed Hamelin as the most super-humanly gifted technical pianist I've heard in fifty years of loving classical piano music--and little else. I was right about his technique, but I could hardly have been more mistaken about his musicianship. I've come to love this music so much that I now have four complete sets of Medtner's Sonatas. Three of them only serve to illuminate Hamelin's mastery of enormous structural difficulties, his understated but compelling poetry, and his absolute dedication to music that demands no less. Yes, his technique is uncannily fleet-fingered, but just as impressive is his ability to unravel and bring absolute clarity to complex textures. He is one of our true masters of the piano, and this music is far, far too wonderful to be as little known as it is. If you love great piano music, and great piano playing, buy this set before it is no longer available: it is one of the real treasures of recorded piano music.

Just a few words for those of you who are considering this set but have been given pause by the dissenting opinion in drollere's review, below.

I can understand that on first listen this music (like a great deal of classical music) may be difficult to parse -- to break into meaningful paragraphs and sentences, so to speak. And I know first-hand that when one can't yet hear the phrase structure in a piece of music, it tends to sounds like, yes, a long drum solo; it sounds like the music is attempting to express itself solely through superficial, local effects. drollere's review is actually a lovely, well-written description of the experience of listening to music without knowing how to parse it. One hears only "chords," "scales," "arpeggios," "melodies," and is aware that things seem to "change...every 20 seconds or so." In fact, listening to music this way - a bit like listening to the rise and fall of an actor's voice without being able to make out the words - often tends to give one an exaggerated impression of the surface effects, which I think must account for drollere's belief that this music is best characterized as "virtuosity for its own sake." Assessments like "the kinetic equivalent of serialism" and "a musical rubik's cube" really have nothing to do with Medtner - they just describe the general phenomenon of a piece of music being meaningless to a listener, in the truly musical sense of the word "meaning."

I was struck by these things, reading drollere's review, because they were so familiar to me: I am often frustrated by how long it takes me to come to terms with the form (and through it, substance) of a new musical work; sometimes it seems like I can listen to a piece 20 times and not yet know how to parse it. Frustrating indeed, because I, unlike drollere, know that at that point I'm still not qualified to form an opinion of the music. In a very real sense, I still haven't heard it. I might form an opinion about the fact that the music is still opaque to me (e.g. "I'm putting in an attentive, good faith effort to make sense of this music, so I declare that if I still don't know what's up after 20 listens, the composer isn't doing his/her job") but I'm simply not in a position to say anything about the composer's musical or aesthetic intentions or accomplishments. The composer didn't write the "drum solo" that I hear - it's just the raw data stream, not yet decoded by my brain, and as such isn't a work to be reviewed.

The irony of drollere's review is that the most outstanding aspect of this music, in exact opposition to what drollere says, is its "emotionally or imaginatively involving musical structure." Medtner's handling of sonata form is astounding - if you don't believe me or can't hear it, get a copy of the score and give yourself the assignment of breaking down the structure of one of the longer movements - the first piece I encountered was Op. 22, which is a good warm-up for the really sprawling ones, Op. 25/2 and Op. 53/2. I promise you that by the time you've gone through the purportedly tedious task of actually identifying the different themes and their recapitulations, noting thematic relationships, etc. etc., you'll realize how strong these pieces are, how exquisitely they fuse profound, heartfelt emotion with ingenious development - and then you'll be ready to listen again and hear it all. Or at least more of it. "What are the rewards of repeated listening?" indeed. Perhaps since July 28, 2003, drollere has found out the answer to that question, in which case I hope s/he will return and clean up around here. I just hate to think that anyone will be turned off to Medtner by a well-written but utterly rash review. Trust me: this is the real thing. The music is, if anything, better than the hype. Do not be dissuaded.

These are astounding, exhilarating performances of a criminally neglected musician's masterworks. I believe I can honestly say that this four-disc set has brought me more enjoyment than any other album I've bought - in ANY genre. There's just so much good stuff on here, I don't know where to begin. Nearly every sonata is a masterpiece from opus 5 to opus 56. I compare Medtner to Alkan because of his originality, obscurity, and technical mastery (although extremely difficult, the writing is clearly very pianistic). Medtner's music has superficial similarities to Rachmaninov and Scriabin but is really a unique musical world with its own rules and form. It's music for people who love to get lost in counterpoint, don't mind some weird harmony and challenging rhythms, and it doesn't hurt to be a connoisseur of piano virtuosity either. It you love whirling cascades of notes shimmering up and down in both registers at once, you'll be in heaven.

Now to the performance: It's pretty much a given that I'm going to give a five star review to each new Hamelin CD that comes along (ranking this pianist's albums is like ranking Nolan Ryan's no-hit ballgames) but this set is amazing even for Hamelin. He is the perfect man to interpret this music. It takes a firm hand and keen intelligence to negotiate the intricate rhythms and communicate the musical ideas from the dense thicket of viny symphonic undergrowth. Hamelin succeeds where so many others would flounder.

Some people have said that Hamelin's performances are the reason to buy this set - that they elevate deservedly obscure music to a listenable level via sheer jaw-dropping virtuosity. I highly disagree - great as the playing is, I say that Medtner's music is the reason to get this.

If you are familiar with Hamelin's playing you will know that his level of pianism is staggering. What is different about this release is that there is just so much interesting music here. Medtner's music is new to my ears and I find it very satisfying to listen to. It is definitely later romantic music like, say, Rachmaninoff or early Scriabin but also very different. Read the interesting liner notes about Medtner and his grasp of musical structure and the sonanta form.

What Hamelin consistenly does is to overcome all of the technical challenges so well that the music just becomes exposed. An interesting note about Hamelin is that he is every bit as good live as he is recoreded (if not better). I would describe his performances as breathtaking. I don't think you can say the same for to many pianists today. If I had to rank all of his recordings this would be one of the best. Excellent recorded sound of the piano on this release as well which seems to be a hallmark of the folks at Hyperion. Because of the quality and amount of music on this release I would call it a bargain.

Speaking in a few words about the music itself, I'll only say it's original, thrilling and endlessly beautiful.

I agree with the statement saying that this music demands several listenings for appreciation of all it's beauty. I can only add that each listening, no matter how much times you did it before, reveals you something new in the music which makes you love it more and more.
I also agree with another statement saying that sometimes the development parts in Medtner sonata forms are too streched out. It's true, usually the thematic material is very laconic (while geniously beautiful) and Medtner masterfully takes it into different harmonic and tonal transformations, as if looking at the theme from all possible angles, lightening it in all possible colours and ways inside the complex polyphonic substance. This statement in no manner contradicts with the first one and might even explain it.
But the third and the ultimate statement for me is the one written once by Rachmaninov: "...I consider him the most talented of all the modern composers...". For me It's quite true and I can only hope for the times when Medtner music will be much better known.

For those, who want to add like me all the 14 Medtner Sonatas to their musical library this set is the definitive solution. I like very much the Medtner of Marc-Andre Hamelin, it's highly emotional with deep understaning of all the complex structure of each piece and, of course, technically brilliant. The only piece where I don't really agree with the reading is Sonata Tragica (From the "Forgotten Melodies II", Op. 39/5). It's too straightforward for me and I don't really hear the "Tragica" in it. In this case I prefer "Sonata Tragica" by Nikolai Demidenko, also available on Hyperion. In the same time "Sonata Reminiscenza" by Hameline is more touchnig and intimate in comparison with that of Demidenko. So, after all, it's the matter of taste. :-) Another point about the interpretation is the tempos which in some cases are too fast and you can feel the excessive concentration on the virtuosic aspects of the playing. To my mind the point is general for the Hamelin style. In this set it doesn't really disturb you a lot.

A nice supplement to the Sonatas are 2 "Skazki" (Fairy-Tales) which are the opening 2 of the over 40 pieces set which could be defined as the heart of the most intimate Medtner music. But this is another story already. :-)

The recording is great as usual with Hyperion. Again I'm really thankful to the Label for giving the opportunity to hear some other less popular classical music and this enriching us a lot.
Thinking about all the features of this set together, 5 stars seem to me quite fair.

There are few recordings out there which can at any rate give some justice to the music of Medtner. And not only for the difficulty of the music and problems of interpretation, but also for the recorded sound quality... This set as performed by Hamelin on the Hyperion label sets all standards if anyone ever is going to attempt to record these works again. I wish there was a way of doing justice on this set with a review, but frankly anything said is far below what is acheived on these reocrdings. Hamelin is an extraordinary pianist who hurdles all the piano obstacles in Medtner's writing with ease and with hair-rising velocity - yet speed is never more important than power or introspection and he is able to balance his tight rope act perfectly. For those who are unfamiliar with Medtner's music, played this way these works become masterpieces and in fact, most of them are and the neglect this great composer has suffered in inexplicable. Another great feat as performed by Hamelin is acheiving unity in Medtner's longer works - and with so complex writing one can only wonder if these works will ever be played again with so great flare. And finally, one must praise Hyperion for the sound of these recordings. Crystal clear and beautifully balanced - amazing given the complexity of the music. A definitive set.

Just days ago, I discovered this pianist via the Schumann album available here at Amazon.com. I admit, I bought the Schumann partly due to its attractive cover art (how shameful!) but found Hamelin's playing quite delightful. He is a pianist who clearly understands his music as well as his instrument. His skills are the medium to combine the two into a performance that is really astonishing on these Medtner CDs. It's my opinion that there are only two types of pianists: the banger, who needs to dominate the music and the piano, normally destroying each in the process, and the caresser. Hamelin is one of the latter, as well he can be, because he does not need to use loudness to hide a lack of skill -- this man is brilliant. His touch is firm and skilled but also rather tender. Here, you will find him coaxing melodies from the piano keys rather than forcing them. This stands well in his interpretation of Medtner's sonatas, which require intricate piano work but also a good understanding of the music. Hamelin brings out the fluidity and grace, the intricacy and simplicity, maintaining a consistency through all the movements of each piece. There is so much to like and appreciate here, these being four lengthy CDs (one is almost 78 minutes). I confess I had not heard of Medtner before, and this introduction to his compositions has been very appealing. From reading the reviews and the jacket blurb in the album, I understand that he was a contemporary of Rachmaninoff and Scriabin. I don't hear much of their influence in his work -- this is more like a fusion of Chopin and Liszt, but a fusion of all the good parts of those two composers' music. A fusion and an expansion, with a subtle drama and an amazing cohesion. These sonatas should not be missed, not if you are a music lover and especially not if you appreciate the solo piano. I'm very pleased with this album, and if you like piano sonatas that are traditional as well as inventive, balanced and fluid or if you truly appreciate skillful piano playing, you will like this set as much as I do.

When this 4CDs-album came out in 1998 I was one of the first in the states to purchase a copy, and even without knowing whether Medtner is my taste or not. I loved Hamelin's Scriabin-sonatas album so I didnt care about the high price of this Medtner-sonatas album. And I was right. With the first scanning of each disc I fell more and more in love with this gorgeous, rich, imaginative, romantic, melodic&rhythmic, intense, serious, profound, passionate...simply *beautiful* music. Medtner does not seem to strive for creating something extraordinary, innovative, modern, interesting per se but for pure musical intent. What you hear is pure (and absolute?) music by a genuine musician (Medtner) as natural and pianistic as one could imagine, with nothing else intended or presumed.

For comparative listeners, Geoffrey Tozer's boxed Medtner-sonatas set includes the complete Forgotten Melodies (I-III), not only I and II (Hamelin), but in the sonatas Hamelin plays with much more verve, drive, energy and speed. However, in the past years I tend to listen more of TozerPlayingMedtner...simply because he has been recording the complete Medtner solo music (prospected 9 volumes on Chandos) and I really enjoy the wealth of non-sonata music by Medtner which is less complex, of lighter content and much easier to understand. Many pianophiles whom I borrowed the Hamelin album thought that these sonatas were way too dense and heavy, yet in the end they fell in love with Medtner, too, when listening to his non-sonata pieces (Fairy Tales, etc.). They have become Medtner fans, yes!

As for my part, after having listened to Medtner sonatas for almost ten consecutive years, I somehow obtain the feeling that his other solo piano music is more enjoyable on a long-term basis. I cant listen to the sonatas nearly any more but I experience still lots of pleasure, fun and enjoyment listening to his other pieces. So thanks Hamelin for the convincing introduction to Medtner's world, and even more thanks to Tozer on Chandos (and Hamish Milne on CRD) for making this world my new home.

This is the ultimate recording of Medtner's piano music played by the most amazingly talented pianist before us today.

Take a great composer, the greatest active pianist of today, stir well, and you get this marvelous 4 CD collection. Rachmaninoff got it right when he twice told Medtner that he (Medtner) was the greatest composer of "our time". Hamelin has the skill to make us understand that.

Medtner: Complete Piano Sonatas, Forgotten Melodies / Hamelin