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Analysis of 1st movement: EXPOSITION 0:00 T1.1, 2 sets of ascending notes, the first time ending on the dominant, the second time quieting down to transition to… 0:22 T1.2, the second part of the first theme, almost a theme of its own. The G-F-G-Ab that occurs at the end of each strain (let’s call it T1.2B) turns out to be a reoccurring part of the first movement. The orchestra makes a variation or two out of this theme before the transition 0:46 Transition, the orchestral tutti becomes loud again as sixteenth notes are played in the top line, eventually landing on Eb at 1:00, which is the dominant of Ab (the second theme’s key) 1:09 T2.1, incorporating T1.2B as well (1:16, for example). 1:26 Second strain of T2 (T2.2?), suddenly going to the flattened mediant, but Eb is a common note so this was anticipated 2 bars before 1:37 T2.1 returns again 1:45 A D-natural appears, differing from the previous themes and indicating a transition… which does occur 1:55 Transition, becoming quieter at 2:05 2:17 A classic - the orchestral tutti ends quietly (orchestra exposition ends), making way for T1.1 on the piano (solo exposition). Becomes virtuosic fairly quickly (2:22, 2:31). 2:40 After a short “recitative” by the orchestra, T1.2 is played solo this time, more ornamented (2:48 for example). Suddenly becomes dramatic at 3:01, leading to a set of scalar runs at 3:05, even touching upon the neapolitan (Gb major) for a short bit 3:21 Transition, but now solo. Longer this time, a lot more ornamented, and stays on the dominant longer. 4:03 T2.1. T2.2 at 4:21. 4:40 The D natural occurs again, heading into c minor at 4:46 5:02 T2.1, but in c minor (!). A three-key exposition here, similar to how Chopin also used f minor -> Ab major -> c minor in his second piano concerto. 5:10 Lands on a C7 chord, signaling the start of development DEVELOPMENT 5:12 The C7 chord leads to a repetition of T2.1 in f minor now, with arpeggios on the solo part. 5:23 T1.1 comes back in the home key, but we aren’t in the recapitulation yet, because it then repeats itself in Ab major, then c minor. Arpeggios continue on the solo part. 5:34 T1.2B is back! And repeats itself multiple times. 5:41 We land on G, anticipating the chorale in the middle of the development. This eventually just leads to a harp-like set of arpeggios on G. 6:13 A quick, grieving recitative by the orchestra… 6:26… but contrasted by the solace that the chorale gives (C major now). This is a completely new theme altogether, one that isn’t really used again throughout the concerto. Goes to the dominant then returns back to… 7:02 C major, but now there are somewhat difficult arpeggios on the solo part, as it takes over the chorale in fortissimo. The orchestra plays the melody too, but the piano steals the show here. 7:35 The arpeggios end, and a trill on F/G seems to indicate a dominant, but instead goes down a step to E (!) and the orchestras follow with an E major chord… but it’s just E phrygian dominant, which is then used to transition back to C major at 7:51. 7:52 But after it arrives in C major, the orchestra decides to change through completely different keys, seemingly landing on C again, but then the piano continues with E major arpeggios. (E phrygian dominant) 8:27 Back to C major, but the piano now goes through different keys, even landing on Gb major before using a tritone substitution (I think that’s what it is, correct me if I’m wrong) to get back to C. From here, there is a lot of implied minor color, almost implying that f minor is about to come back… which it is tbf. RECAPITULATION 9:17 And a torrent of descending chords lead back to T1.1, but now more virtuosic and with more synergy between the piano and orchestra. Almost like a climax. But it gets cut short by a transition to… 9:41 T1.2, now even more passionate and with virtuosic runs at times. The same chordal passage (or similar) leads to similar runs as the exposition at 10:08. 10:12 But this time, we land in C instead of Eb, implying F major. (Transition now). 10:38 T2.1 in F major, piano playing like a harp. 10:57 T2.2, again a flattened mediant up (Ab major), but yet again, a double dominant leads to 11:05 T2.1 back 11:13 The same “D natural” transition occurs here too, except now in a different key, used to transition back to f minor. CODA 11:30 And finally, we arrive in the coda, in the home key of f minor. This time, with both T1.2B (yes, again) and T2.1 playing over each other. 11:45 A brief foray into the neapolitan (Gb major) 11:55 But back to f minor, with even more intense arpeggios on the piano. 12:17 More runs and arpeggios on the piano, and difficult ones too, especially with the left and right hand being so close to each other. 12:25 Landing on the dominant, with fast, cascading, chromatic, alternating hand octaves on the piano part. Wow, this is difficult. 12:30 And T1.1 comes back, implying ending back in f minor, but instead a picardy third occurs, ending the movement loudly in F major. Analysis of 2nd and 3rd movements will come, but I spent 30+ mins analyzing the 1st movement, so maybe a few days from now I'll do the next movement.

Is this music inferior to Chopin or Liszt? My Lord, what a piece. I am very impressed and I know the piano concerto's of Chopin, Liszt, Brahms, Dvorak and others. Besides who can play this? Almost impossible to follow.

How beautiful is this music.

Warum spielt niemand dieses wunderbare Konzert heutzutage, wenn man die Noten sieht, scheint es selbst für Spitzenpianisten ein Wagnis, oder verweigern sich hier Dirigenten wegen des untergeordneten Orchesterparts?

16:34

The greatest piano concerto ever written. The thematic intricacy of it is absolutely insane, nearly every measure a web of different motifs put together and developed in different ways, I’d go as far to say as that every single motif in the work was put together with another in nearly every combination possible. Medtner carries Bach’s torch when it comes to the undiluted genius construction of music. Everything is mathematically and intricately shaped, like a Greek temple or a gothic cathedral, yet that only adds to the emotional soul of the music, rather than takes away from it. The narrative behind the concerto runs deep within the work, and everything is shaped around it. To understand it better read about the poem Medtner based the first movement off of and then created his own continuation of it using the second and third movements.

7:21

Medtner 2 is one of the best concertos ever!!!!!

6:10 from this part, man this is sooooo good I rlly fucking love Medter

15:34

I am delighted by Esthers range of expression, tone and touch to the piano, so wonderful, thank you !!

I may have said this before, but I've loved this album ever since it was first released.

Hello, Busoni Piano Concerto (at 7:00).

Medtner being the best composer:

One of the best chamber pieces I have heard. Rubinstein is very underrated in my opinion.

Great!

I embrace his personal experience however, I sense that at times he both plays sometimes softly (during the virtuoso pieces) and also his increased speed during certain passages: Mr Tovey is also flawed in some of his playing but alround, he provides a better experience when compared to both Mr Medtner and Hamelin, they are small key...

I love this concerto, always wondered why it isn't played more often. thanks for posting.

One of THE greatest beginnings of any piano concerto in history! Medtner like so many other composers deserves his due. Dump Tchaikovsky, Beethoven and Brahms and program some of the forgotten ilk of great concertos lost to history.

Days of Medtner WILL COME. Scriabin left Chopin's heritage, but Medtner stayed there. (but little more chromatics) He is the one who fit to being called as 'Russian Chopin'. Medtner has revived later Chopin pieces'(such as Ballade 4, Polonaise Fantasie, Mazurkas) chromaticism and romanticism.

a perfect compromise between Brahms, Chopin and Rachmaninoff

Absolutely amazing composition.

I can understand after this concerto why this guy is not famous…

12:10

the theme at 24:19 is kind of reminscent of this moment from rachmaninoff piano sonata 2 ruclips.net/video/C_lOOYSzoBc/видео.htmlsi=OZMmO9aILAdUZfcg&t=2354

Thank you so much for doing this amazing work!!! And beautiful discription as well.

I knew there will be Medtner just by the thumbnail! His concertos are so underrated! Piano concerto 3 has the greatest coda ever, but the 1st piano concerto has also many great reason to be on the list!

I've lost count of how many times I have listened to this. I rank it just below Rach 3 in my pantheon of favourite piano concerti. Paul Wee is out with a new recording of this that just dazzles.

This concert is - dare I say - perfect in any musical aspect I can think of, and very well may be, in my opinion, the most gorgeous and well written piano concerto there is. Also this video is amazing in analysing its clever motivic development

Pleasant.

Franck is not underrated

from 19:02 to the coda is one of the most colorfull, moving, and dramatic moments in music. There is so many themes , emotions, changes and moods, but it's still so linked, connected, related and it has clear climaxes and clear direction!

One of the best intepretations of this hidden gem! Imo, Medtner's piano concertos are the peak of it's genre!

some passages of the 1st movement remind me of Chopin‘s 2nd piano concerto in Fm

At 13:00 there is also the cross motif from theme B1 appearing in the cellos and bass voice of the piano, integrated on the overall A1 line. Such insanely rich polyphony, right?!

19:34

Really emotional interpretation, one of my favourites!

2nd mov.

Medtner's 3rd piano concerto is my most favourite concerto ever!

Very great and usefull analysis of this masterpiece! One of the most beautifull piano concerts ever, I love Medtner's creativity in thematic work!

I really need to dive deeper into Medtner's work

One movement in, already love this

The way he plays this is a miracle. You can tell he’s been through a lot in life and it shows in his profound playing. Tozer can do anything on the piano. Love it.

Tozer was such an amazing pianist, and his Medtner interpretations are generally of the highest quality. However, to me this performance seems too rushed, especially when compared to Medtner's slower tempo, or Mejoueva's masterful rubato. Fun fact: In his notes to this piece, Medtner specified a duration of 4 minutes and 20 seconds. His recording of the work matches that almost exactly, as does Mejoueva's (at least in one of her live recordings).

Elgar and Smetana underrated? Who by? Certainly not me, or many others.

Beautiful, but a bit repetitive

My opinion on this piano work, it is the most sublime melody. If you don't feel it, then you don't deserve to be called an artist musician, you are just noise

25:09 what was that? A trill? Can some one tell and wich note

Now I know how to do CPR.

How do you use this rhythm for CPR? Its all over the place.