Tozer : 00:00 - I. Allegro 11:44 - II. Intermezzo: Allegro 15:00 - III. Largo 22:49 - IV. Finale: Allegro risoluto Debargue : 30:50 - I. Allegro 43:25 - II. Intermezzo: Allegro 49:07 - III. Largo 57:57 - IV. Finale: Allegro risoluto Medtner's Sonata in F minor, Op. 5, is the first sonata Medtner composed. This sonata shows some influence of Scriabin and Rachmaninoff, however, its very original and already features some of the genius Medtner's craftmanship. Even though not representing the later works of the composer, Medtner gaining in subtlety and complexity in the years, this work is already particularly impressive, and clearly shows Medtner's ability to compose pieces with a total mastery of the structure. The first movement is dramatic and already seems to feature tale-like Medtner style. Then, the second movement is an intermezzo, darker than the first movement and march-like. The third movement is marked "Largo divoto" and make the transition with the fourth movement with an epic maestoso climax. The fourth movement is absolutely incredible : an unstoppable flow, a diabolic race, getting crazier and crazier until the final measures : an explosive, jubilant end. The two performances left me speechless. There won't be much to say about Tozer recording, it's simply amazing, full of fire and passion. But then, i got absolutely stroke by the Debargue interpretation. A relatively unknown Medtner performer, giving one of the best performances of the sonata. He plays extremely delicately where it needs, has an absolute control over every single details, is very clear but without being unemotional and cold ; in fact, this is maybe the most expressive performance of the sonata. Debargue absolutely owns the sonata.
Fun fact: Medtner, Beethoven, Scriabin and Prokofiev (as I commented on another video before the IMO four greatest sonata writers of all time) all have written their first sonata in f minor.
@@DaydreamingofMimi Sonata form cosists of 3 sections: an exposition, a development, and a recapitulation. An exposition has first subject (main theme, main character) and second subject (often more feminine, melodiously etc). In this case I mention this theme: 1:19
I agree, though I think Tozer is stronger texturally; all those hidden voice lines suddenly come to life. In that aspect, Tozer was one of the most remarkable pianists! I also strongly recommend listening to Tozer's recording of the Minacciosa.
The second theme in the first movement begins with six notes in a downward pattern. That figure, or parts of it, recur throughout the sonata and throughout Medtner's subsequent works. I've listened to his solo piano music for years, and I still hear new instances of that downward motion. It's as if Medtner is saying, "Watch what I can do with it this time."
While i think both performances are great, i strongly believe that debargue's performance is much, much more enjoyable. He brings a highly compeling narrative to the piece, making it feel like a top tier story. I think this can be said about all of his interpretations, but this one especially.
Honestly, I love all four movements. But that third movement is something else. It reaches emotional heights on par with late Beethoven or the best of Scriabin, in my opinion.
Why does neither of them play the opening melody correctly? The stress should be on the beat, i.e. the C. The first time you hear the theme properly in Debargue's interpretation is in the bass at 31:40.
do you mean the f-g-a flat-c one? if so, i feel like the notes should have equal stress because they "lead into" the next note (a c or a d flat) also I suck at music theory so sorry if my terminology isn't accurate lol
@@ConcordMass Yes, the first melody we hear. They both stress the A-flat more. The beat should always be stressed more. Otherwise, for instance, as in both interpretations, the first bar doesn't feel like it has a duration of eight semiquavers, and it throws the listener off. That's also why they both play it correctly from 31:40 (because the first beat of the bar is no longer a rest, and that leads them to the right rhythm).
@@j.s.42822 i think medtner included the rest so that the c/d flat could start on a new measure (because at the start there's a repeat, and I suppose he didn't want to delete the rests in the later passages due to stylistic reasoning). when I play this piece, I don't see the phrase starting on the rest, but rather starting on the f until it lands on the c/d flat. i can't really hear the stress on the a flat that you talked about, though... maybe my ear's just bad😅
@@ConcordMass Well, of course, it's subjective, and I respect your opinion. Maybe I could record how I would play the first few bars sometime in the next days just to compare the sound.
Tozer :
00:00 - I. Allegro
11:44 - II. Intermezzo: Allegro
15:00 - III. Largo
22:49 - IV. Finale: Allegro risoluto
Debargue :
30:50 - I. Allegro
43:25 - II. Intermezzo: Allegro
49:07 - III. Largo
57:57 - IV. Finale: Allegro risoluto
Medtner's Sonata in F minor, Op. 5, is the first sonata Medtner composed. This sonata shows some influence of Scriabin and Rachmaninoff, however, its very original and already features some of the genius Medtner's craftmanship. Even though not representing the later works of the composer, Medtner gaining in subtlety and complexity in the years, this work is already particularly impressive, and clearly shows Medtner's ability to compose pieces with a total mastery of the structure. The first movement is dramatic and already seems to feature tale-like Medtner style. Then, the second movement is an intermezzo, darker than the first movement and march-like. The third movement is marked "Largo divoto" and make the transition with the fourth movement with an epic maestoso climax. The fourth movement is absolutely incredible : an unstoppable flow, a diabolic race, getting crazier and crazier until the final measures : an explosive, jubilant end.
The two performances left me speechless. There won't be much to say about Tozer recording, it's simply amazing, full of fire and passion. But then, i got absolutely stroke by the Debargue interpretation. A relatively unknown Medtner performer, giving one of the best performances of the sonata. He plays extremely delicately where it needs, has an absolute control over every single details, is very clear but without being unemotional and cold ; in fact, this is maybe the most expressive performance of the sonata. Debargue absolutely owns the sonata.
Fun fact: Medtner, Beethoven, Scriabin and Prokofiev (as I commented on another video before the IMO four greatest sonata writers of all time) all have written their first sonata in f minor.
Not counting the unnumbered Sonata in e flat minor by Scriabin
It's very interesting.. A little coincidence, as I wanted for some time that my first sonata would be in f minor. I didn't even think of this.
Go fkurself
@@samuilfeinberg2991 you're up there too, Samuil!
Stravinsky decided to be mischievous and write his in f# minor instead
Wow, that's so crazy for a first sonata.
Second subject in first movement is sublime
What does this mean? Please :))
@@DaydreamingofMimi Sonata form cosists of 3 sections: an exposition, a development, and a recapitulation. An exposition has first subject (main theme, main character) and second subject (often more feminine, melodiously etc). In this case I mention this theme: 1:19
This is actually my favourite Medtners sonata! He was such a genius!
How can u like this more than Night Wind lol
@@DynastieArtistique I of course like Night wind sonata more, but this is just so superb (like every Medtner's piece).
Debargue's version is incredibly sophisticated, it sounds more epic, more tragic, than Tozer's.
I agree, though I think Tozer is stronger texturally; all those hidden voice lines suddenly come to life. In that aspect, Tozer was one of the most remarkable pianists! I also strongly recommend listening to Tozer's recording of the Minacciosa.
The second theme in the first movement begins with six notes in a downward pattern. That figure, or parts of it, recur throughout the sonata and throughout Medtner's subsequent works. I've listened to his solo piano music for years, and I still hear new instances of that downward motion. It's as if Medtner is saying, "Watch what I can do with it this time."
While i think both performances are great, i strongly believe that debargue's performance is much, much more enjoyable. He brings a highly compeling narrative to the piece, making it feel like a top tier story. I think this can be said about all of his interpretations, but this one especially.
That Coda with the Presto section just jumping to the Cord and fin. holy shit.
Well that's an introduction to Medtner alright, what a cool piece
Honestly, I love all four movements. But that third movement is something else. It reaches emotional heights on par with late Beethoven or the best of Scriabin, in my opinion.
the left hand at 38:50 is just such a joy to hear. Likewise 42:10 is absolutely thrilling!
Nice selection. Thank you.
The second theme of the first movement and the theme of the second tríad are my favorite Medtner!
40:44, 1:04:37
"Les Droits de Seigneur" -- BRAVO from Acapulco!
The opening is quite Symphonic, the chant like theme gives it a very russian feel. Based pill Medtner
I was just thinking a shame Medtner never wrote orchestral but then you listen to this epic hour sonata - who needs the clutter of other instruments!
Oops ok I didn’t realize it was two versions LOL it’s still an epic 30 mins!
@@TheBalletguy he wrote concertos...
1:01:02 Very much like the fourth movement of Tchaikovsky's Fifth.
1:21
a little off the subject but I've always thought Brahms piano sonata in C major the greatest opus 1 ever written. Do others have any thoughts?
30:50, 33:16, 46:27, 51:00,
Why does neither of them play the opening melody correctly? The stress should be on the beat, i.e. the C. The first time you hear the theme properly in Debargue's interpretation is in the bass at 31:40.
do you mean the f-g-a flat-c one?
if so, i feel like the notes should have equal stress because they "lead into" the next note (a c or a d flat)
also I suck at music theory so sorry if my terminology isn't accurate lol
@@ConcordMass Yes, the first melody we hear. They both stress the A-flat more. The beat should always be stressed more. Otherwise, for instance, as in both interpretations, the first bar doesn't feel like it has a duration of eight semiquavers, and it throws the listener off. That's also why they both play it correctly from 31:40 (because the first beat of the bar is no longer a rest, and that leads them to the right rhythm).
@@j.s.42822 i think medtner included the rest so that the c/d flat could start on a new measure (because at the start there's a repeat, and I suppose he didn't want to delete the rests in the later passages due to stylistic reasoning). when I play this piece, I don't see the phrase starting on the rest, but rather starting on the f until it lands on the c/d flat. i can't really hear the stress on the a flat that you talked about, though... maybe my ear's just bad😅
@@ConcordMass Well, of course, it's subjective, and I respect your opinion. Maybe I could record how I would play the first few bars sometime in the next days just to compare the sound.
12:25 Rach 3 reference
1:04:33
34:06
The greatest first sonata since Brahms!
Scriabin sonata-fantasy was published in 1898.
@@segmentsAndCurves Isn't the sonata fantasy Scriabin second sonata?
@@Bohh574 I read it as the first greatest sonata smh my head
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