When I first heard this work (along with the third violin sonata) a few years back, I was in complete awe and it was an absolute revelation to me. Filled with such a magical and sweeping sense of fantasy, mystery, at times ecstasy and other times tragedy. It is one of the all time great masterpieces of the genre, without a doubt, but so criminally unknown and underappreciated
MOVEMENT I (SONATA FORM) INTRODUCTION 0:00 Two motives are introduced: Int-1, a noble motto theme that permeates the entire sonata; and Int-2, with a gentle, caressing contour. Int-1 is immediately subjected to imitation, and Int-2 to diminution in a cadenza-like passage in the violin. 0:56 Int-3, a short repeated-chord figure that resembles the Muse-theme used by Medtner in several other works. This motive reappears in extended form as the movement’s third theme. Second cadenza passage, now in the piano. 1:32 piu mosso, more Int-1. Third cadenza passage, in violin, that leads to… FIRST THEME (G MAJOR) 2:06 T1-1 Bright, rollicking theme with sextuplet accompaniment 2:35 T1-2 Downward chromatic motion SECOND THEME (B MINOR->D MAJOR) 2:58 T2. Turbulent, syncopated theme that seems to ricochet about wildly, passing back and forth between violin and piano. 3:40 T1-1 reappears, leading into T3 THIRD THEME (G MINOR->?) 3:56 Int-1 4:06 T3-1, an extension of Int-3. Somber yet serene melody with little aspiration. Development achieved through repetition in different registers and textural backdrops. 4:27 T3-2. Brief subsidiary phrase that reaches upward then wilts downward. 4:55 Int-1 is woven into the texture against T3-1, increasing tension. CLOSING 5:20 Int-1, Int-2 5:40 T1-1 6:03 Int-1, T1-1. V-I D Major DEVELOPMENT 6:35 T3-1, T1-1. An inverted ninth chord! Somebody call the Vienna Music Society! 7:10 T3-1, with Int-2 accompanying in three different note values (quarter, 8th, 16th). Pedal tones in bass. 7:33 Int-1 appears in the bass, while three simultaneous instances of T3-1 heightens tension 7:57 T1-1 8:10 T1-1, T3-1, with solos for both piano and violin 8:55 T3-2 and T1-2 introduce chromatic motion, darkening the atmosphere 9:44 Chromatic movement in both instruments continue to heighten tension 9:56 T1-1 in menacing bass octaves 10:20 Partial restatement of T2 in development. Second theme does not appear in recapitulation. 10:58 Int-1, T1-1, and Int-2 announce recapitulation RECAPITULATION FIRST THEME (G MAJOR) 11:24 T1-1. Near-exact but truncated repetition. THIRD THEME (C MINOR->?) 12:08 T3-1. Violin accompanies piano entry with delicate pirouettes. 12:35 T3-2 13:02 Int-1 joins T3-1 CLOSING 13:27 Int-1, Int-2 13:47 T1-1 13:57 T2 makes its brief appearance here due to it being in the development 14:30 T1-2 appears in heavy imitation CODA 15:05 Int-1, T1-2. Arrival at G major. 15:34 T1-1, T1-2, Int-1, and T2 return in dense counterpoint, three or four simultaneously CADENZA I 16:39 Int-1 in the piano, while the violin plays a melodic line that includes Cad-1, a similarly contoured 3-note cell that makes up most of the two cadenzas and appears in the final movement’s A theme. Virtuoso cadenza for violin. MOVEMENT II (THEME AND VARIATIONS) THEME 17:49 A plaintive, unmistakably Russian theme in two sections - the violin first plays each section solo, in bleak chords and double-stops, and the piano repeats in fuller harmonization 19:06 Return of A section with arpeggiated accompaniment VARIATION I 19:30 Straightforward embellishment of the theme with triplets, violin scales, and dance rhythms, with some chromatic turns. Cad-1 appears. VARIATION II 21:23 A graceful descending figure is the basis of this variation, while the theme makes fleeting appearances in compressed form amid the texture. Highly chromatic. VARIATION III 23:31 A lively ternary scherzo in A major. Two new melodies are introduced in the violin (the first of which resembles a theme from the Danza of Medtner’s first violin sonata), while the piano plucks out the theme in staccato. 23:56 The B theme appears almost undetectably in the last sixteenth of each beat. 25:26 Return of the A section, with the two new melodies played simultaneously. VARIATION IV 24:46 A busy 6/8 dance. The A theme’s is embellished melodically and rhythmically. VARIATION V 25:50 Theme A is played at double speed in the violin and normal speed in the piano. VARIATION VI 26:30 Tempest-esque two-note slurs pervade this variation, accompanying both A and B sections. 28:49 Balalaika-like strumming concludes the movement. CADENZA II 28:07 Opens similarly to the first cadenza, but the focus is shifted to the piano. 28:58 Sudden pentatonic chords MOVEMENT III (RONDO ABACABA Coda) One of Medtner’s few (only?) rondo forms. It may be seen as a hybrid sonata and rondo form. Of the four A sections, the first and third act as first themes, while the second and fourth act as transitional closing sections bridging B->C and B->Coda. The lyrical B section reaches a huge climax in its second appearance - the “big tune” second theme, as it were. The central C section incorporates A and B section material in addition to its own, thus acting as development. A (G MAJOR) 29:04 Dramatic pentatonic opening comprised of Cad-1. 29:20 A-1. Fanfare-like theme with characteristic rhythm. Underneath, the words “весна идет” (“Spring is coming”). Cad-1 appears in the theme. 29:37 A-2. Falling melodic phrase. major 30:13 A-2, minor 30:19 A-3 B (B MAJOR) 30:59 Violin plays the tender theme (B-1, B-2) over rippling quintuplets in the piano. The constantly unstable harmony prevents a real climax from being achieved. Structurally acts as a sonata’s second theme. 32:11 A sudden staccato chord snaps us out of our trance and leads toward the second A section. A (G MAJOR) 32:22 This section serves mostly as a transition from B to C (i.e. sonata closing theme/section) using A section material. Opens on a I6/4 chord in tonic G major but a resolution is sidestepped. C (ALSO DEVELOPMENTAL) A contrastingly energetic section imbued with lively dance rhythms. 32:59 C-1. Stern chords and bass octaves. 33:13 C-2. Drooping melodic phrase. 33:21 C-3. Fierce repeated notes. 33:40 Counterpoint with C-1 and C-2. 34:03 B-1 appears in the bass. 34:16 C-3, now with A-1. 34:30 B-1 again, in canon. 34:44 A-1 against C-3, building tension towards return to C-1. 35:03 C-1, triumphantly and in canon A (G MAJOR) 35:29 Tonic G major is inconspicuously achieved through ii-V-I movement against static accompaniment. Muted fanfare of root seventh chords announces return of A-1. 35:59 A-2, major 36:26 Fragmentation of A-1 clarifies relation to Cad-1 36:36 A-2, violin 36:41 A-3 B (F MAJOR->?) 36:59 Floating in reverie. B-1 and B-2 in piano left hand, while violin spins out B-2 with fragments of Theme 1-1 and 1-2 (from the first movement, indicating cyclic unity). 38:00 Speed picks up with B-1 in both instruments, arpeggio quintuplets return 38:34 B-2, growing quickly in intensity 38:51 Climax of B-2, and emotional climax of the whole sonata (in my opinion). B-1 sawed out in fortissimo octaves in the violin. A 39:09 A short transition to the coda. Completely chromatic motion. CODA 39:50 T1-1 against chromatically moving A-1 in the bass. 40:27 T3-1 (first movement) peeks out during a brief rest, but is quickly overtaken by… 40:33 A-2, G major definitively reached 40:42 Triumphant return of Int-1 with violin chords and piano 40:52 C-3 41:06 The movement ends with inverted Cad-1, mirroring the opening
Unfortunately, I cut the pdf up into images before annotating it, so all I have is a bunch of .pngs. drive.google.com/drive/folders/18TaLJ3Nqku-0fHuBCvvlVQnijQwfdthE?usp=sharing
That was my thought at first but after many listens and appreciating it over multiple years now at this point, I now regard it as my favorite movement.
When I first heard this work (along with the third violin sonata) a few years back, I was in complete awe and it was an absolute revelation to me. Filled with such a magical and sweeping sense of fantasy, mystery, at times ecstasy and other times tragedy. It is one of the all time great masterpieces of the genre, without a doubt, but so criminally unknown and underappreciated
MOVEMENT I (SONATA FORM)
INTRODUCTION
0:00 Two motives are introduced: Int-1, a noble motto theme that permeates the entire sonata; and Int-2, with a gentle, caressing contour. Int-1 is immediately subjected to imitation, and Int-2 to diminution in a cadenza-like passage in the violin.
0:56 Int-3, a short repeated-chord figure that resembles the Muse-theme used by Medtner in several other works. This motive reappears in extended form as the movement’s third theme. Second cadenza passage, now in the piano.
1:32 piu mosso, more Int-1. Third cadenza passage, in violin, that leads to…
FIRST THEME (G MAJOR)
2:06 T1-1 Bright, rollicking theme with sextuplet accompaniment
2:35 T1-2 Downward chromatic motion
SECOND THEME (B MINOR->D MAJOR)
2:58 T2. Turbulent, syncopated theme that seems to ricochet about wildly, passing back and forth between violin and piano.
3:40 T1-1 reappears, leading into T3
THIRD THEME (G MINOR->?)
3:56 Int-1
4:06 T3-1, an extension of Int-3. Somber yet serene melody with little aspiration. Development achieved through repetition in different registers and textural backdrops.
4:27 T3-2. Brief subsidiary phrase that reaches upward then wilts downward.
4:55 Int-1 is woven into the texture against T3-1, increasing tension.
CLOSING
5:20 Int-1, Int-2
5:40 T1-1
6:03 Int-1, T1-1. V-I D Major
DEVELOPMENT
6:35 T3-1, T1-1. An inverted ninth chord! Somebody call the Vienna Music Society!
7:10 T3-1, with Int-2 accompanying in three different note values (quarter, 8th, 16th). Pedal tones in bass.
7:33 Int-1 appears in the bass, while three simultaneous instances of T3-1 heightens tension
7:57 T1-1
8:10 T1-1, T3-1, with solos for both piano and violin
8:55 T3-2 and T1-2 introduce chromatic motion, darkening the atmosphere
9:44 Chromatic movement in both instruments continue to heighten tension
9:56 T1-1 in menacing bass octaves
10:20 Partial restatement of T2 in development. Second theme does not appear in recapitulation.
10:58 Int-1, T1-1, and Int-2 announce recapitulation
RECAPITULATION
FIRST THEME (G MAJOR)
11:24 T1-1. Near-exact but truncated repetition.
THIRD THEME (C MINOR->?)
12:08 T3-1. Violin accompanies piano entry with delicate pirouettes.
12:35 T3-2
13:02 Int-1 joins T3-1
CLOSING
13:27 Int-1, Int-2
13:47 T1-1
13:57 T2 makes its brief appearance here due to it being in the development
14:30 T1-2 appears in heavy imitation
CODA
15:05 Int-1, T1-2. Arrival at G major.
15:34 T1-1, T1-2, Int-1, and T2 return in dense counterpoint, three or four simultaneously
CADENZA I
16:39 Int-1 in the piano, while the violin plays a melodic line that includes Cad-1, a similarly contoured 3-note cell that makes up most of the two cadenzas and appears in the final movement’s A theme. Virtuoso cadenza for violin.
MOVEMENT II (THEME AND VARIATIONS)
THEME
17:49 A plaintive, unmistakably Russian theme in two sections - the violin first plays each section solo, in bleak chords and double-stops, and the piano repeats in fuller harmonization
19:06 Return of A section with arpeggiated accompaniment
VARIATION I
19:30 Straightforward embellishment of the theme with triplets, violin scales, and dance rhythms, with some chromatic turns. Cad-1 appears.
VARIATION II
21:23 A graceful descending figure is the basis of this variation, while the theme makes fleeting appearances in compressed form amid the texture. Highly chromatic.
VARIATION III
23:31 A lively ternary scherzo in A major. Two new melodies are introduced in the violin (the first of which resembles a theme from the Danza of Medtner’s first violin sonata), while the piano plucks out the theme in staccato.
23:56 The B theme appears almost undetectably in the last sixteenth of each beat.
25:26 Return of the A section, with the two new melodies played simultaneously.
VARIATION IV
24:46 A busy 6/8 dance. The A theme’s is embellished melodically and rhythmically.
VARIATION V
25:50 Theme A is played at double speed in the violin and normal speed in the piano.
VARIATION VI
26:30 Tempest-esque two-note slurs pervade this variation, accompanying both A and B sections.
28:49 Balalaika-like strumming concludes the movement.
CADENZA II
28:07 Opens similarly to the first cadenza, but the focus is shifted to the piano.
28:58 Sudden pentatonic chords
MOVEMENT III (RONDO ABACABA Coda)
One of Medtner’s few (only?) rondo forms. It may be seen as a hybrid sonata and rondo form. Of the four A sections, the first and third act as first themes, while the second and fourth act as transitional closing sections bridging B->C and B->Coda. The lyrical B section reaches a huge climax in its second appearance - the “big tune” second theme, as it were. The central C section incorporates A and B section material in addition to its own, thus acting as development.
A (G MAJOR)
29:04 Dramatic pentatonic opening comprised of Cad-1.
29:20 A-1. Fanfare-like theme with characteristic rhythm. Underneath, the words “весна идет” (“Spring is coming”). Cad-1 appears in the theme.
29:37 A-2. Falling melodic phrase. major
30:13 A-2, minor
30:19 A-3
B (B MAJOR)
30:59 Violin plays the tender theme (B-1, B-2) over rippling quintuplets in the piano. The constantly unstable harmony prevents a real climax from being achieved. Structurally acts as a sonata’s second theme.
32:11 A sudden staccato chord snaps us out of our trance and leads toward the second A section.
A (G MAJOR)
32:22 This section serves mostly as a transition from B to C (i.e. sonata closing theme/section) using A section material. Opens on a I6/4 chord in tonic G major but a resolution is sidestepped.
C (ALSO DEVELOPMENTAL)
A contrastingly energetic section imbued with lively dance rhythms.
32:59 C-1. Stern chords and bass octaves.
33:13 C-2. Drooping melodic phrase.
33:21 C-3. Fierce repeated notes.
33:40 Counterpoint with C-1 and C-2.
34:03 B-1 appears in the bass.
34:16 C-3, now with A-1.
34:30 B-1 again, in canon.
34:44 A-1 against C-3, building tension towards return to C-1.
35:03 C-1, triumphantly and in canon
A (G MAJOR)
35:29 Tonic G major is inconspicuously achieved through ii-V-I movement against static accompaniment. Muted fanfare of root seventh chords announces return of A-1.
35:59 A-2, major
36:26 Fragmentation of A-1 clarifies relation to Cad-1
36:36 A-2, violin
36:41 A-3
B (F MAJOR->?)
36:59 Floating in reverie. B-1 and B-2 in piano left hand, while violin spins out B-2 with fragments of Theme 1-1 and 1-2 (from the first movement, indicating cyclic unity).
38:00 Speed picks up with B-1 in both instruments, arpeggio quintuplets return
38:34 B-2, growing quickly in intensity
38:51 Climax of B-2, and emotional climax of the whole sonata (in my opinion). B-1 sawed out in fortissimo octaves in the violin.
A
39:09 A short transition to the coda. Completely chromatic motion.
CODA
39:50 T1-1 against chromatically moving A-1 in the bass.
40:27 T3-1 (first movement) peeks out during a brief rest, but is quickly overtaken by…
40:33 A-2, G major definitively reached
40:42 Triumphant return of Int-1 with violin chords and piano
40:52 C-3
41:06 The movement ends with inverted Cad-1, mirroring the opening
In some ways the general style of this monumental sonata reminds me of Beethoven's last period. Thanks for posting this gem!
Great to see this back up!
Excellent video! Will one day we can see the e minor sonata analysis?
the final movement of his 2nd piano concerto is also a rondo!
Have you thought about doing this for the third violin sonata? I would love to see it.
thank you very much for posting this!!!!!
great analysis. thanks.
Метнер очень недооценен!
Thank you so much for uploading this masterpiece! Is your annotated score with all the highlighted themes available?
Unfortunately, I cut the pdf up into images before annotating it, so all I have is a bunch of .pngs.
drive.google.com/drive/folders/18TaLJ3Nqku-0fHuBCvvlVQnijQwfdthE?usp=sharing
@@alankuo2402 That's totally okay! Thank you for sharing them
👌👌
The first two movements are absolutely phenomenal, Tragedy, beauty, love. The last movement unnecessary.
That was my thought at first but after many listens and appreciating it over multiple years now at this point, I now regard it as my favorite movement.