MOVEMENT I 0:05 A section 1:35 B section, first half. The first theme is brought back in four-part harmony. 2:05 B section, second half. A haunting E minor section built around an ostinato (G-F#-A) in the left hand. 2:49 A section. Returns in the wrong key of E major, but quickly moves to tonic G major. MOVEMENT II EXPOSITION 4:30 THEME 1, G MAJOR. The melodic first theme is split into two phrases, each developed separately. 5:18 THEME 2, B MINOR. A lively triplet-based theme, once again split into two distinct parts. Reminiscent of Op. 26, No. 2. Also present in this section is a chordal motive, providing contrast with Theme - first heard at 5:10 but not fully introduced until 5:27. 6:01 A gentle descending cascade brings us to... 6:06 THEME 3, D MAJOR. One of Medtner's finest melodies. First heard in the right hand, then in the left hand beneath right hand filigree. 6:41 T1,1 is brought back in canon, closing out the exposition. DEVELOPMENT 7:07 Theme 1 7:23 Theme 3 7:44 Theme 1 7:51 Theme 1 7:57 Theme 3 8:10 Theme 2 alternates with Theme 3, heightening tension. 8:31 THEME 2, E MINOR. A full restatement of Theme 2 in the development, and a fifth down no less? Medtner pulls a bit of formal trickery here, to be explained below. The gentle cascade that brought us from the B minor Theme 2 to the D major Theme 3 now brings us instead from E minor to... RECAPITULATION 9:23 THEME 1, G MAJOR. Diminished note values. 9:46 Since Theme 2 was already heard in full in the development, what does Medtner use to replace it? Both halves of Theme 1, compressed into triplets and barely recognizable. Marked vivo, giocoso, in the spirit of Theme 2. 10:02 Transition to Theme 3, built on T1,2. 10:17 Theme 3 returns ff, molto sostenuto, maestoso. As pianist Paul Stewart says, "one of the great moments in all Medtner". Medtner, not often one for prolonged climax, quickly whisks us off through a chromatic fog (10:50) into... CODA 10:56 Theme 2 is brought back, being mostly absent in the recapitulation. The music gently tapers off, and the final arpeggio leaves the entire compass of the keyboard resonating with G major. From analysis of Alan Kuo's video of this sonata : www.youtube.com/watch?v=YjyUI...
Tozer what a tragedy.Truly a great master.Saw him at the Sydney Opera house.What he got out of the Steinway D very few can do.Always loved his commentary on the pieces he performed.
![Medtner - Piano Concerto No. 2 (Tozer) [200 subscribers Special]](http://i.ytimg.com/vi/X6Bai6h3Gds/mqdefault.jpg)
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MOVEMENT I
0:05 A section
1:35 B section, first half. The first theme is brought back in four-part harmony.
2:05 B section, second half. A haunting E minor section built around an ostinato (G-F#-A) in the left hand.
2:49 A section. Returns in the wrong key of E major, but quickly moves to tonic G major.
MOVEMENT II
EXPOSITION
4:30 THEME 1, G MAJOR. The melodic first theme is split into two phrases, each developed separately.
5:18 THEME 2, B MINOR. A lively triplet-based theme, once again split into two distinct parts. Reminiscent of Op. 26, No. 2. Also present in this section is a chordal motive, providing contrast with Theme - first heard at 5:10 but not fully introduced until 5:27.
6:01 A gentle descending cascade brings us to...
6:06 THEME 3, D MAJOR. One of Medtner's finest melodies. First heard in the right hand, then in the left hand beneath right hand filigree.
6:41 T1,1 is brought back in canon, closing out the exposition.
DEVELOPMENT
7:07 Theme 1
7:23 Theme 3
7:44 Theme 1
7:51 Theme 1
7:57 Theme 3
8:10 Theme 2 alternates with Theme 3, heightening tension.
8:31 THEME 2, E MINOR. A full restatement of Theme 2 in the development, and a fifth down no less? Medtner pulls a bit of formal trickery here, to be explained below. The gentle cascade that brought us from the B minor Theme 2 to the D major Theme 3 now brings us instead from E minor to...
RECAPITULATION
9:23 THEME 1, G MAJOR. Diminished note values.
9:46 Since Theme 2 was already heard in full in the development, what does Medtner use to replace it? Both halves of Theme 1, compressed into triplets and barely recognizable. Marked vivo, giocoso, in the spirit of Theme 2.
10:02 Transition to Theme 3, built on T1,2.
10:17 Theme 3 returns ff, molto sostenuto, maestoso. As pianist Paul Stewart says, "one of the great moments in all Medtner". Medtner, not often one for prolonged climax, quickly whisks us off through a chromatic fog (10:50) into...
CODA
10:56 Theme 2 is brought back, being mostly absent in the recapitulation. The music gently tapers off, and the final arpeggio leaves the entire compass of the keyboard resonating with G major.
From analysis of Alan Kuo's video of this sonata :
www.youtube.com/watch?v=YjyUI...
This sonata is so sublime, heartwarming and it's great finish of his all piano sonatas.
Tozer :
00:05 - I. Pastorale : allegretto cantabile
04:30 - II. Allegro moderato e cantabile
Wild :
12:20 - I. Pastorale : allegretto cantabile
15:36 - II. Allegro moderato e cantabile
10:02-10:33 is one of my favorite Medtner passages... so cathartic
One of my favorites by him
Superb.
Beautiful! Thank you so much for your hard work in getting this uploaded!
Tozer what a tragedy.Truly a great master.Saw him at the Sydney Opera house.What he got out of the Steinway D very few can do.Always loved his commentary on the pieces he performed.
Ydylle, indeed and so lovely. 🌷🌷🌷♥ (Holland )
Earl Wild has recorded Medtner ok :D
3:49 - 4:06 sounds like something late Beethoven would write
1:22 Ravel