Milne : I. Allegro sostenuto, concentrando - 0:04 II. L'istesso tempo (ma con entusiasmo) - 2:20 III. Fuga: Sempre al rigore di tempo - 8:04 IV. Tempo I, concentrando - 10:56 V. A tempo (con entusiasme) - 12:28 VI. Coda: Sempre animato (al rigore di tempo) - 15:49 Tozer : I. Allegro sostenuto, concentrando - 17:46 II. L'istesso tempo (ma con entusiasmo) - 20:03 III. Fuga: Sempre al rigore di tempo - 26:23 IV. Tempo I, concentrando - 29:03 V. A tempo (con entusiasme) - 30:34 VI. Coda: Sempre animato (al rigore di tempo) - 33:29
Milne's playing here is truly extraordinary... such control but without retaining intensity... colorful and resonant but without losing clarity and precision in articulation. Thanks for these Medtner uploads, you're doing an incredible work!
Both pianist take different approaches here. Milne's playing is extremely clear, delicate, more reserved and definitely showing more the menacing side of the storm, the enigmatic, coming tempest. Where as Tozer plays the explosive side of the storm. His playing is intense, grandiose, collossal, explosive, violent (but never harsh brutality, never "bangy"). He plays less clearer, but the result in my opinion is better, as the fire he puts in his interpretation is wonderful, and listening to him is never boring, a threatening, violent, journey.
I love this Sonata, amazing to hear it in contrasting interpretations that shed different lights upon the monument that this composition is. A colossus cast in granite - with the blazing rays of dawn shone upon it by Tozer and the tenebrous hues of dusk's crepuscular rays from Milne.
![[Brautigam] Ravel: Le Tombeau de Couperin for Piano](http://i.ytimg.com/vi/I_m6hLSpsLc/mqdefault.jpg)
Milne :
I. Allegro sostenuto, concentrando - 0:04
II. L'istesso tempo (ma con entusiasmo) - 2:20
III. Fuga: Sempre al rigore di tempo - 8:04
IV. Tempo I, concentrando - 10:56
V. A tempo (con entusiasme) - 12:28
VI. Coda: Sempre animato (al rigore di tempo) - 15:49
Tozer :
I. Allegro sostenuto, concentrando - 17:46
II. L'istesso tempo (ma con entusiasmo) - 20:03
III. Fuga: Sempre al rigore di tempo - 26:23
IV. Tempo I, concentrando - 29:03
V. A tempo (con entusiasme) - 30:34
VI. Coda: Sempre animato (al rigore di tempo) - 33:29
Milne's playing here is truly extraordinary... such control but without retaining intensity... colorful and resonant but without losing clarity and precision in articulation. Thanks for these Medtner uploads, you're doing an incredible work!
Both pianist take different approaches here. Milne's playing is extremely clear, delicate, more reserved and definitely showing more the menacing side of the storm, the enigmatic, coming tempest. Where as Tozer plays the explosive side of the storm. His playing is intense, grandiose, collossal, explosive, violent (but never harsh brutality, never "bangy"). He plays less clearer, but the result in my opinion is better, as the fire he puts in his interpretation is wonderful, and listening to him is never boring, a threatening, violent, journey.
I love this Sonata, amazing to hear it in contrasting interpretations that shed different lights upon the monument that this composition is. A colossus cast in granite - with the blazing rays of dawn shone upon it by Tozer and the tenebrous hues of dusk's crepuscular rays from Milne.
@@85vesti -- Rakhmaninov was right....what he said about Medtner.....BRAVO from Acapulco!
Thank you for this amazing video! I love the fugato part[s] in this sonata.
Meravigliosa!
Nobody did late-romantic like the Russian.
Nobody did russian late-romantic like Medtner.
0:41