The LH in the first occurence of M3 is also of note. The lowest voice descends in fourths (first interval of work, important throughout). The upper voice is a descending chromatic sequence (Ab -> G -> Gb -> F) - an inversion of M3. The middle voice is Fb -> Eb -> C -> Db, which is analogous to a bit of T1,1 - more on that later. You could claim that M6 is comprised of three snippets of earlier subject material - the first four notes of M4 (retrograde) followed by the semiquaver -> dotted quaver (in this case minim) of M2 (which also occurs in altered form in M4) and a section of M5 (Bb -> A -> C). The M5 inversions are so ingenious. T1,1 is comprised of various bits of earlier material. The opening three notes are reminiscent of M1, as well as Medtner's op. 11 no. 2 sonata (this is probably coincidental). Then there is the first four notes of M5 Inverted (twice), followed by the middle voice in the LH of M3 (A -> G -> E -> F#). I wonder whether it is intentional that much of the thematic material is made up of four-note phrases (e.g. M4, M5, M6), considering that the fourth is an important interval in the work.
If I wasn't too lazy, I'd also done a video like this because this sonata is so great. The introduction theme was actually one of the best ASMR trigger for me before the trend was known. Thanks a lot!
I’m sorry, but I think the development starts at 5:00, as the T1,2 and other themes have a new feature in this section. In addition, Medtner marks this episode with double bar line. And the coda starts at 15:38, because, I think, it uses a mirror recapitulation and the main theme appears at the end.
a great insight into the work of a truly underrated composer, thank you for your efforts!
I honestly think that he is more than underrated. He was a genius.
The LH in the first occurence of M3 is also of note. The lowest voice descends in fourths (first interval of work, important throughout). The upper voice is a descending chromatic sequence (Ab -> G -> Gb -> F) - an inversion of M3. The middle voice is Fb -> Eb -> C -> Db, which is analogous to a bit of T1,1 - more on that later.
You could claim that M6 is comprised of three snippets of earlier subject material - the first four notes of M4 (retrograde) followed by the semiquaver -> dotted quaver (in this case minim) of M2 (which also occurs in altered form in M4) and a section of M5 (Bb -> A -> C).
The M5 inversions are so ingenious.
T1,1 is comprised of various bits of earlier material. The opening three notes are reminiscent of M1, as well as Medtner's op. 11 no. 2 sonata (this is probably coincidental). Then there is the first four notes of M5 Inverted (twice), followed by the middle voice in the LH of M3 (A -> G -> E -> F#).
I wonder whether it is intentional that much of the thematic material is made up of four-note phrases (e.g. M4, M5, M6), considering that the fourth is an important interval in the work.
This piece changed my life!
I love the sonata as a whole, but the second theme is just something out of this world! Thank you very much for this upload
What a great analysis! Thank you for sharing!
If I wasn't too lazy, I'd also done a video like this because this sonata is so great. The introduction theme was actually one of the best ASMR trigger for me before the trend was known. Thanks a lot!
I’m sorry, but I think the development starts at 5:00, as the T1,2 and other themes have a new feature in this section. In addition, Medtner marks this episode with double bar line. And the coda starts at 15:38, because, I think, it uses a mirror recapitulation and the main theme appears at the end.
Incredible piece!
I feel like I have heard M6 in another Medtner work. Is it referenced anywhere?
it sounds very similar to the B theme from the Sonata Tragica
His third piano concerto as well. M6 in the third movement, M5 is a slowed down version of a cadenza that happens early in the first movement.
M6 has an uncanny resemblance to the theme of the sonata tragica
Similarly ingeniously constructed as Beethoven's op. 22.
The longest sixteen minutes I have survived through. No offence, I love Medtner