Lugansky - Medtner, ‘Forgotten Melodies’, Op. 38
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- เผยแพร่เมื่อ 25 มิ.ย. 2024
- Nikolai Medtner (1880-1951)
‘Forgotten Melodies’(“Vergessene Weisen”), Op 38 (1916-1922), Part 2-8
Nikolai Lugansky, 2016
From Mariinsky Theatre
[0:00] II. Danza graziosa. Con moto leggièro
[2:48] III. Danza festiva. Presto
[8:14] IV. Canzona fluviala. Allegretto con moto
[11:33] V. Danza rustica. Allegro commodo
[14:00] VI. Canzona serenata. Moderato
[18:35] VII. Danza silvestra. Allegro
[22:20] VIII. Alla Reminiscenza. Quasi coda
“It will also do no harm to remember that the same Bach, who in some rare instances, actuated by a peremptory command of the theme and its contrapuntal development in various voices, slips for a brief moment into the roughness of a vertical segment, i.e., chord, that same Bach, enriched music by astounding chord-harmonies that make him into a sort of prophet of Wagner and Liszt. And in a similar way Chopin, relinquishing the specific forms of homophony and abandoning his usual scheme of melody vs accompaniment, has given us examples of the most perfect counterpoint.” (on Harmony and Counterpoint)
“It is wrong to identify the past with age, and the present and future with youth. For if we speak at all of time, its passage is from youth to age, and not vice versa. However, the domain of the spirit has no idea of time. Therefore when we think of our youth, our soul is rejuvenated, but when we merely wear clothes that beseem youth, e.g., just follow the fashion, we merely affect youth, but don’t get any younger.” (on Modernism)
“After the expulsion from the Paradise of Art, such as was, for instance, the Renaissance epoch in Italy, or the efflorescence of music in Germany, when artistic creation was in the hands not only of individuals, but of collective forces, not only of geniuses, but whole schools, not of one single generation, but of many - we, exiles scattered all over the world, detached from all heritage and succession, must earn our works of art by hard labour, like miners, and not attempt to pluck them like the flowers of the fields, as we saunter through them.” (on Creation)
Nikolai Medtner, “The Muse and the Fashion” (1935), translated by A. Swan - เพลง
Nikolai Lugansky might not only one of the greatest pianists of our time, but probably among the greatest champions of Medtner's music ever. He pays attention to every little detail of Medtner compositional style. It's Mesmerizing! Listen to the left hand octaves at 5:18, and the right hand melody at 5:27. Wow, such control of the piano and the dynamics, melody, tone color...
Such an enchanting performance of the precious jewel that Medtner "mined" through his "works of art by hard labour". Lugansky's incredible mastery of the piano allows him to express every artistic and musical facet of this timeless gem. I was completely absorbed by this performance. Thank you for the post.
Merveilleux Medtner interprété par N. Lugansky, merveilleux pianiste...
Medtner is so cool, and takes us on such enjoyable journeys.
Great performances of fascinating and often neglected ("forgotten") pieces. Medtner's Muse is a different one, but tremendously moving once recognised and accepted.
The "Forgotten Melodies" is such a marvellous composition with its many melancholic themes, changes in mood and dynamics that it makes a perfect backdrop for the admirable service rendered by Lugansky, arguably the most phenomenal and accomplished pianist in the world. The clarity, depth and artistry of this interpretation are quite out of this world, a unique experience !
VERY WELL WRITTEN, BUT I WOULD NOT PLACE LUGANSKY OVER ANDRE WATTS. NOR WOULD I MYSELF PLACE WATTS OVER LUGANSKY.
(I JUST LEFT A COMMENT ABOUT LUGANSKY ON THE RACHMANINOFF
OP. 23, #2 PRELUDE POSTED ON THIS CHANNEL
,A SHORT TIME AGO, WHICH I VERY MUCH IMAGINE YOU SHALL APPRECIATE.
Thank you very much for sharing Medtner's insight, which beautifully fights unique thought (on art).
There is more in music than melody and rythm, and this more fills every Lugansky's interpretation. Many pianists, searching this more, tend to become mannered, where Lugansky is true.
He got the strength of Richter (almost) and the sensuality of Sofronitsky.
Full of emotion.
Amazing performance ever
Гениально, Маэстро! Браво! ❤️🌹🌹🌹
Very,😍 very good - I'm always on the lookout for fine Medtner playing and I enjoyed that a lot
As a programming choice, playing a set of little character pieces to close a program is sometimes hazardous. But these are so strong and individually persuasive, that it works beautifully as a way to end things. The powerful, ecstatic coda at the end is a wonderful way to send people off on their way home in the night. Lugansky catches the mood and character of each one perfectly. One is reminded of Cortot playing the Preludes of Chopin, magically portraying the mood of each one so perfectly, individually.
Wonderfully satisfying. The set stands on its own quite well and does not need the help of the sonata to go with it.
I've no words for such a dazzling performance, only 🤯🤯🤯🤯🤯
I've been hoping that some day someone would upload it, A BIG HUG and THANKS!!
We have Forty-Three (a channel viewer) to thank for it, who pointed me to the right direction of this recital!
Потрясающий МАСТЕР!
Wow - 21:32 is just incredible
Thank you so much I love this so much!!!
Шикарно сыграно!
What lovely playing
Some interesting Medtner compositions out there.....🙂
Really touching
Браво!!!
This is really a THAT impressive performance of these horribly difficult pieces. I'm completely amazed hearing them this way, though I own the recording of the omnivorous micacle of Marc André Hamelin.
You should at least try to learn the last one. It's not that hard. I have intermediate grade students who can play It passably. It is arguably the most wonderful of the set.
@@lagunagreg4019 Possible, I only played number 2 and 3 of this registration. Right now, I'm exersizing the Skaszki, in casu opus 8 number 2. That's the real thing.
It sounds like the seventh piece is very difficult. But it sure is great!
Did this concert not include Sonata Reminiscenza?
Correct, it did not.
Who cares if it did? The set of character pieces stands remarkably well on its own. The sonata would only have been a distraction.
Là, il nous verse dans un répertoire quasi totalement ignoré chez nous, et je ne suis même pas sûr que beaucoup de ses concitoyens le connaisse....
Why is the first movement not included?
Is anyone who know how to obtain the partitions?
Quelqu'un sait-il comment obtenir les partitions des Mélodies Oubliées de N. Medtner. Impossible en France!
Try amazon US
The parts exist in 3 editions as I can see
17:57 is this in any edition? Quite a simple passage for maestro to make a mistake here.
Who cares? Mistakes happen all the time in live performances even among the very best players.
Sadly he didn’t play the Reminiscence Sonata which is the first piece of this set, and created a perfect circle with the last part, “reminiscence.”
Since they used the same melody but one in minor and the other in major.
Oh I disagree entirely. The set, as character pieces, stands exceptionally well all in its own, each one strong and individual. The sonata is not the best work in that opus, and it would have rather overshadowed and dragged down the other pieces.
@@lagunagreg4019 Interesting. Which is the best one in the set, in your opinion?
They're each so strong and individual, I really couldn't say. I find myself very attracted to the coda at the end, but that is just a personal preference.
@@lagunagreg4019 I see. That's some based Medtner. Too charming to be judged.