My Favorite Medtner Sonatas
Night Wind Sonata, Op. 25 No. 2
Preferred Recording: von Eckardstein (9.5/10)
This is Nikolai Medtner’s most colossal work, inspired by Tyutchev’s poem of the same name. Despite not having a reputation for writing memorable melodies, the first melody from the introduction is arguably one of the best he ever composed. The piece itself is rich in musical variety, with moments of intensity and fast runs as the wind gathers strength, contrasted by quieter passages when the wind dies down.
2. Sonata Romantica, Op. 53 No.1
Preferred Recording: Gvozdetsky (9.25/10)
The Sonata Romantica is unmistakably a mature work, paired with the Sonata Minacciosa in the Op. 53 set. The highlight of this piece lies in its brief but powerful climaxes—two in the first movement and one in the finale. The second movement, with its high energy and intensity, is probably my favorite scherzo. The short third movement offers a nice moment of respite. This piece excels in its use of varied harmonies, powerful dissonances, and complex textures, creating momentous ebbs and flows throughou
Image of Medtner
3. Sonata Reminiscenza, Op. 38 No.1
Preferred Recording: Gilels (9/10)
To begin the Op. 38 set of forgotten melodies, Medtner chose the sonata reminiscenza that introduces the motifs used in the proceeding miniatures. THe sonata creates a melancholic mood that looks back to an almost tragic past, reminiscing a golden age that has passed. Naturally, the piece features many moments of extreme delicacy, and an intense and wailing climax at the end of the development section. This is perhaps one of Medtner’s most emotionally powerful pieces, yet it is simultaneously fairy-tale-like.
4. Sonata Tragica, Op. 39 No.5
Preferred Recording: Tozer (live) (9/10)
I would choose this piece to introduce someone to Medtner’s music, as it is brief, brilliantly constructed, and so intense that one can easily be absorbed by its flow and the sonata form. The word that best describes this piece is intense. As the final work in the Op. 39 set, it intriguingly recycles a motif from the Op. 39 No. 4 Canzona in a mellow manner that feels completely at odds with the piece’s overall intensity. The coda is especially epic, as the music builds into an overwhelming explosion by the end.
