KELLER, Charles William, 1930- THE PIANO SONATAS OF NICOLAS MEDTNER.
The Ohio State University, Ph.D., 1971 Music
i University Microfilms, A XERP\Company, Ann Arbor, Michigan
O C opyright by
Charles William Keller
1971
THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED THE PIANO SONATAS OF NICOLAS MEDTNER
DISSERTATION
Presented In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University
By
Charles William Keller, B.A., M.M.
The Ohio State University
1971
Approved by
A dviser / Department of Music PLEASE NOTE:
Some Pages have in d istin ct p rin t. Filmed as received.
UNIVERSITY MICROFILMS ACKNOWLEDGMENTS
I wish to thank ray major adviser. Dr. Herbert Livingston, for his helpful advice and criticism of all matters relating to this study.
Dr. Norman Phelps provided pertinent suggestions concerning harmonic details and Dr. Keith Mixter made necessary criticism s.
I am also indebted to the librarians of the Library of Congress, the New York Public Library at Lincoln Center, and to Olga Buth of the
Ohio State University Music Library for making materials available to me. Research done for me by Serge Ageev of Moscow and by E. N. Alek seev a, d ir e c to r o f th e C e n tra l Museum o f M usical C ulture in Moscow, was of considerable importance.
The encouragement of correspondence with Madam Olga Conus and with Dr. Alfred Swan, before his death, provided inspiration. Finally
I am most grateful for my wife, Shirley, who was the patient typist of this manuscript. October 1, 1930 ...... Bom - Rolette, North Dakota
1952 ...... B. A., Hamllne University, St. Paul, Minnesota
1952-1956 ...... U . S . Navy
1958 ...... M.M., University o£ Michigan, Ann Arbor, M ichigan
1958-1971 ...... Assistant Professor, Department of Music, Ohio Wesleyan University, Delaware, Ohio
FIELDS OF STUDY
Major Field: Music History
Professors: Richard Hoppin, Keith Mixter, Herbert Livingston and Norman Phelps
Minor Field: Piano
Professor: Claudette Sorel TABLE OF CONTENTS
Page ACKNOWLEDGMENTS ...... l i
VITA ...... I l l
LIST OF TABLES...... v i
ABBREVIATIONS...... v l l l
INTRODUCTION ...... 1
Chapter
I . THE HISTORICAL POSITION OF THE SONATAS...... S
I I . MEDTNER'S SONATA FORM 15 ,
I I I . THE SONATAS...... 26
Op. 5 ...... 26 F i r s t Movement...... 29 Second Movement ...... 40 Third Movement ...... 44 Fourth Movement ...... 49 Op. 11, No. 1 ...... 57 Op. 11, No. 2 ...... 70 Op. 11, No. 3 ...... 76 Op. 22 ...... 97 Op. 25, No. 1 ...... 108 First Movement . . . 110 Second Movement ...... 116 Third Movement ...... 122 Op. 25, No. 2 ...... 128 Op. 27...... 156 F irst Movement...... 157 Second Movement ...... 167 Op. 30 ...... 182 Op. 38, No. 1 ...... 202 Op. 39, No. 5 ...... 220 Op. 53, No. 1 ...... 234 F irst Movement...... 234 Second Movement ...... 243 iv Third Movement ...... 254 Fourth Movement...... 260 Op. 53, No. 2 ...... 278 Op. 56 302 First Movement...... 302 Second Movement ...... 307
IV. TECHNIQUES OF COMPOSITION IN THE SONATAS...... 319
A. F o rm s ...... 319 B. Features of Sonata-Allegro Forms...... 322 1. The Introductions ...... 322 2. The Expositions ...... 323 3. The Developments ...... 325 4. The Recapitulations ...... 327 5. The Codas ...... 329 C. H arm ony ...... 330 D. C o u n terp o in t...... 334 E. Thematic Development...... 335 F. Cyclic Features and Other Unifying Elem ents...... 338
V. . .CONCLUSIONS...... 341
A. C hronological F e a tu re s...... 341 B. The Import of Medtner's Sonatas ...... 343
BIBLIOGRAPHY...... 346 LIST OF TABLES
Table Page
1. Formal Features of Beethoven's Corlolanus, Op. 62. 19 2. Formal Comparison of First Movements of Beethoven, Op. 57; Brahms, Op. 5; M edtner, Op. 5 . . . 27
3. Formal S tru c tu re o f F i r s t Movement (A lle g ro ), Op. 5 30
4. Form o f Second Movement, O p . 5 ...... 40
5. Foraal Structure of Third Movement, Op. 5 ...... 44
6. Formal Structure of Fourth Movement: Finale, Op. 5 50
7. Formal S tru c tu re o f Op. 11, No. 1...... 58
8 . Formal S tru c tu re o f Sonata E le g ie , Op. 11, No. 2 . 70
9. Formal S tru c tu re of Sonata in C, Op. 11, No. 3 . . 76
1 0 . Formal S tru c tu re o f S onata, Op. 22 ...... 92
11. Formal S tru c tu re o f Op. 25, No. 1...... 109 12. Formal S tru c tu re o f F i r s t Movement, Op. 25, No. 1 110
13. Phrase Lengths o f Themes o f F i r s t Movement, Op. 25, No. 1 ...... 111
14. Formal S tru c tu re of Second Movement, Op. 25, No. 1 118
15. Formal S tru c tu re of Third Movement, Op. 25, No. 1 122
16. S ectio n I , S onata, Op. 25, No. 2 ...... 129
17. S ectio n I I , Sonata, Op. 25, No. 2...... 130
18. Form o f F i r s t Movement, Op. 27 ...... 157
19. Form o f Second Movement, Op. 27 ...... 169 Structure of Fugal Section, Development of F in a le , Op. 2 7 ...... 177
21. Formai Structure of Sonata, Op. 30 . . . . 183
22. Formai Structure of Development, Op. 30. . 192
23. Formai S tru c tu re o f Coda, S onata, Op. 30 . 198
24. Formai Structure of Sonata Reminlscenza, Op 38 No. 203
25. Formai Structure of Sonata Tragica, Op. 39, No. 5. 221
26. Formai Structure of First Movement, Op. 53, No. 1. 235
27. Form ai S tru c tu re o f Second Movement, Op. 53, No. 1 244
28. Formai Structure of Third Movement, Op. 53, No. 1 255
29. Formal S tru c tu re of F ourth Movement, Op. 53, No. 1 261
30. C y clic F e a tu re s, Coda o f F in a le , Op. 5 3, No, 269
31. Formal S tru c tu re of Op. 53, No. 2 .... 279
32. Form of th e E x p o sitio n , Op. 53, No. 2 . . 280
33. Form of th e Development, S ectio n I , Op. 53 No. 287
34. S tru c tu re of th e Fugue, Op. 53, No. 2 . . 291
35. Form o f th e R e c a p itu la tio n , Op. 53, No. 2. 293
36. S tru c tu re of th e Coda, Op. 53, No. 2 . . . 297
37. Form o f F i r s t Movement, Op. 56 ...... 303
38. Form o f Second Movement, Op. 56 ...... 307 ABBREVIATIONS
N. M etner, Sobranle so c h in e n ll, ed. A. F. Gedlke e t a l . (13 V o ls.; Moscow: Gozudarstvennoe m uzikal' noe izdatel'stvo, 1959—).
Alfred J. Swan, "Das Leben Nikolai Medtners, 1880- 1951," Musik des Ostens. Bd. 4 (1967), pp. 65-116.
ext extension meas measure mo motive, or group of motives; less than a themii
Th theme
S subject of a fugue |
A answer of a fugue ep episode of a fugue
Capital letters refer to major keys; small case letters refer to minor keys. An arrow (—>) implies modulation. In the tables, numbers In parentheses refer to the measure lengths of subdivisions, e.g., e x p o sitio n 50, Theme group 1 (2 3 ). INTRODUCTION
1. The Purposes of this Study
Nicolas Medtner (1880-1951) was both a composer and a per
forming pianist. He was not a teacher of composition but was a
teacher of piano at the Moscow Conservatory during the pre-Revolu-
tionary years. His livelihood, after leaving Russia in 1921, was maintained through concert tours, the sale of compositions, and near
the end of his life by the patronage of the Maharajah of Mysore. Medt ner played his own music extensively and was given the opportunity of •
recording many of his compositions for the Medtner Society, founded by
the Maharajah. Medtner was in the process of making these recordings
from 1946 until his death in 1951.^ Together with a number of short
piano pieces, two sonatas were recorded by Medtner—Op. 27 and Op. 39,
No. 5. Pianists who performed Medtner's works during his lifetime in
cluded Horowitz, La Liberté, Moiseiwitsch, and Rachmaninoff. The latter
dedicated his fourth piano concerto to Medtner.
Medtner played concerts in Russia, Germany, France, England,
Scotland, the Baltic countries, the United States and Canada. Each
of his sonatas was performed by him in concert, as were the works of
other composers. Medtner was much revered in Russia as a composer.
Anna Medtner, "A Short Biography,!' Nicolas Medtner, A Memorial Volume, ed. Richard Holt (London: Dennis Dobson, Ltd., 1955), pp. 20-21. 2 performer, and teacher but had difficulty in establishing himself as a significant composer outside of Russia. The difficulty arose prin cipally be ause of his traditional concepts, for the musical world was occupied in attending to the upheavals produced by Debussy, Stravin sky, and Schoenberg.
Some recent studies from Russia, notably by Dolinskaia^ and
Vasilyev^, and a publication of the collected works (1959— show a renewed interest in Medtner in the USSR. Also the 1967 biography by
Swan^, a w riter of a number of articles on Medtner, exemplified his continuing enthusiasm for this composer.
This study seeks to show the constructive principles employed by Medtner in writing his piano sonatas and to illuminate the his torical position of these sonatas. The first of these purposes pre supposes a formal analysis of each work. Emphasis is placed upon melodic construction and structural-tonal schematization. Each sonata is analyzed by observing the larger formal dimensions and then proceed ing to the specific thematic and tonal materials. Special stress is placed upon the importance of motivic construction in the shaping of thematic m aterials. Harmonic features are considered in the relation ships of tonal levels and chordal formulas to the overall scheme of themes and formal divisions. From the analytical study emanate gen-
^Elena B. D o lin sk aia, Nikolay Metner (Moscow: M uzika, 1966).
^P. V asily ev , F o rtep ian n ie s o n a ti M etnera (Moscow: M uzgiz, 1962).
^N. Metner, Sobranie sochienenii. ed. A. F. Gedike et al. (13 Vols.; Moscow: Gozudarstvennoe muzikal’noe izdatel'stvo, 1959—).
^Alfred Swan, "Das Leben Nikolai Medtners, 1880-1951," Musik des O sten s, IV (1967), pp. 65-116. 3 erallzatlons of Medtner's style.
In order to view the sonatas from an historical perspective the Influential predecessors of Medtner are studied. The Influences of Medtner's teachers and contemporaries are also considered. The composer's own writings shed light upon his compositional methods and are applied to the analysis.
The sonatas as a unit were chosen for this study for the follow ing reasons: of Medtner's compositional output of slxty-one opus num bers, the fourteen sonatas exist as a large category; the sonatas span his compositional career; In comparison to other composers of piano sonatas since Beethoven, Medtner's works supply a large as well as significant contribution. The only other composer of a large number of plane ürnatas In the twentieth century has been Medtner's compatriot,
Prokofleff.
2. Editions of the Sonatas and the Two Medtner Archives
This study Is based upon the collected works of Medtner
(NMSS), volumes 1-4. The chief editor, A. F. Gedlke, a composer and pianist and a professor at the Moscow Conservatory was assisted In this edition by the director of the Conservatory, A. B. Goldenvelzer, and others. The collected works Is not In the form of a critical e d itio n .
Wlien available the original editions were consulted. These were th e sonata^r Op. 5 , Op. 11, Op. 27, Op. 38, Op. 39, Op. 53, No. 1, and
Op. 53, No. 2. No d isc re p an c ie s among the e d itio n s were found. NMSS publishes the revised 1955 edition of the first sonata. Op, 5. The origins! 1904 edition of this sonata was also consulted. None of the other sonatas was revised.
Collections of Medtner's materials and manuscripts are situ ated In Washington, D. C. and Moscow. The Medtner Archives in the
Library of Congress are chiefly found In a set of uncatalogued blue boxes, 12 X 14 X 4 Inches. The boxes contain four files of letters
In English, Russian, French and German. About one hundred of the letters are from Rachmaninoff. A large number of letters from the
Canadian pianist, Alfred La Liberté, remain sealed. The Washington archives also include four files of press notices, one file of photo graphs, one book (compiled by Anna Medtner) of press cuttings and notices of Medtner's recordings. Letters of condolence received upon
Medtner's death and two autographed songs together with poetry books ' chiefly related to Medtner's song output complete the collection.
The Moscow c o lle c tio n i s housed in th e C en tral Museum of M usical
Culture named after Glinka. The Medtner materials are catalogued under
the following headings; musical compositions, literature, letters
(both those of Medtner and those addressed to him), diaries, pub
lished m aterial, notes, books, programs, posters and photographs.
The manuscripts of the piano sonatas were presented to the museum by
Medtner's niece, Jarasova Vera Pavlovna, in 1952, the year following
Medtner's death.^
®The information concerning the Moscow archives was supplied through correspondence with Serge Ageev, who did research for me, and E. N. A lekseeva, d ir e c to r of th e museum. THE HISTORICAL POSITION OF THE PIANO SONATAS
Medtner's works besides the sonatas chiefly Include short piano pieces, chamber works, songs, and three piano concertos. Almost all of this output was published during his lifetime.
The sonatas of Medtner were written between 1904 and 1937. In his book. The Muse and the Fashion,^ Medtner, always a conservative composer, speaks out against the unnamed musical revolutionaries of this period, and especially against those who would seek to destroy tonality. His god was Beethoven as is evidenced in the numerous refer ences to that composer in his book and in the programs and press notices of his piano recitals.^
Medtner speaks of the "divine form of a Beethoven sonata or symphony,"^ and says "The greatest representative of this [sonata] form,
Beethoven, conceived his sonatas and symphonies as one song, which by the simplicity of its theme and its vertical correlation, from the beginning to the end of each of his works, illumined to us the whole
^Nicolas Medtner, The Muse ana the Fashion, trans. (from the Russian ed. of 1935] Alfred J. Swan (Haverford, Pa; Haverford College Bookstore, 1951).
^Library of Congress, Medtner Archives, uncatalogued m aterial.
Medtner, op. cit., p. 17. complexity of his architectonic constructions, i.e ., of his horizontal
correlation."^
It is important to note especially the quoted opposites—sim
plicity and complexity—for Medtner evidently believes that if a com
plex form (i.e., a sonata) is to be successful, the theme must be
sim ple.
The French organist and composer, Marcel Dupre, was a close
friend of Medtner from their first meeting in 1926 until Medtner's
death. Concerning Medtner's bond with Beethoven, Dupre wrote:
. . . he is not related to Brahms or any other Russian master he loved, but to Beethoven. I myself think that is the reason for his preference for the piano sonata, within which framework his thought moved easily, and which he filled with his fervent and tragical sensitiveness. . . . Possessing a marvelous technique of unlimited possibilities carried to the point of perfection, he remained, when at the piano, Impetuous, emphatic and free— which is to say he was a bom interpreter of Beethoven.5
The majority of Medtner's recital programs consisted of his own music. "In later years he confined his attention as pianist almost
entirely to his own varied output, and to Beethoven . . ."^
Curiously only four works of Beethoven appear in his concert
programs and these are found repeatedly. The compositions are Sonata,
Op. 53 ("W ald stein "), S onata. Op. 57 ("A p p assio n ata"), T hirty-tw o
V a ria tio n s in c , and Piano Concerto No. 4 , Op. 58.^
Parcel Dupre, "Medtner as Interpreter," Nicholas Medtner. A Memorial Volume, ed. Richard Holt (London: Dennis Dobson, Ltd., 1955) pp. 106-107.
^Arthur Alexander, "Medtner as Pianist," Holt, ibid. . p. 93.
^Medtner wrote his own cadenzas to the first and third movements of this concerto. These are found in NMSS, II, 75-86. 7
A review of Medtner's performance of the concerto with the
New York Philharmonic Society Orchestra illustrates a contemporary criticism of his pianistic proficiency:
. . . Mr. Medtner's excellent performance of the Beethoven concerto did not surprise those who had heard him as recitalist and soloist . . . He played with a very beautiful quality of tone, with a fine sense of the delicate proportions of the most Romantic of Beethoven's compositions for piano and orchestra and with a restraint that matched his comprehension of the composer . . .8
These four large piano works were all written by Beethoven between 1804 and 1807. Certain features of these two sonatas by
Beethoven include a number of traits that are common with Medtner's s o n a ta s . ^
Both Op. 53 and Op. 57 a re th re e movement s tr u c tu r e s w ith their middle or slow movements united with the finales by (1) an unresolved chord and (2) an indication attacca. In the multi-movement sonatas of Medtner the solutions for unification may include not only these external elements but thematic-motivic interrelationships as well. (Beethoven employed interlocking devices in Op. 101 where the first theme of the sonata reappears before the finale and in
Op. 110 where the return of material from the slow section is inserted into the final movement.
®01in Down 27, 1924, p. 25.
^ S p e cific f e a tu re s common to Op. 57 and M edtner's Op. 5 a re discussed on pp. 27-29.
^®The cyclic element in the sonata form has been found as early as Mozart's Sonata, K. 46d of 1768. Other early instances are to be found in a number of sonatas by Haydn and Mozart. (Karl Marx, "Uber die zycklische Sonatenformen—zu dem Aufsatz von Gunther von Noe," Neue Zeitschrift fur Musik, CXXV [1964], 142-46. The sonata-allegro forms of the first movements of Op. 53 and Op. 57 display closely symmetrical divisions with almost equally large codas. The divisions—exposition, development, recapitulation, coda—of the "Waldstein" have measure lengths in the proportions of
89:66:94:54; those of the "Appassionata" are 65:71:68:60. It w ill be seen that Medtner displays equal concern for the architectural balance of his sonata-allegro movements. The tonal plans of the two movements in question reveal key level relationships at the interval of a third: the "Waldstein" in the exposition (C-E) and recapitulation (C-A-C), the "Appassionata" in the exposition (f, A-flat, a-flat) and the development (E, e, c, A-flat; D-flat, b-flat, G-flat). Medtner at times employs similar tonal relationships although half-step relation ship* are often in evidence.
The thematic structures of both expositions by Beethoven involve three theme groups: a non-lyric principal theme, a lyric second theme and a closing theme. In the case of Op. 57 the second theme is an obvious product of the first theme. In both sonatas the first theme groups emphasize rhythmically defined motives and disjunct linear movement; in contrast, the second theme of each is, rather than a succession of motives, a single, unified element.
This is apparent in Op. 53 in a second theme of stepwise descending- ascending movement with vertical accompaniment; in Op. 57, a second theme derived from motives of the principal theme, the ascending-de scending movement is accompanied by a broken chord figure. In the succeeding study it w ill be noted that Medtner distinguishes between a theme and a melody. In the majority of his sonata movements, like 9 these two by Beethoven, the principal theme is a "theme," a motivic
complex without lyric intent; the second (or some other later theme)
is a "melody," a lyric unit, generally longer than a theme and with
less rhythmic contrast of motives.
Other features of these two sonata movements that are also
found in many instances in Medtner's sonatas are the development of thematic material outside of the proper development section, a certain amount of divisional overlap (especially in Op. 53 and Op. 57 between the exposition and development and between the recapitulation and coda), and in the anticipation of themes or divisions in previously juxtaposed material (Op. 53, Theme 2 and the recapitulation).
Although Beethoven was not the only influence upon Medtner as a composer, the sonatas of Medtner are in a direct line emanating from Beethoven. Other influences are to be found in his own writings.
Press notices and concert programs from 1924 through 1944 are indicative of his touring activities. Medtner made two American tours. The first, in 1924-1925, was organized by the Duo-Art Company.
The tour lasted from October to April, and included performances with orchestras in New York and Philadelphia with Stokowski, in Cincinnati with Reiner, and in Chicago with Stock. Medtner realized $3000 from this tour, enough at that time for "the future to be assured for a w h ile " .T h e second American tour, in 1929-1930, was directed by the Steinway Company and also netted $3000.^^ A Carnegie Hall per formance of his own works on January 18, 1930, was attended by a
l^DLNM, pp. 91-92. ^^DLNM, pp. 101. 10
"brilliant audience". The recital included his Sonate-Ballade, Op. 27, which was described as "following the classic models . . . but not bound too closely by formal standards".
In 1927, Medtner returned to Russia for a tour which included
Moscow, Kiev, Charkov, Odessa and Leningrad. His first recital in
Moscow was attended by "the most distinguished figures in Moscow's musical life".^^
Medtner often performed in London, where ;he periodically main tained residence. The critic for The Times during this period was
Ernest Newman. Reviews of Medtner's concerts in The Times report the follow ing perform ances o f works by th e composer: S onata, Op. 11, No. 3 and various songs [with Tatiana Makushina] (Feb. 17, 1928); Piano
C oncerto, Op. 50 (Nov. 2 , 1928); S onata, Op. 53, No. 2 (Jan. 21,
1935); S onata, Op. 56 and S onata,Op. 57 [a v i o li n so n ata] Feb. 13,
1939); Piano Concerto, Op. 60 [with Sir Adrian Boult] (Feb. 21, 1944).
Although the early recital programs (before 1924) are not dated, others range over a twenty-one year period. The repertoire as found in the concert programs is surprisingly small and repetitive.
The works performed were: Scarlatti, Four Sonatas (no further identi fication given); Bach, Partita in B-flat and Bach-Busoni, Chorale Pre lude in E-flat (Wachet auf); Chopin, Fantasia in f. Polonaise in e-flat, and various Etudes; Liszt, Valse oubliée. Feux follets, and
^-"N. Medtner Returns in Own Compositions," New York Times, Jan uary 18, 1930, p. 22.
^^"Moscow A ddress," H o lt, op. c i t . , p . 233. 11 Gnomenrelgen.
Medtner refers to a number of composers, but briefly, in
The Muse and the Fashion although he carefully avoids the names of his contemporaries. He mentions the "marvellous development of
themes" of Wagner,and well he may for intensive thematic development
is a characteristic of Medtner's sonata composition. He recalls
listening to the "new works of Tchaikovsky, Brahms, and Grieg" in h is youth.Although Dupre did not find a relationship between
Medtner and Brahms, Medtner acknowledged his debt to this composer
in a letter of 1919 to his brother, Emil.
I feel that I have exceedingly messed up much in this [first concerto], and although it makes laughing sounds, I think that Brahms never dreamed of such music . . .Perhaps I have yet a large amount of Brahms within me—he is truly a fabulous master. I think however of my Muse, who appears as the sister or even the daughter of Brahms, with whom I would never be in agreement.
Although this quotation is enigmatic, it can be seen that
Medtner himself believes that although he s till has "a large amount of Brahms" within him he is no longer "in agreement" with Brahms's
ideologies. Medtner was, especially in Russia, often dubbed "the
Russian Brahms". Joseph Yasser, who considered this referral as
incongruous, states that Medtner and Brahms are "quite dissimilar in
^^Rachmaninoff's Etudes tableaux and Preludes are added to this repertoire in a book dealing with Medtner's piano instruction methods: N. Medtner, Povsednevnaia rabota pianista e kompozitora, ed. M. A. Gurvich and L. G. Lukomskii (Moscow: Muzgiz, 1963) p. 4.
^%edtner, op. cit. , p. 85.
l^Ibid., p. 79. 1®DLNM, p. 87. style and contents save a few technical traits".Kirby l i s t s many
of the following technical traits of Brahms,and these are general
traits of Medtner as well. The dense texture of Brahms with full
chords and doublings is found throughout Medtner’s compositions.
Brahma often presents a melody, each note of which is accompanied by
a chord. This too is a feature of many of Medtner's sonata themes, especially the first theme (e.g.. Op. 11, I and III; Op. 22; Op. 25,
No. 1 , I I I ; Op. 27, I I I ; Op. 30; Op. 33; Op. 39; Op. 53, No. 2 ).
Cyclic features as evinced in Brahms's sonatas Op. 2 and
Op. 5^^ are an important element of Medtner's multi-movement sonatas.
Brahms's propensity for the special rhythmic features of hemiola and
three versus four are also employed by Medtner again and again. Kirby describes Brahms's piano writing as being non-virtuosic and Medtner's writing may be termed thus also.
In a letter to Alfred Swan, Medtner facetiously describes a
contemporary concert he attended in Paris in 1925. "I heard a symphony by Franck, good but lumpy . . . Also a piece by Debussy in which Pan rests after lunch. These pleased me very much. However, the Valse of
Ravel seemed to me to be nothing but deviltry [blosse Teuflelei].
He evidently had little regard for Richard Strauss ("I would
Joseph Yasser, "The Art of Nicolas Medtner," Holt, op. c it., pp. 47-49.
^^Frank E. Kirby, "Brahms and the Piano Sonata," Paul A. Pisk: Essays in His Honor, ed. John Glowacki (Austin: University of Texas Press, 1967) p. 178.
^hnfra, pp. 27-28; 236-37.
22dlnm, p. 93 [my translation]. 13 refuse to appear on the same concert with R. Strauss . . or for Prokofleff ("Medtner could find no pleasure In Prokofleff's music . . Swan states that Reger and Strauss [by 1921] no longer appeared criminals after Stravinsky's "explosion". Les Six, and Schoenberg. Only Medtner and Rachmaninoff remained champions of the old style.
Rachmaninoff figures prominently In Medtner's life for they were close friends and prolific correspondents. Medtner dedicated his Sonata, Op. 25, No. 2 and the second piano concerto to Rachmaninoff.
Specific Instances of sim ilarities In the styles of the two composers are found In their m u sic .T h e follow ing d e s c rip tio n o f Rachman inoff's style by Yasser can as well relate to that of Medtner:
. . . Rachmaninoff's chromaticism ensues mostly from his many-sided use of altered chords, progressions, and bold digressions within the limits of a single or, at any rate, long exploited key. Rachmaninoff's is preeminently an intra-tonal chromaticism . . . [He shows a] marked leaning toward diatonic melody . . . Rachmaninoff's chromatic patterns . . . conform with the laws of natural voice leading and by the same method are logically Interwoven with the diatonic context.27
A further Influence upon Medtner was his contemporary,
Scriabin. Swan states that although Medtner had little to do with the late works of Scriabin that dealt with ecstasy and mysticism, harmonic formations of the Divine Poem and the Fourth Sonata. Op. 30
23prom a letter In 1921 to Rachmaninoff, DLNM, p. 88.
^^DLNM, p . 90. ^^DLNM, p . 89.
^^Infra, pp. 116-17; 236
^^Joseph Yasser, "Progressive Tendencies In Rachmaninoff's Music," Tempo. XXII (Winter, 1951-52), p. 21. 14 are found In Medtner's works.These formations are apparently the major seventh chords and the ninth chords that proliferate in these two works and that are frequently employed by Medtner. Like
Medtner's dissonances, these formations in Scriabin's Fourth Sonata eventually find resolution in triads.
Medtner's philosophy of music was an evolutionary one. Com posers learn from and emulate the masters of the past, "ever adding phenomena, one to another.From the first sonata Medtner's chief debt was to the Germans rather than the Russians. This is pointed out in a contemporary critique of his Sonata, Op. 5 in 1903.^®
Another critic stated: "... his Melos is, although fleshless and somewhat abstract, always noble and reminds one at its peaks not infrequently of the last [works of] Beethoven.
^®Alfred J, Swan, "Medtner and the Music of Our Times," Music and Letters, VIII (1927), p. 47.
^^alter Niemann, "Neue Klaviersonaten," Neue Zeitschrift fur Musik, No. 25 (1905), p. 544.
^^Oskar von Riesmann, "Nikolai Medtner," Rheinische Music und Theater Zeitung, Nov. 22, 1924, No. 41/42, p. 376 [my translation]. CHAPTER I I
MEDTNER'S SONATA FORM
The Background
Medtner's musical education began with piano Instruction by his mother and then when he was ten years old, with his uncle, F. C.
Goedlcke, a professor at the Moscow Conservatory. He entered the
Conservatory two years later. There his piano teacher was Safonov, who had been appointed chief professor of piano by Tchaikovsky.
Medtner ended his studies there In 1900 when he won a gold medal.^
There Is almost no Information concerning the piano works
that he studied In his youth. His wife mentions that he "demanded"
Bach, Mozart, and Scarlatti In his study with his uncle and she also reports that Safonov "forced" him to play the fifth concerto of
Rubensteln.^
Medtner's composition teachers at the conservatory were S. 1.
Tanelev (1856-1915) and A. S. Arensky (1861-1906). Tanelev was a pupil of Tchaikovsky, Arensky of Rimsky-Korsakov. Medtner evidently
^DLNM, p . 67.
^Anna Medtner, "A Short Biography", Nicholas Medtner, A Memor ial Volume, ed. Richard Holt (London: Dennis Dobson, Ltd., 1955) p. 18. 16 studied the harmony treatises of these men for he states: "... th e textbooks on harmony by Tchaikovsky and Rimsky-Korsakov did not force us to accept the individual methods of these composers."^
Taneiev was the teacher of a large number of Russian composers:
Scriabin, Rachmaninoff, Glière, Gretchaninov and many others.^ "Taneiev was the one mainly responsible for the dissemination of Western stand ards, traditions and techniques in the Russian musical civilization."^
The Western European influence upon the Moscow Conservatory had been initiated by Tchaikovsky, according to a pupil of Taneiev’o, Leo nid Sabaneyeff. Tlie Moscow Conservatory was opposed to the Russian nationalist school at the St. Petersburg Conservatory.^ Taneiev, first as director, then as an influential teacher, continued the Western t r a d i ti o n s in Moscow. From h is s tu d ie s o f R enaissance composers he fashioned his treatise. Convertible Counterpoint in the Strict Style.^
% had little to do with composers later than Beethoven.
Nicholas Medtner, The Muse and the Fashion, trans. [from the Russian ed. of 1935] Alfred J. Swan (Haverford, Pa: Haverford Col lege Bookstore, 1951), p. 60.
^Jacob Weinberg, "Sergei Ivanovitch Taneiev". Musical Quarter ly, 44 (1958), p. 19. Weinberg was a pupil of Taneiev.
^Ibid., p. 21.
^Leonid Sabaneyeff, Modern Russian Composers, (New York: In ternational Publishers, Inc., 1927), p. 21.
^Serge Taneiev, Convertible Counterpoint in the Strict Style, t r a n s . G. Ackley Brown (Boston: Bruce Humphries» 1962). 17 From yet another pupil of Taneiev*s, Thomas de Hartmann, are
found descriptions of Taneiev*s teaching methods. In the writing of
fugues and canons themes are divided into motives, sometimes of two or three notes, and then the possible permutations are sketched.^
De Hartmann says that Taneiev introduced his pupils to Bee thoven in particular. "From him I learned that the main parts of Bee thoven* s sonata-allegros are composed not of two but of three senten ces."^ De Hartmann goes on to say that Taneiev suggested that the bridge may go through several keys before reaching the second part of th e exposition.The main characteristic of the development is its tonal uncertainty.^^ More clues concerning Taneiev*s teachings of sonata form help us to understand Medtner*s compositional background as well as his sonatas.
As regards total form, the middle of a sonata movement occurs at the beginning of the recapitulation: the coda is then seen to be a new development which balances the first half of the piece. Thus the sonata is essentially a dual form: the first half con sists of the whole exposition and development; the second half contains the recapitulation and c o d a . 12
There is no doubt that Taneiev was a tremendous influence upon
Medtner. Medtner could well have employed Taneiev*s compositional method, not only in his fugues and canons but also in his thematic schemes for motives often illumine their correspondences and relation ships during a theme*s peregrinations. The permutations of a motive,
®Thomas de Hartmann, "Sergeii Ivanovitch Taneieff", Tempo, 39 (1956), p. 14. (These permutation possibilities are graphically described in Weinberg, op. c it., pp. 27-30.)
^Ibid.. p. 14 ^Olbid.. p. 14 ^^Ibid.. p. 14.
IZlbid.. p. 15. 18
or unit of motives, are made apparent through a variety of technical
devices: (1) inverted and retrograde forms of motives (e.g.. Op. 11,
No. 1, Theme 2 ); (2) J u x ta p o s itio n s o f m otives (found in a l l so n atas
beginning with the coda of Op. 5, I); (3) contrapuntal combinations of
motives (beginning with Op. 11, No. 2); (4) rearrangement of themes or
motives whereby derivations precede the germinal material (e.g., coda
of Op. 25, No. 1, I). Taneiev*s concern with professing the eminence
of Beethoven may have influenced Medtner*s idolization of that composer
as witnessed in the many performances by Medtner of Beethoven's "Wald-
stein" and "Appassionata" sonatas. Although these two sonatas are the most direct influences upon Medtner*s sonata writing, further evidence
of Medtner*s interest in Beethoven is found in an excerpt from The Muse
and the Fashion in a reference to "the very strict sonata form" of
Beethoven's Coriolanus.^3
The preceding quotation presents a real clue to Medtner's con
cept of a "very strict sonata form" and an analysis of Coriolanus can
be employed as a model for observing Medtner's adherence to, or depart
ure from, that which he considered to be a traditional sonata form.
An outline analysis of Beethoven's Coriolanus appears in Table 1.
It is apparent that most of the statements previously made concerning
Taneiev's concepts of sonata-allegro form apply to Coriolanus. The
exposition contains three sentences (i.e ., theme groups). The develop
ment involves only one reiterated motive and is primarily concerned with
tonal levels which fluctuate until the final key of f is reached. The
^%icolas Medtner, op. c it., p. 124. first half of the form (exposition-development ■ 151 measures) is
balanced by the second half (recapitulation-coda « 163 measures).
The coda is developmental in that previous material is treated with
variation and the order of thematic material is reversed (Theme 3, m otive o f Theme 2 , Theme 1 , m otive o f Theme 2 ).
TABLE 1
FORMAL FEATURES OF BEETHOVEN'S CORIOLANUS, OP. 62
- L ocation Length Key
E xp o sitio n 1-117 117 Theme 1 ( 14) ( 6) Development/Trans it ion ( 31) Theme 3 ( 18) f , g Development/Clos ing ( 48) (g)
Development 118-151 34 g , f , A - f la t, D - f la t, f
Recapitulation 152-240 89 Theme 1 ( 6) (f) Theme 2 ( 4) Development/Transition ( 16) ( 8) C Development/Transition ( 20) d , e Development/Closing ( 35)
241-314 74 C, c
Tonally the recapitulation begins at the subdominant level, then
fluctuates between the tonic major and minor. The division between the
exposition and development and the development and recapitulation is
indistinct because the division does not coincide with a key change.
In the exposition Theme 2 is anticipated in the transition to that theme 20
(measures 34-35). Much of the material outside the development Is developmental in character. The recapitulation is considerably shorter than the exposition with divisional proportions of the form approximat ing 4:1:3:2. Many of the structural features of Coriolanus can be found in the sonatas of Medtner.
The Muse and the Fashion.
Taneiev was supposed to have said, "Medtner was born with sonata form."^^ Much about Medtner*s views on sonata form can be gleaned from his book. The Muse and the Fashion. Although the book was published in 1935 after all of the sonatas but one were written,
Medtner was gathering material for it as early as 1926.
Medtner's most concentrated statement concerning sonata form is a problematic one.
The complexity of the sonata is genetically tied to the simplicity of the song form; the song form is tied to the construction of a period; the period - to a phrase; the phrase to the cadence; the cadence to the construction o f th e mode; th e mode to th e t o n i c .
In this quotation the adverb, "geneticallyprovides a clue to the com poser's compositional theories. It will be seen that the evolutionary process as exemplified in thematic development is apparent in all of the sonatas. W. D. Allen has noted that "for Wagner everything new had to be explained in terms of generation."!^ Wagner's concepts of
l^Anna Medtner, op. cit., p. 18. l^DLNM, pp. 93-94.
^^Ibid.. p. 49.
l^W. D. Allen, Philosphles of Music History (New '^ork: American Book Company, 1939), p . 278. 21 motlvlc development may well have influenced Medtner*s approach to
composition. In the preceding quotation sonata form "evolves" from
its simplest aspect, the tonic or central key, through the song form
to sonata form. Medtner in his book often refers to "the age old song form" which is never further defined, but is probably not an ABA form.
Medtner's writings shed further light upon his views of the genetic process and thematic evolution.
The theme . . . is the kernel of form, its principal con tents; and the development of the theme . . . is, as it were, the opening up of the kernel, the form of the whole composition. . . . The theme is the most simple and accessible part of the work, it unifies it, and holds within itself the clue to all the subsequent complexity and variety of the work. It is the law that regulates each separate work. Every inspired theme bears in itself all the elements and senses of the musical language. It has its own pulsation (rhythm), its own breathing (cadence), its own perspective (form). Often it needs other themes as its vassals. Suggesting them, calling them forth, it often reveals in i t s own flo w erin g t h e i r s e e d s .18
This quotation includes a number of genetic concepts; the theme as a kernel out of which a composition grows; evolving from simplicity to complexity; one theme suggesting other themes; other themes revealing their origins in the original theme or the seed. What is revealed in this quotation is something beyond thematic development, in other words— thematic evolution. Medtner's sonatas are built upon this concept which in this study w ill be illumined time and again. Thematic evo lution, of course, is not a new concept. It can be seen in the out growth of the second theme from the first in Beethoven's Appassionata or in works in which a motive produces other motives or themes as in
^®Nicolas Medtner, op. c it. , pp. 43-44. 22 B rahm s's Op. 5.
Medtner speaks of melody as "the favorite form of a theme.
This concept of melody becomes increasingly apparent in a study of the sonatas for invariably the motives of a principa. non-lyric theme group eventually produce a lyric melody, sometimes in the second, some times in the third theme group. He also speaks of the characteristics o f them es:
Through the complexity of the coordination of Bach’s polyphony one can easily arrive at the simplicity and divine clarity of his themes. . . . The simplicity of Beethoven's themes and "har- moniesf' (i.e ., chords) enabled us to perceive without diffi culty the endless complexity of his constructions in form ("architectonics"). While on the other hand, the SIMPLE CONSTRUCTION [sic ] of the dance and song forms, their brief and interrupted periods, as, e.g., with Chopin and Schubert, gave more freedom to the COMPLEX CONTINUITY of the melodic lines. In the complex continuity of sonata form these melodic lines must acquire greater brevity and simplicity.
In the preceding statement Medtner again refers to an evolu tionary process that moves from simplicity to complexity. The com plex sonata form demands a brief and simple theme from which it may evolve. He distinguishes between Beethoven's themes and Chopin's and
Schubert's melodies. In Medtner's sonatas this differentiation is u s u a lly ap p aren t— th e theme i s a m o tiv ic compound w ithout the essen tials of a lyric melody which eventually evolves from the theme. In only two instances in Medtner's sonatas do lyric melodies begin the work—in Op. 27 with its qualified title, Sonate-Ballade and in
Op. 56, S o n a te -Id y lle .
For Medtner form and tonality are one: "Form (the contraction
^^Ibid.. p. 45. ^°Ibid.. p. 16. 23 of a musical work) is harmony, . . . Genuine creative form is deter mined by the depth of penetration into the fundamental senses of m u sical harm ony.In his discussions of chords he says: "We can consider as prototypes of chords only the fundamental constructions: consonant triads and dissonant four-note chords of the seventh and five-note chords of the ninth whose direct gravitation towards the triads justifies their com plexity.M edtner defines six- and seven- note chords and tone-clusters as "accidental harmonic formations" that are the result of linear action and that gravitate to and resolve into less complex verticalities. Justification for chains of dissonant chords is explained in this way: "If we can consider as a prototype of a dissonant chord only the chord that directly gravitates (resolves itself) towards a consonant triad or its inversion, this does not mean that every dissonant chord achieves this gravitation simultaneously in all voices.
Concerning modulation he states, "The chord of the seventh and the chord of the ninth constructed upon the dominant also pos sess the greatest flexibility for modulation. Through the enhar monic substitution of certain notes these chords move directly into the triads (or their inversions) of nearly all existing tonalities.
He describes chromatic and enharmonic modulation, as well as the em ployment of the circle of fifths. He also speaks of purposeful mod ulation versus passing modulation. Purposeful modulation's goal is
21lbid., p. 49. ^^Ibid.. p. 27. ^ h h ± d . , pp. 28-33.
24ibid., p. 36. ^^Ibid., p. 28. 24
a new tonality o r a return to the original one.^® He Is less clear In
defining a passing modulation as "something like a rainbow that glides
over the various tonalities.
Medtner describes one of the methods he employs to overstep
structural divisions. "... the so-called false or Interrupted
cadences which In fulfilling the function of articulateness and breathing, at the same time efface boundary lines [and] postpone the
completion of form, thereby opening up for It a s till wider perspec
tive. It Is In Wagner that we find an endless variety of Interrupted
cadences . .
Concerning counterpoint he states, "Harmony . . . Is the
direct successor of counterpoint."29 it Is necessary to understand •
this viewpoint for Medtner*s Is a linear style of homophonie writing.
"To write In harmony Is to aim at the very same coincidence of points
[as to write In counterpoint]".^®
All of the foregoing statements by Medtner relating to the
techniques of harmonic and contrapuntal writing are of continuing
Importance In a study of the sonatas. In them his justifications
for and descriptions of dissonance are exemplified repeatedly as Is
his prolific employment of false or deceptive cadences.
The Muse and the Fashion Is primarily a denunciation of modem music. Medtner professes "a painful bewilderment when confronted by most phenomena of the 'progressive* musical world".However a t the
26iMd., p. 26. 27xbid.. p. 27. ^ h b ± d . , p. 37.
2^Ibld.. p. 32. 30ibld., p. 75. 31ibid.. p. 2. 25 same time Medtner writes positively of the techniques and features of traditional music. It Is through these statements, the Interpreta tions of them, and the pertinent digressions from them that the sonatas them selves a re now approached. CHAPTER III
THE SONATAS
Three unpublished works—an unfinished Sonata in f-sharp of 1897, an undated Sonata in b, and a Sonatina of 1898—precede
Sonata, Op. 5.^ There are fourteen published works for solo piano that employ the heading "Sonata"^
S onata, Op. 5
Medtner’s first published sonata was dedicated to his brother
Emil. The work was published in 1904 but later revised by the composer.
The date of the revision is unknown but the revised edition was pub lished in 1955 by the publisher of the original edition, M. P.
Belaieff of Moscow. The changes made in the revised edition are minor ones. Except for some further expressive indications, only three alterations occur: (1) in measure 105 of the first movement an e-flat eighth-note becomes cW, (2) at measure 134 octave levels are changed and (3) in the final movement measures 110-115 delete a tone in the bass that is doubled in the treble, or vice versa. None of these alterations seems important and the label "revised edition"
^Elena B. D o lin sk aia, N ikolay Metner (Moscow: Muzyka, 1966), p. 186. 27 The sonata Is in four movements with the second movement
("Interm ezzo") d eriv ed from an unpublished "Moment M usical" of 1896.^
The work is the most derivative of all the sonatas and invites compar
ison with sonatas of two composers: (1) Beethoven's Op. 57 (1806) in
the same key of f and (2) Brahms's Op. 5 (1854) also in the same key, with the same opus number and with a movement entitled "Intermezzo."
The latter movement, which is the added movement in a five-movement
sonata form, compares to Medtner's sonata in that material from a pre vious inner movement is quite literally repeated. In the Medtner sonata
this is found in passages at the ends of the inner movements. A com parison of the relative measure lengths of the first movements and their sections shows the following sim ilarities and differences:
FORMAL COMPARISON OF FIRST MOVEMENTS OF BEETHOVEN, OP. 57; BRAHMS, OP. 5; MEDTNER, OP. 5
Beethoven Brahms Medtner
E xposition 65 71» 64/66^
Development 71 59 63
Recapitulation 68 69 67
Coda 60 • 23 67
T o ta l 264 222 252
^first and second endings
^first ending/second ending
-‘SÎÎSS, I , 15. 28 Except for these external features Brahms's first movement
shows no further structural sim ilarities to that of Medtner's. How
ever a number of further relationships exists between Beethoven's Op.
57 and Medtner's Op. 5. In the first movement both employ the Neapol
itan harmony within the first theme group; both approach the devel
opment with the same harmony (V of E) and a rest; both employ a faster
tempo in the coda. The final movements of the two sonatas also display
some common traits. Both employ a continuous sixteenth-note movement
are also apparent. The first themes of the two movements employ simi
lar motives.
Ex. 1
Beethoven
M edtner ~ i W
The accompanimental patterns of these themes resemble one another in
their descending sixteenth-note movement. The second themes also bear close resemblances.
Ex. 2 Beethoven
Medtner
F i r s t Movement
The first movement (Allegro) is in sonata-allegro form. Its structural outline is seen in Table 3 on the following page.
This lengthy movement has a formal balance of near exactitude, not only because of its sectional symmetry but also because of the relative spans of its thematic groupings. Even the coda is of a dimension comparable to the other divisions. However this balance must be modified by an exposition that is repeated.
The p h ra sa l dim ensions of Theme group 1 a re 4 + 4 m easures plus an extension of fifteen measures. The second theme group employs eight- measure phrases, the last with a two-measure extension. The expo sition ends with closing material comprising 4 + 8 measures.
The development is composed almost entirely of two-measure phrases, repeated. The square-cut form is rendered completely obvious.
Only one formal difference in the recapitulation, as compared to the exposition, occurs. The second theme group is made four measures longer by material from the transition. TABLE 3
FORMAL STRUCTURE OF FIRST MOVEMENT (ALLEGRO), OP. 5
L ocation Length Key
E x p o sitio n 1-66* 64/60 1-23 (23) f T ra n sitio n 24-32 ( 9) —»V of c 33-42 (10) Theme 2/Theme 1 43-52 (10) Closing section 53-66 (12/8)
Development 67-129 63 e, f-sharp, g_:^a, b - f l a t = IV o f f
Recapitulation 130-196 67 130-152 (23) f T ra n sitio n 153-161 ( 9) Theme 2 162-171 (10) Theme 2/Theme 1 172-185 (14) Closing section 186-196 (11)
"Cadenza" and coda 197-252 56
first ending: 59-64; second ending: 65-66.
A cadenza-like passage of eight measures leads to a coda, the phrase structure of which is 8+17+4+8+10 m easures.
The tonal plan of the movement is conventional but with some interesting harmonic excursions in the development. In this section the tonal centers are a half step below and above the home key of f.
With rather rapid modulations through the keys of g and a, the recapitulation is approached through its subdominant (b-flat).
The piece achieves its basic minor mode through its diatonic themes. The key centers are exclusively minor. Chromaticism first found in a subsidiary motive of Theme 1 is especially apparent in the 31 development, where motivic material from the transition is so much employed.
The movement is launched by a theme consisting of three motives.
The first, an anacrusis, outlines the tonic chord as it rises to C; the second is accompanimental ; the third descends and returns to C, is repeated, and varied.
Ex. 3
A peculiarity of the theme is its rhythmic sub-phrasing. The var iations upon motive 2 produce slightly different lengths. 32 Ex. 4 mo. 1 é
mo. 2
#
a a
In the transposed repetition of the phrase Immediately following, the final motivic repetition is varied to a further degree (see motive
2^ of example 4). The syncopations and non-metric factors of this theme help alleviate the squareness of the overall structure.
At measure 14 a new motive (motive 4a) appears. It is derived from motive 2 and a rhythmic feature of motive 3 and Is soon to be em ployed in the transition to Theme 2. This motive declaims A-flat and then descends chromatically.
Ex. 5
^ -4»-
QD 33
An Interesting employment of the Neapolitan harmony is to be found in the transition from f to c (measures 21-24). Through enharmonic alteration it becomes the leading tone to the dominant of the new key.
Ex. 6
f: I
y# i\ f t - ^ OS t o . , V
^ = = M t
Motive 4a becomes slightly altered and extended at the beginning of the transition.
Ex. 7
d D This motivic material is interrupted in measure 16 by an imitative
sequence based upon motive 3. The transition then continues to
Theme group 2.
The second theme, lyric and long-breathed, is made up of
two 4-measure phrases. The first phrase descends stepwiL. through
the interval of a sixth, then once again descends, but this time
disjunctly. The theme then continues in its second phrase to a
higher pitch level and descends.
Ex. 8
d D
T
The theme consists of two motives. It is not difficult to find the
rhythm of its descending pitches embedded in a motive of Theme 1
(see example 4, motive 2^) or its direct relationship to motive 4b.
The d e riv a tio n o f m otive 2 o f th is new melody from m otive 3 of Theme 1
is seen in the following example: The ttkSSiLO I s s[ n out of the repetition of these two motives. The theme is then repeated ^fvi c^'ubined with motives 1 and 3 of Theme 1.
Ex. 10
r-r m
This latter %n:ive then continues into a closing section.
The closing section of the exposition chiefly emphasizes figu.al material th tt involves descending chromatic movement, to gether with the actual chromatic motive 4 of Theme group 1, here found in a diatonic form. 36
The figurai matter eventually narrows its range to three notes— f* g* a - f l a t — th e f i r s t th re e p itc h e s o f Theme 1. These th re e pitches become f-sharp, g-sharp, a in the second ending and then the development section commences.
 single atypical dissonance is found in a harmonic passage at measure 86 and again at measure 88 of the development. Here a tone cluster of seconds serves as an appoggiatura to the lowered leading 37
uf.j— ^ U:t—i- pti------— X— f ------f "~y ’ p—
Counterpoint plays an important role in the development.
Themes are not combined but are continuously juxtaposed. Other than
this device, canonic imitation of thematic materials is most employed, usually at the octave, although imitation at the interval of a tenth
appears (measure 91). The most used materials are those of Theme 1, motive 3 and the descending pattern of Theme 2. The latter material in measures 95-96 appears in diminution.
Ex. 13
O rig in a l $ d i - ^
OmamentaJ^era ion L i
QZ2) 38 The motive is also developed by some ornamentation in measures 112,
114, 116-117 (see example 13). Motive 2 combined with motive 1 anti cipates the recapitulation.
Ex. 14
»
mo. 1
No ^further motivic development occurs in the recapitulation which ends with an eight-measure cadenza-like passage constructed exclusively w ith th e f i r s t 4 p itc h e s o f Theme 1, m otive 3.
The C meter of the movement is constant to the coda, which is (j% . Melodic material for the coda is drawn from motive 1 in augm entation and from Theme 2. 1 , Th. 1 Second Movement: Intermezzo
The formal structure of this second movement (Allegro) is
readily apparent even though, because of numerous extensions and a
repetition of the first division, thematic symmetry is not always
obvious. The phrase structure is included in the following table:
TABLE 4
FORM OF SECOND MOVEMENT, OP. 5
L ocation Phrase Structure Length Key
Theme A 1-22* 10 + 10(8) 20(18) c Theme B 23-42 8 + 12 20 E - fla t Theme A^ 43-50 8 8 5 - f l a t Theme B^ 51-80 8 + 22 30 Theme A^ 81-100 8 + 12 20 Theme A 101-127 10 + 17 27
Transition 128-139 2 + 2 + 8 12
first ending: 1-20; second ending: 21-22.
The final twelve measures of the movement serve as a transition to the third movement. . The tempo changes to Moderato, then Andante.
Theme A is built upon a melodic-rhythmic motive whose only development in its first four measures is rhythmic development. The form of the motive in the third measure spawns Theme B (see example
16). Ex. 16
Theme A ______
s j^f f I f f f I r f r V
b7 p
f V -M ^ Theme B 7 r ’ ' « n ,
r - p ' r-r
The four-part contrapuntal texture of Theme A is quite consistent throughout the movement as is the ineluctable rhythmic beat of quarter-notes. Theme A acquires a more extended lyric character in its third appearance. (ED
It is at the end of this transformation that the climax of the move
ment occurs upon a subdominant chord with added seventh and raised
eleventh (leading tone toe).
Ex. 18
The final appearance of the principal theme ends with a pedal
tone on g, the tone being held beyond the final chord as the transition
is approached.
The transition begins with two measures built upon the motive of Theme A in diminution and in a canon at the third. Augmented and minor triads form the harmonic scheme of this short passage and the two measures of chords that follow. Exo 19
The final measures of this transition employ a further development of the motive of Theme A. Here the first note of the motive is deleted, a cambiata is inserted, and there is no harmonic resolution (example
20).^ The passage ends as did the main section of the second movement— with a single tenurial g.
Ex. 20
CAA)^»
^It is possible to find the origins of this motive in motive 2, Theme 2 of th e f i r s t movement even though th e second movement was written first. Medtner only makes the relationship apparent in the final movement. T hird Movement
The s o n a ta -a lle g ro form o f th e th ir d movement (Largo) shows a less symmetrical form than the preceding movements. This is principally due to the deletion in the recapitulation of a bridge passage to Theme lb and th e d e le tio n of 'fheme lb i t s e l f .
TABLE 5
FORMAL STRUCTURE OF THIRD MOVEMENT, OP. 5
L ocation Length Key
Exposition 1-35 35 Theme l a 1-8 ( 8) E - f la t — » b rid g e 9-12 ( 4) —> Theme lb 13-20 ( 8 ) B - f la t Theme 2 21-35 (15) D, B-flat transition . 36-37. (2)
Development 38-51 14 —»E; V of E-flat
Recapitulation 52-77 26 Theme l a 52-59 ( 8) * E - fla t Theme 2 60-77 (18) G, E - f la t
T ra n sitio n 78-89 12 b-flat
Theme la is composed of two 4-measure phrases and is followed by a bridge passage of four measures. Theme lb, a composite of motives from
Theme l a , com prises 4 + 4 m easures. Theme 2 begins w ith a six-m easure section, is interrupted by a four-measure employment of a motive from
Theme la, and then continues with a five-measure section.
A transition to the development is actually material from the 45 tr pas it ion at the conclusion ox the second movement. The development is composed of two- or four-measure phrases, the last four of which lead to the recapitulation.
Is the recapitulation Theme la Is combined with material from
Tîiems 2 b u t r e t a in s i t s o r ig in a l s tr u c tu r e . Theme 2 follow s and I s once % iln Interrupted by motlvlc material from Theme la, this time eK=:-r^ded by a m easure. The second s e c tio n o f Theme 2 th en r e c a p it ulates In a more extended version than in the exposition.
The twelve-measure transition Is an exact transposed repetition of the transition section of the second movement. This transition is
the key level of the succeeding Finalec
Although the harmonic plan of the movement Is quite obvious, a great deal of temporary tonal Insecurity is found, chiefly in the contrapuntal bridge section of the exposition and in a corresponding passage that begins the development. Modulations to new key levels are dependent upon the chromatic alteration of chords or horizontal chromatic movement from chord to chord. These harmonic devices pro- due? the effect of great harmonic contrast with the preceding movements— the extreme diatonic features of the first movement and the rela tively static key levels of the second movement.
Augmenttid triads are found within Theme 2, thus giving this theme chordal color relationships with the transition sections located at the ends of the preceding movement and of this movement.
Except for those sections that involve material from the transition, all Taielodic m aterial is derived from Theme la which arises from tk: last motive of the previous transition. The theme is 46 composed of a melody and a rhythmic accompanimental motive (motive 1).
The melody, comprising two phrases, becomes Increasingly more elaborate until, at Its cadence points. It descends chromatically.
Ex. 21 ko .2^ '■ ko.3 1
\f.ik '4 ) J ■■■- = T # t - ' |7^ r i , - f - f - - f - f -
Û 7T -...... 7 7
The cadentlal motive (motive 3) becomes the basis for a transitional passage In Imitative counterpoint. It appears In a descending sequential form.
Ex. 22 m T ^ W
Theme lb lo g ic a lly follow s th is s h o rt t r a n s itio n fo r the same material Is combined with the rhythmic accompaniment (motive 1) of
Theme la which expands Into a more melodic design as It extends chromatically upward. BK. 23
OD
The melody Is harmonized in its second phrase in such a way that what previously had been a harmonization at a sixth below the melody, is inverted and becomes the new melody.
Theme 2 is a rhythm ic stead y in g o f th e melody o f Theme l a and appears in two forms—-one in block chords, the other with accompani-
Ex. 24 Them.e 1
ŒD
The theme is interrupted by a climactic section that involves two motives—one from Theme la, the other from the transition to this 48 movement, together with the trip let accompaniment of Theme 2.
Ex. 25
Theme 2 continues and concludes with a two-measure transition concerned with material from the transition that was found at the end of the second movement. No further motlvlc development occurs In the short development section until four measures, combining motives from both
Theme 2 and the transition, lead to the recapitulation.
Ex. 26 *from Transition
t J f a
I from Theme 2 ______
Theme l a of th e r e tu r n I s now combined w ith a m otive (from
Theme 2) of th e p receding passage. The harm onic te x tu re I s consid erably thickened. Th. la
J w
j
Theme 2 follow s in much th e same fash io n as in the ex p o sitio n except
that the Interruption of material from Theme la is extended into
a short cadenza-like passage and the reappearance of Theme 2 is ex
tended through two repetitions of its last measure.
The final transition, as compared to the like passage of the second movement, employs its final note, f , as the first note, and
the key, of the finale.
Fourth Movement; Finale
The finale, in sonata-allegro form, includes the cyclic re appearance of previous thematic material. Aside from the cyclic fea tures , thematic materials for the movement are derived from previous movements. TABLE 6
FORMAL STRUCTURE OF FOURTH MOVEMENT; FINALE, OP. 5
L ocation Length Key
E xposition 1-146 146 Theme 1 1-32 ( 32) f T ra n sitio n 33-57 ( 25) of A -fla t Theme 2 and d ev el opment 58-117 ( 60 Closing section 118-146 ( 29)
Development 147-266 120 b-flat, V of f
Recapitulation 267-402 136 Theme 1 267-290 ( 24) f - ? E Transition 291-315 ( 25) Theme 1, I I I 316-322 ( 7) —» Theme 1 323-350 ( 28) F Theme 2 351-365 ( 15) Transition 366-402 ( 37)
403-431 29
Theme 1 o f th e t h ir d movement.
Theme 1 consists of two 16-measure sections, the first subdi vided Into phrases of 8 + 8 measures, and the second Into 4+4+8.
The material of Theme 1 also serves as the beginning of a transition to Theme 2 b u t h e re Theme 1 I s shaped In to a s in g le seventeen-m easure phrase, this developed version being produced through motlvlc repeti tion. The second section of this transition, eight measures In length. Is concerned With new material. Its motive Is derived from th e f i r s t two n o tes o f Theme 1.
Theme 2, fifteen measures long. Is followed by a development of the theme and of the motlvlc material of the transition In the following 51 formal scheme: transition motive, 29 measures; material of Theme 2,
9 measures; transition motive, 7 measures.
A closing section, or transition, of twenty-nine measures con cerns Theme la, and especially motive la. It prepares for the fugal section that begins the development.
The development is composed of the following formal components:
F u g al s e c tio n 147-181 35 meas. M otive o f Theme 2 and m otive of transition 182-202 21 meas. Motives of Themes 1 and 2 203-250 48 meas. Extension 251-258 8 meas. M otive 1 o f Theme 1 259-265 7 meas.
Although the recapitulation is slightly shorter than the expo sition it is not due to a curtailment of material, but rather to the fact that thematic material had been developed in the exposition.
This feature is not found in the recapitulation although new material, a reappearance of Theme 1 of the slow movement at its original tempo, is inserted into sections of Theme 1, as is the much-treated motive from the transition of the second and third movements. Theme 1 is i t s e l f developed to some e x te n t.
The return of Theme 2 in thick harmonic regalia brings forth the climax of the movement. This is followed by material from the tr a n s it i o n , and su b seq u en tly by th e coda. Once ag ain . Theme 2 is employed, thus becoming the chief unifying device of this cyclic form fo r Theme 2 approxim ates Theme 2 of th e f i r s t movement.
All thematic elements of this movement are derived from other movements. The first theme is derived directly from the preceding measures of the previous movement (the ubiquitous transitory sections of movements 2 and 3 and indirectly from motive 2, Theme 2 of the first movement. The theme Is constructed of two motives : the first
Is derived from the previous material; the second Is a descending scale pattern derived from motive 1, Theme 2 of the first movement.
The motives and derivation appear In the following example:
Ex. 28
l a G 'mo. 2
Tlie second part of Tlieme 1 Is built upon motives 1 and 2.
Ex. 29 E5TI I
n 1 * lj0 - i ...... (ZD
The transition begins with Theme la, followed by a rhythmic variant of motive la.
Ex. 30
v a ria n t o f Th. l a , mo. l a 53 Motive 2 of Theme la is employed in the following rhythmic developments
in this transition:
Ex. 31
The latter development of motive 2 anticipates Theme 2.
Theme 2 d e riv e s i t s melody d ir e c tly from Theme 2 o f th e f i r s t movement. However, the theme in that movement involved a melody and accompaniment. Here the texture is alternately chordal and contra p u n ta l.
Ex. 32
e -
The development begins with a fugal section, the subject of which is derived from Theme 1. The countersubject is taken from
Theme 2. The rather lengthy subject, which has four entries—tonic, dominant, tonic, dominant—has a descending, then ascending, stepwise constructionc Ex. 33
Except for transpositions, contrapuntal treatment, and motlvlc ex tensions , thematic m aterial In the development remains generally
Intact. The recapitulation Is anticipated by the first motive of
Theme l a In a passage o f I m ita tiv e e n tr i e s .
Ex. 34
Theme 1 from th e slow movement I s employed In a new harm onic s e tt in g , the beginning of which Is seen In the following example: Ex. 35
The coda Includes a form of Theme 2 harmonized by a series of descending parallel major triads.
Ex. 36
The final treatment of motive 1 of Theme 2 is imitative and is found in diminution in a chromatic form.
Ex. 37 56
Summary
This first sonata Is composed of four movements—fast, fast, slow, fast—only the second movement is not in sonata-allegro form.
Symmetrical features in regard to divisions of movements and phrase lengths are especially apparent in the outer movements whereas the inner movements are treated more freely in this regard.
Cyclic aspects are found in identical transitional passages attached to the ends of the inner movements that supply thematic material for the third movement and the finale. A section of the slow movement is incorporated into the finale as is Theme 2 of the first movement. The finale also includes a fugal section at the commencement o f th e developm ent.
Thematic organization through motlvlc development is appar ent but motives do not change to any extent in developmental sections.
Sections of movements and thematic material are often anticipated in previous m aterial and in consequence outlines are sometimes b lu rr e d .
Harmonic progressions are tonally oriented. However a consid erable amount of chromaticism is present especially in altered chords.
The augmented triad is a salient feature of the transitional material between the inner movements and of a passage of the slow movement.
The first two movements only once depart from the minor mode whereas the third movement is exclusively in the major mode. The finale ends in the tonic major key. 57 Sonatent r i a d e . Op. 11
The Sonatentrlade. Op. I lls actually three sonatas grouped under one opus number.^ The first in A-flat is dated by the composer,
1904-1906, and was published by P. Jurgenson of Moscow in 1906; the second in d was published in 1907; the third in C was published in
1908, The first two were first performed by Medtner in Moscow on
November 7, 1906. The third was first performed by the composer f o r th e R ussian Music S o ciety in Moscow on November 27, 1909.^
In 1905-1906 Medtner visited Germany.® He was studying the writings of Goethe at this time. His brother, Emil, was studying at the Goetheinstitut in Weimar. Medtner wrote two Goethe song cycles.
Op. 6 and Op. 15, during these years. The heading of the Sonatentrlade is an epitaph from Goethe's Trilogie der Leidenschaft. Swan states.that he later regretted this heading. The complete work is dedicated to
Anna Medtner's brother who committed suicide in 1908.^
The three sonatas w ill be analyzed separately and then the relationships among these sonatas w ill be studied.
Sonata, Op. 11, No. 1
The form al s tr u c tu r e o f S onata. Op. 11, No. 1 i s i ll u s t r a te d in Table 7.
^The r e la tio n s h ip s among th e th re e sonatas a re discu ssed on pages 87-89.
^NMSS, I , 18.
®Swan, op. c i t . , p . 72.
^Swan, op. c it., p. 72. TABLE 7
FOilMAL STRUCTURE OF OP. 11, NO. 1
L ocation Length Key
E xposition 1-94 94 Theme 1 1-24 (24) A-flat---- > Transition 25-36 (12) S —:>• Theme 2 37-75 (39) E-flat, g. E-flat Closing section 76-94 (19) E - f la t
Development 95-138 44 g - » b —>V of A - f la t
Recapitulation 139-221 83 Theme 1 139-151 (13) A - f la t —> T ra n sitio n 152-159 ( 8) f —> 160-198 (39) D-flat, f, A-flat Closing section/Coda 199-221 (23) A -fla t
The symmetry of the movement is seen in a development of
approximately half the length of the outer sections. Because of the
c o n tra c tio n of (1) th e components of Theme 1 in to 3+10 measures, as compared to 12 + 12 measures in the exposition, and (2) the transi
tio n in to 4+4, as compared to 6 + 6, measures, the recapitulation is
shorter than the exposition. However the closing section of the
recapitulation is extended, giving the last 23 measures of the move ment the proportions of a coda.
Theme 2 is in itself a ternary form. The outer sections of
this theme are of 11, then 12 measures respectively, whereas the inner
section is divided into 8 + 8 measures. The same divisions are em
ployed in the recapitulation.
The tonal plan employs key relationships in thirds and continues 59 within the key movement from tonic to dominant in the exposition, and within a tonic-subdominant-tonic plan in the recapitulation. In a move ment in the major mode of A-flat there are as many key levels in the minor mode. The movement is principally diatonic, possibly the result of the triadic nature of the principal group of motives.
Except for the larger formal divisions the movement is composed of motivic groups constructed through motivic development. All sub sequent material evolves from the initial motives. This motlvlc process is continuous to the point of the recapitulation.
The motives of Theme 1 are announced simultaneously in a four- part harmonic-contrapuntal manner in the first two measures of the work. Four motives are involved with three of these concerned with descending movement (motives la, lb, and Ic). The lowest pitched motive has a triadic basis (motive Id) as does motive la.
Ex. 38 l a f S i
o I y j $Mo. lb
Mo. Id 60 The employment of these motives in the 24 measures that com prise Theme 1 involves a scheme of continuous development. The first two measures are immediately followed by their repetition, but rhythmically altered.
Ex. 39
Subsequently the two final notes (a-flat, e-flat) of motive la are filled in (a-flat, g, f, e-flat) and then expanded four times until the final result becomes sixteen demcending pitches.
Ex. 40
Before the group of motives as originally heard is dealt with once again a single measure (meas. 9) interrupts by employing a developed version of motive Ic. Two alterations of this motive occur in this instance: (1) it, while retaining its rhythmic contour. expands Its pitch range and (2) it extends into a cadential formula.
Ex. 41
Theme 1, as a unit of motives, then continues but at a higher pitch level and with new harmonic implications.
Ex. 42 '
J/' Ihj.
The final twelve measures of the theme group are a product of this altered appearance of this motivic complex together with (1) a dev elopment of motive Id and (2) an intervallic expansion of motive Ic. ( 13 ) , mo. I c imo.ld
After the latter motive is repeated eleven times a new pitch level is reached which brings about a short modulatory bridge to the transition.
Movement from A-flat to g is realized abruptly (measures 22-23) through chromatic stepwise motion from Vy of A-flat to Vy of g.
Ex. 44
This transition is a product of the preceding section» the last part of theme group 1. The. material is expanded through motivic groupings to produce a more melodic concept and to prepare consequently for the lyric Theme 2. Simultaneously the bass line expands the arched figure found at the end of motive lb. At first the transition is constructed by means of repetitions but in the final 6 measures the three-note motive is compressed into two notes and it is through this material that Theme 2 is approached.
Theme 2 in ternary form is constructed somewhat differently than the previous material. The first section produces a lyric melody that involves preceding adjacent material as well as a return to the original motives of Theme 1. Its first durve—g, ab, b-flat, c, a-flat, g—may be deduced from the arch of the bass part of the transition, but it is also a compound of other motives : the arch of the first measure is intervallically the retrograde form of motive x (see motive lb); the whole descending section of the phrase fills in the outlines of motive la; the descending part of the arch in the first measure of Theme 2 produces the second measure of the phrase.
Ex. 46
J -f)'[ h I ^
The whole first section of Theme 2 is derived from this first two-measure phrase. The phrase gradually ascends through sequential melodic repetition until it reaches an expansion of the upward motion of the figure.
Ex. 47 rrvl-
The mid-section of Theme 2 also returns to the initial motives of Theme 1 b u t in com bination w ith th e arch o f the f i r s t s e c tio n of
Theme 2. The in itial motive employed is a retrograde form of the melodic and harmonic movement of motive Ic. The motive then is immediately heard in its own inverted form. Ex. 48
Through repetition this motive and its inversion are expanded slightly, both in pitch range and rhythmically until a final form produces the first motive for the next subsection with one of the variants of the previous example producing the second motive.
Ex. 49
As in th e e v o lu tio n o f Theme group 1, t h is su b sec tio n o f Theme group
2 expands its descending movement from 7 to .21 notes (the latter number found in measures 61-64).
The melodic construction of the return of the first section of
Theme 2 (measures 64-75) i s i d e n tic a l to th e o r ig in a l appearance.
However its harmonic implications are considerably altered through transpositions and contrapuntal factors. A canonic treatment of material In measures 68 and 69 is shortlived.
Ex. 50
F f # = i — h ^ ' t h 4 jU
--- h h f
The theme group ends with a motive obviously derived from motives la (pitch levels) and Ic (rhythm).
Ex. 51 ■
The closing section of the exposition begins with a developed form of motive y (see motive lb). The first melodic-harmonic unit gives rise to the second. 67
The second unit changes its pitch direction
Ex. 53
^ mo. Ic ^ I from meas.46
and this motive together vTith the first unit then leads to the climax of the section in a repetitive descending pattern based upon motive la .
Ex. 54
1 ^m o. 1
p ^ = tb-ttn % -Û -r4j----- i ,~T------
J J J , 68 The last three measures of the section involve motive y In Imitative
counterpoint, and the motive continues Into the first four measures
of the development.
Ex. 55
jîT o m 76-77
Organic evolution of material continues In the development.
At measure 99 motives la and Ic In combination are employed as they were In passages beginning at measures 25 and 75. However a dif ferent rhythmic format plus a new triplet accompaniment gives the m a te ria l a new appearance.
Ex. 56
At measure 107 motives from examples 44 and 48 (both examples concerned with motive Ic) are used In combination. 69
Then, through the inversion of material in measures 107-108 in con junction with thicker harmonic texture, the motives produce the cli max o f th e developm ent.
Ex. 58
ç i '
f - - __ 1
 final form of this material emanates from the previous example although more specifically it concerns Theme 2 and motive y.
Ex. 59
(ZH) 70
A cadenza-llke passage of six measures leads to the recapitulation. No further development of motives occurs In the recapitulation. The move ment ends with a reiteration of the first motive (motive la) of the exposition.
Sonata E le g ie , Op. 11, No. 2
The sonata-allegro form of Op. 11, No. 2 has the near proportions of 4:1:4:2. Its tempo. Andante molto expresslvo, shows It to be the slow movement of the three-movement cycle. The harmonic plan Is ex tremely simple and has, as compared to a ll other sonatas by Medtner, almost no key center variety. The movement begins with Theme la, a continuous ten-measure phrase, that announces and expands upon the m otives o f th e com position. Theme lb (from m otives of Theme la ) comprises 4 + 6 measures and Is followed by a transition to Theme 2.
TABLE 8
FORMAL STRUCTURE OF SONATA ELEGIE, OP. 11, NO. 2
Location Length Key
Exposition (1-40) 40 Theme la (1-10) (10) d Theme lb (11-20) (10) T ra n sitio n (21-24) ( 4) V o f F Theme 2 (25-40) (16) F - >
Development (41-50) 10 a - V of d
Recapitulation (51-95) 44 Theme la/Theme 2 (51-78) ( 9) V o f d Theme lb (60-78) (19) d Theme 2 (79-94) (16) D
Coda (95-114) 20 71
Theme 2, a lso from m otives o f Theme l a , i s more form ally In volved than the former theme. Its structure is 4 + 6 + 4 + 2 measures, the latter two measures serving as a transition to the development o f Theme 2. Theme l a i s accompanied by m otive l a in co u n terp o in t.
The motive continues against imitative entries of motive 3 that cul minate in a short cadenza.
The Coda® begins with a quickening of the tempo to Allegro molto (doppio movimento) and a change to the tonic major key. It is here in the Coda that Theme 2 recapitulates and with the same struc tural conditions as in the exposition: 8 + 8 measures. After this recapitulation the actual coda of twenty measures begins. This coda i s composed of m otives o f Theme 2.
The motives used as constructive devices for melodies in the movement are presented in the first four measures of Theme la. All three motives include ornamented tones in succeedingly increasing ornamental complexity. Motive 1 has one ornamental pitch (an upper neighbor), motive 2 has two (two tones stepping upward followed by an
échappée), and motive 3 employs a half-step above and three half-steps below e ^ . This l a s t m otive provides some chrom atic descending move ment which is employed in the short cadenza that follows the theme's first appearance. The motivic makeup of Theme la is illustrated in the following example:
®The term. Coda, is indicated in the score. Ex. 60 ÏHo. 1 ! Uo. 2
3 1
The brief development In this sonata Includes short excursions away from, and returns to, the dominant key level.
The recapitulation begins with a contrapuntal combination of
Themes la and 2 over a dominant pedal. Theme lb returns together with an extension, the phrase lengths comprising 4 + 7 + 8 measures.
All three motives of Theme la in the same order are employed for the construction of a lyric theme. Theme lb, with chordal accom panim ent. Theme lb assumes th e shape of a descending s c a le .
Ex. 61
CZD
The b rid g e to Theme 2 announces the m otive in advance of th e oncoming melody. The new motive (motive 4) is derived from motive 1. fmo. 4 I * m m W f y
The whole melody then emerges and is at first a rhythmic augmenta tion of motive 4, then appears in its original form, and finally the phrase ends with a new contour derived from motive 3.
Ex. 63
f from
d e riv a tio n
This derivation is made more apparent in the subsequent phrase when it ends thus:
Ex. 64
a :
e riv a tio n from mo. 3
A variant of this same motive, in a diatonic guise, is employed in an extension of %eme 2.
Ex. 65
I from mo. 3
( g )
The r e la te d n e s s o f Themes l a and lb I s made ap p aren t in measures 51-54 where they are combined.
Ex. 6j6
F = n
The harmonies, unlike the simple tonal plan, are extremely diverse for although Medtner continues the chromatic style of the
.previous sonatas he here emphasizes a more extended harmonic vocab ulary that employs 7th, 9th and added 6th chords. These chords usually resolve In a normal manner dictated by voice-leading as
In th e f i r s t m easures o f Theme 1. CZD
At times a resolution is delayed, as in this passage (the beginning of the b rid g e to Theme 2 );
Ex. 68
QD ŒD'
m
The sound is that of a dominant 11th chord although all parts are not vertically aligned.
Yet another exemplification of this "new" harmony^ is in measures 28-29 of Theme 2. Here 9th chords progress into other
9th chords.
^The 9th and 11th chords may be an influence of Scriabin. S onata in C, Op, 11, No. 3
TABLE 9
FORMAL STRUCTURE OF SONATA IN C, OP. 11
Location Length Key
Exposition 1-68 68 1-17 (17) C; G Development/transition 18-31 (14) G->G Theme 2 32-48 , (17) G Closing 49-68 (20) g-^G
Development (and Theme 3) 69-137 69
Recapitulation 138-194 57 Theme 1 138-151 (14) C; F Development/transition 152-158 ( 7) d - » Theme 2 159-175 (17) F -> Closing 176-194 (19) - >
Coda (and Theme 3) 195-242 48 C 77
The final sonata (Allegro moderate, con passione Innocente) of the Sonatentrlade is in a sonata-allegro form but outlines are blurred, especially in the exposition and recapitulation. This formal obfuscation is in part due to the compositional principle involved, motivic evolution, and in part to the tonal levels which overlap sections rather than delineate them. The simplicity of the tonal plan is complicated by extensive harmonic flux and transitional modulation. The tonic-dominant relationship of the exposition is mirrored by a subdominant-tonic plan in the recapitulation.
Theme group 1 i s composed of 6 3/4 m easures + 10 1/4 m easures.
A transition passage of 7 + 7 measures proceeds to Theme 2 (4 + 4 + an extension of 8 measures).
The return of the transition’s material for ten measures gives somewhat the impression of a three-part theme: A (transition 1),
B (Theme 2), A (transition. 1). . A_final section of closing material is composed of 10 + 10 measures. The exposition is repeated.
The development concerns sections unified by motives. The measure groupings are 14+9+16+10+20. The section comprising sixteen measures announces a new theme. Theme 3. The theme is divided into phrase lengths of 3 + 4 + 4 + S measures.
In th e r e c a p itu la tio n . Theme 1 and th e tr a n s it i o n to Theme 2 are shortened, the latter only half the length of the comparable expository section. Theme 2 of the recapitulation is formally the same, but the return of the transitional material is extended by five measures and a closing section (of different material than in the exposition) is four measures in length. 78 A Coda (termed thus In the score and marked anlmato) only nine measures shorter than the recapitulation follows. It accumulates all of the important material of the movement in the following measure groupings: 11 + 18+2 + 3 + 2 + 5 + 7. Theme 3 re tu rn s in th e e ig h t een-measure section. Its structural format has changed to 2 + 2 + 4
+ 8 + 2 measure phrases. The fact that it reappears in the coda gives that section a recapitulatory character and further obscures this sonata form.
In summary, the non-symmetrical features of the phrase lengths, in part a product of motivic development, are within a nearly balanced framework. Sectional blurring and overlap help to create a cohesive
The motivic action of this movement is of considerably greater intensity than that of the other parts of Op. 11. This is partly the product of (1) a more complex motivic structure and (2) more new motivic development in all sections except the recapitulation (and even the final section of that division contains "new" material).
Theme 1 i s o rg an ic a lly organized. From a s in g le m otive, b-c-e, all motives, and consequently the melodic material for the whole movement, arise. This motive of a second, a third and the span of a fourth gives intervallic unity to all melodic aspects, and, i n Theme 1 , to the bass lin e as w e ll. Ex. 70
I mo. 2 ' *mo. 3
I © Imo. la
* I m o .L Tin _____ tL.
Motive 1 and its retrograde form are followed by a motive employing
the descending 3rd (motive 2) which in turn supplies the material for motive 3 (ascending and descending 3rds and a 2nd). The final inter val of this motive spawns the fourth motive of ascending 2nds (which,
in correlation with the first note of the second phrase, fills in
the intervals of motive 1).
This evolving process continues into the second phrase which is
built upon motives 3 and 4. Motive 3a, while retaining the rhythm of
motive 3, expands the first interval to a 4th and contracts the second
part by deleting the ornamental tone. Motive 4a is a simple rhythmic
diminution of motive 4 whereas motive 4b is an elaboration of it. This
last motivic development moves the pattern up by thirds and the phrase
ends with a variant of motive la and its inversion. I mo ,3a I îmôTIi îÇ tnô7*4b
I mo. l a + in v e rsio n ______|
A further motivic development occurs at the beginning of the transition. Here the four ascending tones of motive 4b are harmon ized and each tone repeated to produce motive 4c.
Ex. 72
mo. 4c
CZD
Of accompanimental character, it at times serves that purpose in its combination with motive 3a in this section.
Theme 2 is constructed from motive 4a and motive 3a, the latter in retrograde form. Ex. 73
lw3aa-t $& 11. M i ^ n
The material from the transition returns but without motive 3a.
In its place is a figure derived from the harmonization of motive 4c.
Ex. 74
r T
Yet another form of motive 1 and its retrograde addendum appears in
this section, but with only an added tone at the end of the motive.
Ex. 75
(S)
A closing section employs a combination of motives 4 and 3a in
a setting that includes a cadentlal ending. The cadential pattern
in itself becomes a motive used to the end of the exposition.
Ex* 76 im o , 4 *mo. 3a "1 I cadence mo.i t-„ m ,_ r m The thematlc-motlvlc format of the development is as follows:
Theme 1 (14 measures) M otives 3 and 1 (9 measures) Theme 3 (16 measures) Motives 3 and 3a (10 measures) Motives 3, 1 and 2 (20 measures)
At measure 83 motives 3 and 1 are combined in a telescopic manner.
d Z )
The new Theme 3 appears a t measure 93. I t i s the p roduct of an extended variation upon motive 3a followed by a varied form of motive 1.
Ex. 78
mo. 3a (extended)
: ^ y =
At measure 108 motives 3 and the .%ew form of 3a (found in Theme
3) are formed in the following manner: I P>0« 3 II mo. 3 ~~1 1 "mo. 3 a ~
( Z s D
A final motivic development occurs at measure 117 where a portion of motive 3 takes on a syncopated rhythm which is connected
to m otives 1 and 2 as found in Theme 1 b u t in rhythm ic dim inution.
Ex. 80
I"mo, 3a"
(ZZD
This final form of Theme 1 is then extensively employed until it once again appears in its original melodic form near the end of the development. This reappearance immediately before the recapitulation anticipates the latter section.
New motivic material is next found near the end of the recapit ulation. The history of this brief motive is a progressive one:
from motive 4 through 4a, 4b, 4c and example 74 to the two notes
found here in a harmonic setting. The new motive continues into the first measures of the coda.
All of the important thematic and motivic material is once again recapitulated in the Coda. The melodic plan is as follows:
Figural-chromatic m aterial (11 measures) Theme 3 (18 measures) M otive 1 (2 measures) Theme 2 (2 measures) M otive 3a (2 measures) M otive 1 (S measures) Closing motive (8 measures)
Figural-chromatic material is based upon motive 4c. The closing motive is derived from the last two chords that harmonize motive 1 (IV-I).
In chord relationships the subdominant and tonic chords play an important role for Theme 1 is based on this harmonic relationship, the recapitulation is approached through the subdominant, and the
final cadences involve the IV-I progression.
Sections of tonal clarity—those sections designated as themes— alternate with tonally obscure sections—transitional and closing sec
tio n s and th e developm ent, b u t fo r Theme 3. Theme 1 , in two phrase groups, announces the tonality, C major, in an unusual manner. As 85 has been noted the tonic-subdomlnant relationship is stressed; in fact no real dominant harmony appears until the last chord of the theme.
The employment of the mediant triad at the beginning and the stress ing of a tonic major 7th chord are important harmonic features. This latter harmony has, because of the fifth in the bass, the tendencies of a dominant chord.
Ex. 82
(in) I vr I I I n r
The second part of the theme group continues the IV-I relationship until it modulates to the dominant key level. In consequence this part of Theme 1 acts as the tonal bridge to the dominant key. There fore the succeeding transition is tonally redundant but formally valid.
In comparison the chordal structure and purpose is radically d if f e r e n t when th e f i r s t m otives o f Theme 1 commence th e developm ent.
The chromatic movement creates a tonal ambiguity. Ex. 83
■h u - J f = h ¥ F F ^
T i # ■ f ; ------■ i hL- - — d^ u p j g: I W
I f '
d: I
-Chromatic alteration, such as in this example, is much employed in the
movement and contributes to the tonal instability of the piece.
The coda is approached through an Implied dominant pedal and
chromatic alterations that produce no tonal feeling of return to the
tonic key level—which is the end result of this passage.
Ex. 84 •A four-octave white key gllssando is followed by a chromatic ally altered V of IV chordal complex that progresses to the penulti mate IV chord with minor third and added 6th.
Ex. 85
S i m i la r it i e s and R e la tio n sh ip s among th e Sonatas of Op. 11
The title of this work, Sonatentriade, suggests features that point toward a unified whole. Most notably there is a thematic rela tio n s h ip betw een so n atas 1 and 3. The second theme o f Op. 11, No. 1 i s ap p a re n tly th e model f o r th e f i r s t m easures of Theme 1 o f Op. 11,
No. 3. This is obvious both intervallically and rhythmically. Th. 2, Op. 11, ^ 1 ^
I Th. 1, Op.)p. IU J j J iJ O o f. 3 r T ^ ' I D
Both of these sonatas are based upon motivic development from a single source. A close relationship also exists between transitional materials of the two sonatas.
Ex. 87
in sitio n m a te ria l. Op. 11, No. 1 £
T ra n sitio n m a te ria l. Op. 11, No. 3
All three sonatas have a mid-range pitch level. Sonatas 2 and 3 recapitulate themes in the coda rather than the recapitulation.
The latter two sonatas also employ sections involving syncopation of s im ila r s ty l e . Op. 11, No. 1 and Op. 11, No. 2 both employ heraiola and three against four as prominent rhythmic devices. The codas of the same two movements produce sim ilar rhythmic over-the- bar-line concepts.
Ex. 88
Coda, Op. llj
Coda, Op. 11, No,
Op. 11, No. 1 and Op. 11, No. 3 a re of s im ila r le n g th s : 221 m easures
and 242 measures respectively.
Many of these sim ilarities are probably unconscious ones on
the part of the composer and may be due to the fact that the sonatas were composed successively over a period of three years. Nevertheless
their tempo scheme—fast, slow, fast—their exterior major modes, their employment of sonata-allegro form, and above a ll, the thematic relation ship of the outer movements justify viewing the sonatas as a unit.
Summary
All three sonatas exemplify sonata-allegro form with each sonata 90 being equated with the concept of a movement. Balanced structures are found in Op. 11: the approximate proportions of No. 1 are 2:1:2; those of No. 2 are 4:1:4:2; those of No. 3 are 6:6:5:4. The codas of the latter two are exceptional for in both a theme returns there rather than in the recapitulation. The final sonata produces a third theme in th e developm ent. Theme 2 of Op. 11, No. 1 has i t s own te rn a ry
In all three sonatas there is some anticipation of themes or structural divisions. In the latter two sonatas the large formal demarcations are in instances obfuscated by the overlap of tonal le v e ls . Key le v e ls move p r in c ip a lly by th ir d s although No. 1 in clu d es tonic-domlnant-subdominant-tonic relationships. A newly complex d ia -' tonic vocabulary of seventh, ninth, and added six chords becomes ap p a re n t in No. 2 and co n tin u es in No. 3.
Sonatas No. 1 and 3 are constructed through a process of motivic evolution whereas No. 2 derives the motives for its themes from in itial material. The motivic structure of No. 3 is more com plex and more highly developed than has been found in Medtner*s previous sonata writing. In all three sonatas the first theme is a motivic compound whereas the second is a melody with accompaniment.
Contrapuntal features are apparent in all three sonatas al though im ita tiv e passages a re found only in No. 1 and No. 2. In the second sonata Themes la and 2 are combined at the beginning of the recapitulation. SONATA, OP. 22 IN g
From 1908 to 1912 Medtner was a prof easor of music at the Moscow
C onservatory. Three so n a ta s—Op. 22, Op. 25, No. 1, giid Op. 25,
No. 2—date from this period. Op. 22 was written in 1909-1910 and was published in 1910 by Edition russe de musique. It was first per formed on March 31, 1910.^®
This single movement sonata employs a free treatment of sonata-allegro form. (See Table 10 on the following page.) The formal structure is conceived as an arch. 11
I n tr o . Th. 1 Ths. 2 & 3 Dev. Int. + Dev, Ths. 2 & 3 Th. i Coda
The proportions of the work show an introduction considerably more brief than the coda (which ends with material of the introduc tion), an exposition and recapitulation whose lengths are approximate, a development about one-third the size of the larger sections and an interlude with development of nearly half the length of the larger s e c tio n s . Theme 1 occurs n o t a t th e beginning b u t a t th e end of th e r e c a p itu la tio n . T r a n s itio n a l m a te ria l and Themes 2 and 3 rem ain in the same order in the recapitulation as in the exposition.
The interlude serves as a slow movement. It consists of its
IOnMSS, I I , 7.
^^Int. ■ interlude. TABLE 10
FORMAL STRUCTURE OF SONATA, OP. 22
L ocation Length Key .
Introduction (1-8) 8 g E xposition (9-148) 148 Theme 1 (9-35) (27) Transition 1 (36-59) (24) g — > (60-75) (16) B-flat Transition 2 (76-94) (19) - ^ d Theme 3 (95-131) (37) Closing section (132-147) (16)
Development (148-197) 50
I n te rlu d e (198-264) 67 Theme 4a (198-210) (13) f Theme 4b (211-222) (12) Theme 4c (223-230) (8) Development (231-264) 34 —^ f
Recapitulation (265-397) 134 Transition 1 (265-397) (30) Theme 2 (294-308) (15) Transition 2 (309-328) (20) —>V of c Theme 3 (329-354) (26) c "cadenza" (355-374) (20) -^ V o f g Theme 1 (357-397) (23) g
Coda (398-425) 28 93 own thematic material, for the most part distantly related to previous m aterial, and Its own development.
Together with the rearrangement of theme groups the recapitu lation is notable for a passage indicated "poco a pcco quasi cadenza". This cadenza-llke section begins as an extension to
Theme 3 and then d ig re sse s In to chrom atic f ig u re s.
The complexity of the overall form is further involuted by th e many m otives and t h e i r developm ents as w ell as by many non-sym- metrlcal phrase groupings.
Probably because of the arch form,, key levels produce an unu sual tonal recapitulation for the tonic key does not appear until the return of Theme 1 near the end of the movement. The key levels of the sonata progress by thirds up to Theme 2 of the recapitulation. ^2
The first development section touches upon the keys of g, c, f,
D-flat, g-flat, b, d, and f. The interlude moves from f to D-flat then. In its development, gradually back to f.
A generative process of thematic construction is employed
In this sonata by which material Is derived from the introduction.
However each theme employs its own evolutionary evolvement through the extensions of its motives.
The Introduction supplies three motives; a rising-falling fourth (or fifth), a dotted rhythmic motive, and an ascending chromatic motive.
^2£iena D olln sk ala (N ikolay M etner. [Moscow: M uzlka, 1966], p. 93) sees a tonal progression in thirds that comes full circle (g, b, d, f, a, c, e, g). However in this study no key establishment at the level of e was found. The chromatic passage of this introduction serves the double purpose of motivic definition and of progression from d-flat to g. Its point of climax occurs with a Vg of V with an added 13th, the 13th resolving into another Vg of V.
Ex. 90
The progression resolves in the same manner at the end of the sonata but differently before the interlude. In the latter instance the 13th does not resolve by half-step for the chord that should expectantly provide the resolution is altered in order to facilitate the estab lishment of ths key of f. f ' Theme is constructed from the motives of the introduction in the following scheme:
m otive 3 = m otive 1 motive 4a = motive 2 (diatonic inversion) motive 4b = motive 2 (original) motive 4c = motive 4a (varied) motive 4d = motive 2 (extended) motive 4e = motive 4 a (rhythmic variation) motive 4f = motive 4a (varied)
The theme is long and gradually progresses to a climax at measure 30.
Ex. 92
' ...... 'm o. 3 ...... ' — -1 n
t mo. 4c J
Joseph Yasser has chosen this theme as one that well represents Medtner's nationalistic "Russian melos". The melody is quite simi lar to a Russian folk song, "Johnny's Meditation", published in a col lection some thirty-five years after the sonata.(Joseph Yasser, "The Art of Nicholas Medtner", Holt, op. c it., pp. 61-62). I mo,4d
\p ! L.a.ujui^ a È m pner.-4f b iff f I #
The transition to Theme 2 begins with a rhythmic compression of m otive 3.
Ex. 93
P
The passage continues with a figure in sixteenth-notes that proves to be an ornamentation of motive -ie with the same rhythmic-melodic f e a tu r e s . 97
A contrapuntal combination of the two element:: of this transition
eventually produces a climactic development.
Ex. 95
Parallel chromatic movement occurs at measure 55 in a modulation from g to B - f la t.
Ex. 96
t e -
g: VI J b ' B":V» Theme 2 i s d eriv ed from th e f in a l m otive o f Theme 1 (motive
2f). This contrived melody is the product of both a retrograde form
and an ornamentation at the original pitch level.
Ex. 97 i Theme 2 I. XI n , n
derivation "
Material from the introduction is employed in the transition
to Theme 3. M otive l a i s used in an im ita tiv e se c tio n found in two
forms and with bi-chordal features,
Ex. 98
The other motivic development of this transition occurs at measure
81 where the two motives of the introduction are combined and motive 2
is extended in an arched pattern. Theme group 3 Is long and complex. It consists of five s e c tio n s , r e f e r re d to h e re a? Themes 3 a, b , c , d , and e . The them atic compound Is a ll derived from previous m aterial.
Theme 3a Is built upon motive la. It centers around the pitch, a, before It gradually moves chromatically upward to d (similar to the ascending chromatic passage of the Introduction).
Ex. 100
< m o.la I I------1 g m
Theme 3b I s m ost obviously d erived from th e second elem ent of th e previous transition (meas. 81). Theme 3b
i derivation
Theme 3c shows d e riv a tio n s s im ila r to Theme 3b b u t more d ir e c tly em anates from m otive 4d of Theme 1.
Ex. 102
Theme 3c n j n I .CM I I derivation rp ff f— — f—f—Pi ...... - / 1 [/l| 1 H —I------
A diminution of motives Ac and Af provides the basis for Theme 3d.
Ex. 103
Theme 3d Theme 3e is an intervailic expansion of che final tones of motive 4d
(motive x).
Ex. 104
d k
The closing section combines the figure of the first transi t io n w ith m a te ria l of Theme 3a.
Ex. 105
The first development is organized in the following manner:
Theme Z 4 m easures Theme 1 , m otive 4a 6 m easures Theme 1, m otive 3 1 measure Theme 1, m otive 4a 1 measure Theme 1 , m otive 4e 6 m easures Theme 3d/Theme 3c Ô m easures Theme 3d/ m otive y 2 m easures Theme 3d/Theme 3a 4 m easures Theme 3d/m otive l a and m otive y 10 m easures material of introduction 8 m easures
The arrangement of material serves to illustrate the unanimity of motives and themes in at least two ways: (1) through common or 102 related motivic material and (2) through contrapuntal combination. The former method is arrived at through the juxtaposition of related m a te ria ls . The r e la tio n s h ip between Theme 2 and Theme 1, m otive 4a, supplies an illustrative example when they are superimposed.
Ex. 106
l I ' t j i (Hê)
m
Theme 3d .U combined w ith a new m otive, beginning in m easure 174.
This new motive is the product of an ascending scalar pattern (ori ginally found in motive 2) together with the final cadential pattern o f Theme 1 (m otive 4 f ) .
Ex. 107 I mo. y trom i T i
The interlude consists of a thematic complex and its development.
Theme 4» is the simplest form of the theme. It is derived from motive
2 of the introduction. The first part of Theme 4b incorporates the leap o f Theme 4a in to i t s f a b r ic . The second p a rt o f Theme 4b is derived directly from motive y of the development. Coincidentally it fills in the intervals of Theme 4a. Theme 4c is a rhythmic and intervallic variation of 4b. The varied forms of the theme group are seen in the following example:
Ex. 108
Ifrom mo.2 Theme 4a W A
^ 7 7 ) Theme 4b, p t. 2
Theme 4c i
Theme 4c provides the dynamic climax of the interlude. Its thick texture culminates in a climactic chord that is produced by a vertical formation of the chord which, with a damper pedal indication, attaches itself to a broken form of the chord and a final bass note
( e - f l a t ) . 104
The principal developmental feature of this interlude is a
canon based upon the second part of Theme 4b (motive y). It pro
ceeds from measure 246 to 252 at the interval of a 10th.
Ex. 110
} = # = = = = Y ;■*— / \' --- -
f ' h J :
With only three exceptions the recapitulation treats material similar to the exposition. The material of the first transition, that begins the recapitulation, is employed in a developmental manner in that motives 3 and 4a are combined with its definitive sixteenth- note figure. In measures 273-277 motive 4a is found in a chromatic v e rsio n . Chromatic scales are also featured in the cadenza-like pass age th a t extends from Theme 3. The f in a l appearance of Theme 1 i s treated, through motive Ad, similarly to its position in the exposi tion. Motive Ae is combined with the material of the first transi tion. This is succeeded by a short transition based upon motive 3 that leads to the coda.
The coda at first combines motive 3 in the bass with (1) motive z, a section of motive f; (2) motive y; and (3) motive la.
Ex. 112 106
The last six measures are comparable to the first six measures of
the introduction.
Summary
The Sonata, Op. 22, is a one-movement sonata-allegro form with
an interlude. Although the material of the interlude is derived
from the movement proper it is self-contained and includes a devel
opment of its own thematic material. The work is conceived as a
chiastic design with the interlude at its center. The major outlines of the sonata are very definite although divisions are somewhat
effaced between the first theme, the first transition, and the second
theme. In two Instances melodies are anticipated in previous sections.
Thematic evolution is employed to a certain degree although most thematic- m aterial can be traced to germinal motives in the
introduction. There are four thematic groups. Themes 1 and 3 are
long and lyric; Themes 3 and 4 are thematic complexes. Contrapuntal
combinations are found in the first development, the first transition
section of the recapitulation, and in the coda. A canon is employed in the development within the interlude.
The tonal plan employs an ascending succession of thirds up to the return of Theme 2 in the recapitulation. There is little tonal ambiguity and only a few short chromatic passages are in evidence. SONATA, OP. 25, NO. 1
The sonata. Op. 25, No. 1, la entitled Marchen-Sonate and is dedicated to A. F. Cedike.14 it was evidently written during 1910-
1911 and was published in Berlin by Édition russe de musique in 1911.^^
This work shows yet another approach to sonata structure. The outer movements in combination provide a single sonata-allegro form.
The first movement supplies the exposition with three theme groups, a development of the first two themes, and a coda with the order of
themes from the exposition inverted. The middle movement is one long melody, the development of which appears in the final movement. The final movement announces two new theme groups and then recapitulates m aterial from each movement.
The structure of the whole work w ill be illustrated before the separate movements are discussed. The thematic material is here numbered progressively throughout the whole work: Themes 1-3 in the f i r s t movement. Theme 4 in th e second movement, and Themes 5 and 6 in the final movement.
The key relationships show the simple harmonic structure. The
first movement moves from tonic to dominant and back to the tonic major. The second movement is entirely in E-flat and the finale entirely in c.
^^Chief Editor of HMSS.
IS nmSS, I I , 7. TABLE 11
FOBMAL STRUCTURE OF OP. 25, NO. 1
Length Key
I. Allegro abbandonamente Exposition 58 Theme 1 Theme 2 g Theme 3
Development 56 Theme 1 Theme 2
Coda Theme 3 Theme 2 Theme 1
II. Andantino con moto Theme 4 81 E - f la t
III. Allegro con spirito Theme 5) Theme 6) 24
Recapitulation 51 Theme 4 Theme 6 Theme 2 Theme 6 Theme 1 Theme 2
The symmetry of the whole sonata is quite apparent. Each of the divisions of the large sonata-allegro form are of comparable length. Tlie mid-section (Themes 4, 5 and 6) is approximately double the length of the other separate sections. Each movement will be considered separately.
F irst Movement
TABLE 12
FORMAL STRUCTURE OF FIRST MOVEMENT, OP. 25, NO. 1
L ocation Length Key
E x p o sitio n 1-58 58 1-14 (14) Transition 15-25 (11) —>V o f g Theme 2 26-35 (10) 8 Transition 36-44 ( 9) Theme 3 45-48 (14)
Development 59-88 30 Theme 1 59-68 (10) c, f-sharp Transition 69-78 (10) Theme 2 79-88 (10) a — >
Coda 89-114 26 Theme 3 89-92 C Extension 93-100 Theme 2 101-110 Theme 1 111-114
Although both the development and coda recapitulate material of the exposition, these terms are employed because of tonal consider ations. There is little temporary movement away from key centers, and the movement is extremely diatonic. What little tonal flux is present is found in the modulatory passages. The development moves to distant keys whereas the coda returns to che tonic; but the mode is major.
The coda is brief and can be considered a closing section of the devel opment. (The terminology is used for purposes of clarification.) I l l Theme 3 In th e coda Is developed upon I t s f i r s t appearance and
Is extended through its basic motive. The theme does not appear later in the work. Themes 1 and 2 and a transition reappear basic ally unchanged in the development except for key level alterations.
The three themes appear in reverse order in the coda section with
Theme 1 se rv in g as a c lo sin g s e c tio n .
Relative phrase lengths of thematic material in the three divisions is shown in the following measure tabulation;
TABLE 13
PHRASE LENGTHS OF THEMES OF FIRST MOVEMENT, OP. 25, NO. 1
Thematic Material Exposition Development Coda
Theme la 4 6 4 lb ^ 4 + 6 4 Ic* 4 + 7 4 + 6 Theme 2 4 + 3 + 3 4 + 3 + 3 4 + 6 Ic* 2 + 7 Theme 3 4 + dev. (10) 4 + e x t . (8)
transitional material
All original phrase lengths (i.e., first phrases of themes) are four measures long. The lengths of developed sections or exten sions vary slightly from division to division. Themes appear without
transitory material in the coda section.
The entire work consists of thematic repetition rather than
of m o tiv ic developm ent. Hoivever each theme i s compounded of m otivic units which produce the themes for each movement and vaguely suggest
the thematic material of succeeding movements. Theme 1 is in three sections, the third section acting as a t r a n s i t i o n to (1) Theme 2 and (2) Theme 3. Theme l a co n tain s two motives, the first consisting of an ornamented single tone and the second comprising an essentially scalar pattern that outlines the tonic chord. This latter motive is the constructional motive for all other thematic material in the sonata.
Ex. 113
T h .la
Theme lb is based upon motive 2a and is chiefly rhythmic. It, together with its accompanimental motive, ends with motive 1. 113
im o .i
Theme le concerns the accompanimental motive of lb together with the descending scale pattern of motive 2. It too concludes with motive 1 in a developed form that produces Theme 2.
Ex. 115
T h .lc
Theme 2 , a lyric melody arising from the preceding development of motive 1, outlines three ascending chordal formations as the basic lin e moves downward.
Ex. 116
l Æ : .D ' I l - " ' f f Theme l e retu rn s and th e t r a n s itio n to Theme 3 ends w ith th e so-called gypsy or Hungarian scale.
Ex. 117
This scale climaxes with a cluster of tones held by the damper pedal.
Ex. 118
Theme 3 , lik e Themes lb and I c , i s rhythm ic in c h a ra c te r and i s d eriv ed d ir e c tly from Theme I c .
^^The scale reappears near the end of the final movement. 115
The theme Involves imitation (two measures of the bass ■ one measure of the treble) and, in its development, incorporation with Theme la and Theme 2 (m easures 49-51).
Ex. 120 (Th. 2, no. 2 ------1 xnx ( - j . . rt-.c T T .
- .... ÿ l - J - When the theme returns in the coda section it ends with a new rhythmic motive that produces the final return of Theme la and the end of the movement. Chromatic "sidestepping" is employed in measures 96-97 of th e coda. Ex. 121 A new harmonic development of Theme la is found at the end of the coda. Ex. 122 T his coda i s of f u rth e r harm onic I n te r e s t in th a t th e m ajor mode (C) is obfuscated by the retention of a-flat and b-flat from the minor mode. Second Movement Medtner's close associations with Rachmaninoff are most closely apparent in this slow movement with its long flowing melody and thickly textured accompaniment. In fact Rachmaninoff's Prelude in the same 117 key of E -flat, Op. 23, No. 6, employs the same accompanlmental pattern as that found in this movement at measure 69. Ex. 123 lledtner Lcixnaninoff The movement is based upon a single melody of 20 measures that is twice repeated. Motivic extensions of the theme do not interrupt the continuous flow. The structural plan is as follows: TABLE 14 FORMAL STRUCTURE OF SECOND MOVEMENT, OP. 25, NO. 1 Location Length Key S ection 1 34 Theme 4 (1-20) E-flat Motive 1 and 2 of Theme 4 (21-34) B - f la t = V S ectio n 2 28 Theme 4 (35-50) E - f la t ffo tiv e 5 o f Theme 4 (51-60) Cadenza (61-62) V of E-flat S ectio n 3 19 Theme 4 (63-72) E-flat Motive 3a of theme 4 (73-75) Cadenza (76-80) V of c (fermata rest) (81) Phrases are long and'accumulative. The theme" originally is 20 measures in length, then 16, then 13 measures. Each section is corres pondingly shortened with the final section leading into the third movement ( a tta c c a ) . The entire movement remains in E-flat. However there are temporary tonal alleviations. The final section modulates to the dominant of c for the transition to the last movement. The theme is to some extent derived from Theme 1, motive 2 of the first movement. The second motive of Theme 4 shows sim ilarity to th e comparable m otive of Theme 1. 119 Y t v r f ^ J J . 1 n [ T h .l, mo.2 , F,ir s t movement 4 ^ — ; — 1------zfL The theme which in its long peregrination encompasses two oc taves is accumulatively constructed with motive suggesting motive. Ex. 125 Inio.l i 1 Î2c“ Ga .1 120 Motive 1 is not germinal although it serves a constructive purpose for the movement. Motive 2 is subdivided into two units, the second of which gives rise to a successive motive, motive 2c, which repeats itself before moving on. Motive 3 arises from the ascending pattern of 2c. Motive 4 is a compound of the wide intervals of 2c and of motive 3. The motive is repeated at a higher pitch level. The wide Interval begins motive 5 which then descends by half steps. The descent is repeated. Although the theme is primarily diatonic, the constant key level is relieved by the motivic passage of section 2 with its chro matic progressions. The bass line here moves chromatically downward throughout a complete octave. Ex. 126 f, - Î f ? if Æ? ijt As in this example, the harmonic rhythm usually changes from measure to measure—every three beats. Within this basically slow harmonic rhythm chordal ornamentation may occur as in this passage that marks the return of the theme. Ex. 127 , y 1 ® / I i ? 1 tM = : The third and last appearance of the theme (section 3) provides another accompanlmental approach. Here a descending figurai pattern (spawned by the preceding cadenza) is combined with dense harmony. The passage begins with a chord. Ex. 128 à The same passage contains a complex four-measure polychordal pedal which can be analyzed as Ily/I. 122 T hird .Movement The complexities of this sonata are made manifest in this final movement which introduces two new themes, develops m aterial, and recapitulates themes from the other movements. The entire movement is In c minor and is therefore the tonal recapitulation for the com plete sonata. TABLE 15 FORMAL STRUCTURE OF THIRD MOVEIIENT, OP. 25, NO. 1 L ocation Length Key S e c tio n I (1-24) 24 Theme 5 (1-8) (8) Theme 6 (9-16) (8) Theme 5 (17-20/21)* (4) Theme 6 (22-24) (4) Section II: Recapitulation (25-76) 51 Theme 4 (25-45) (20) Themes 6/2 (46-51) (6) Theme 1 (52-57) (6) Theme 2 m otives (58-67) (10) Closing material (68-76) (9) Measures 20 and 21 are first and second endings. Theme 5 i s composed o f fo u r 2-m easure phrases ( in 2 m eter, 20 b eats in each p h ra s e ). Theme 6 com prises two 4-m easure p h ra se s, each p hrase consisting of four 1-measure motives. Theme 5 then appears in three- part and four-part counterpoint for 4 measures. The material thus far is repeated from the beginning. After the repeat motive 3 of Theme 6 returns. The whole section to this point is square-cut and march l ik e . Theme 4 from th e slow movement i s then developed in conjunction with the dotted rhythm of Theme 5. This rhythm alone ends this 20- measure section. Theme 6, in three 2-measure phrases, in its second ph rase i s combined w ith Theme 2. Recapitulations, but condensations, of Themes la and lb occur fo r 2 and 4 m easures r e s p e c tiv e ly . M otives o f Theme 2 a re employed for 10 measures. A closing section consists of the following mater ial: (1) the Hungarian scale found in the first movement combined with the rhythmic motive of Ic, and (2) a developed motive from Theme 2 (the grace notes) last employed in measures 44-45 of this movement. Theme 5 has i t s o rig in s in th e f i r s t two m otives of Theme 4. The ending of the consequent phrase is more obviously derivative than that of the antecedent phrase. The grace notes of Theme 2 are also found in Theme 5 in th e b ass lin e (motive 2 ) . M otive 3 o f th e new theme is a new rhythmic motive that figures in the succeeding theme also. Theme 5 and its derivation are illustrated in the following example: lerlvatlon: Th- 1, II, I mo. 1 r r n x J J A J y . r . ^ The theme itself is composed of three motives. Motives 1 and 2 are combined contrapuntally in the first measure with 1 and 3 combined in the second measure. The phrase is then written at the dominant level. The next two phrases invert the arrangement of motives. The scheme Tonal level phrase 1: 1/2 and 1/3 I phrase 2: 1/2 and variation of 1/3 V phrase 3: 2/1 and 3/1 I phrase 4: 2/1 and variation of 3/1 V Theme 6 , a t th e dominant m inor key le v e l, a ris e s in d ir e c tly in i t s f i r s t m otive from Theme 2. I t s second m otive comes d ir e c tly from Theme 5, and its third motive is a more obvious statement of m otive 1 o f Theme 2. 125 Th. 6b srivation: Th. 2, I, The theme, at the dominant key level, is repeated at the tonic level. The grace notes of motive 1 of Theme 2 are employed in both Themes 5 and 6 of this movement. Their importance is especially noted at measures 44-45 and again at the end of the work. The two passages are comparably seen in the following example: Ex. 132 ...... \ 1 h fA — 3- .. - i r J y TTw Probably because of the recapitulatory character of the majority^^ of the movement, there is no further development of melodic material other than in the juxtapositioning and combining of themes. However thematic combinations produce some interesting rhythmic c o m p lex ities. The appearance o f Theme 4 from th e m iddle movement a t its original tempo, Andantino con moto, combined with the dotted m otive of Theme 6 r e s u l ts in flow ing v ersu s m archlike rhythm s. Ex. 133 Theme l a , when combined w ith th e m otive o f Theme 6 , produces a u ra lly a combination of | and ^ meters although Only | meter is employed in the original notation. Ex. 134 Summary 127 This sonata-allegro form Is spread over all three movements. Nearly all thematic material recapitulates In the third movement. Theme groups a re o fte n s e c tlo n a llz e d ( I . e . , Themes l a , b , c; Themes 5a, b; Theme 6a, b). Phrase structure Is generally square-cut. Extensions and developments of phrases alleviate this feature. (Theme 4 Is exceptional In that It Is long-breathed and repetitive). Although melodies are built upon a motivic structure and are Interrelated there Is little motivic development. Melodies repeat themselves rather than develop. Textures vary from melody and accompaniment patterns, to contra- ptintal sections, to chordal progressions. The texture of the final movement Is almost consistently contrapuntal except for cadentlal formulae. Contrastingly there Is only one Instance of counterpoint In the first movement and none In the slow movement. The harmonic structure Is very simple and there Is very little tonal flux within movements. The harmonies are diatonlcally o rie n te d ; how ever, th e re I s some chrom atic r e l i e f . The m ajor mode of the coda of the first movement contains features of the parallel minor mode. S onata, Op. 25, No. 2 Sonata. Op. 25, No. 2, Is dedicated to Medtner's friend, Rachmaninoff, and bears an epigraph by Tutschev commencing with "Why do you rage, wind of the night?" The sonata was written in 1911. An autograph manuscript gives a specific date, 21 December, 1911, Khalebnikovo. It was published in 1912 by Edition russe de musique and first performed by the composer in Moscow, February 14, 1912.^^ The movement comprises two sonata-allegro forms in combination. It is in two large sections, the second section based upon the first and recapitulating the first section's most important material. The formal outlines w ill be delineated and explained before the details of this complex structure are examined. Because meters and tempos are often associated with thematic material, these elements are included in Tables 16 and 17. In Section I the introduction and coda are of comparable length and material. The sonata-allegro design lies within these confines. Here symmetry is not apparent in that the recapitulation presents the material in a condensed manner. Section II, built upon the material of Section I, is approached through a short transition, a fermata, and an attacca direction. The section is considerably longer than Section I, but this is partly a result of the return of thematic material from Section I in its recapitulation. This combination of material from both Sections I and II serves the double purpose of (1) a recapitulation for Section II l^NMSS, I I , 7. TABLE 16 SECTION I , SONATA, OP. 25, NO. 2 S ectio n L ocation Length Key M eter Tempo Introduction (37) 1 1-37 37 e 5/4, 4/4 Andante con moto E x p o sitio n 2 38-79 42 » 15/8 Allegro (97) 3 80-134 55 D Tranquillo; giacosa- mente; Stentato Development (58) 135-178 58 D—^ d—) f-sharp Largamente; plu mosso; —» e-flàt-9 A-» A lleg ro V o f c Recapitulation 2 179-201 25 « A lleg ro (71) 3 202-246 43 G, E Tranquillo; molto giacondamente (transition) 247-249 3 f (rit.) Coda (27) 1 250-276 27 f . e 4/4 Tempo d e ll'in tr o d u z io n e Transition (8) 277-284 8 V of e (accelerando) TABLE 17 SECTION I I , SONATA, OP. 25, NO. 2 Section Location Length Key M eter Tempo E x p o sitio n 4 285-372 88 e. G, V of b 4/4 ...Presto (158) 5 373-442 70 b Teiiebroso tranquillo Development 443-533 91 b, c-> g-sharp, meno mosso (91) a, V of b, V of e Allegro molto Recapitulation/ 1/4 534-628 95 e-^ B-flat, = , b Presto; Largamente Coda (190) 5/1 629-723 95 * Tenebroso 131 and (2) a coda for the whole sonata. Each thematic group is a complex of motivic and melodic material that is unified not only through motives but also tonally and struc turally. It is apparent that tempo changes coincide with formal divisions and that each theme group is associated with its individ ual tempo or tempos. In both expository sections the principal theme group is fast and the second is slower. However when thematic mater ial is developed the original tempo associated with a theme may be contrastingly different. Most of the divisions of the work are long enough to suffice as complete compositions in themselves. They do not always function thus tonally but each theme group has its own structure involving contrast, development or variation, and repetition. Probably because of this formal complexity the interior phrase structure is usually obvious and simple: short phrases of periodic format are supplemented by variations and extensions. The key levels reach all pitches of the chromatic scale but c-sharp. Chromatic key relationships are especially apparent in the development of Section II. Key relationships of thirds are employed in the first recapitulation and the second exposition. Distant key relationships are usually approached through chromatic chordal movement. A case in point occurs in the first transition in a modulation from e to D. Here a common f-sharp triad is concealed by a large quantity of chromatic movement before the triad becomes III of D. 65 66-69 70-75 79-83 £ ^ » II — > The only abrupt key change occurs near the end of Section I where the key moves directly from e to f. Motivic m aterial from the introduction (Andante con moto) sup plies the melodic foundations for the whole work. The form of this introduction is as follows: M otto 1 1 Theme l a 2-9 8 Theme lb 10-13 4 Theme Ic 14-17 4 extension 18-21 4 Theme l a 22-24 3 e x te n sio n 25-30 6 Theme Ic 31-33 3 Transition/closing material 34-37 4 The work begins with the motto, a triadic unit that (1) an nounces the tonality of the work, (2) delineates forthcoming divisions of the sonata by appearing at the head of these divisions, and (3) is the germinal idea for thematic material. Ex. 135 133 Its repetitions In a descending pattern approach Theme la which ascends In scalar movement as It outlines the triad of the motto. The theme consists of four motives, each of which Is a building block for future construction. Ex. 136 (me. 2 '1^ n ! J f - H w i i t Y 1 ; tJ : The descending chromatic accompaniment of this diatonlcally oriented melody Is the basis for the subsequent sub-theme, lb. This meandering melody Is the consequent counterpart of the ascending Theme l a . 134 & TherQ Ic follows. It is an inversion of Theme la. Ex. 138 tmo. 3^ * CZD The third motive of this Inversion (motive 3^) Is employed in a four- measure extension in which the interval of a fourth is gradually expanded. Theme la returns and is extended for six measures through motivic repetition. Theme Ic in a varied sequential form follows: Ex. 139 Closing material employing the triadic concept of the motto together with motive 4 serves as a transition to the exposition by anticipating the accompaniment of the subsequent theme. The form of the exposition is as follows; Length 38-39 2 Theme 2a 40-54 17 Theme 2b 55-58 4 Theme 2c 59-61 3 Theme 2b 62-64 3 Theme 2c 65-71 7 Theme 2b 72-75 4 Theme 2a, m otive 2 76-78 3 M otto 79 1 Tlieme 3a 80-95 16 Theme 3b 96-107 12 Theme 3a^ 108-117 10 Theme 3b^ 118-134 17 The exposition begins with the motto of the introduction in a new rhythm and with the accompaniment of the preceding example. Theme 2a, lik e Theme l a , becomes a s c a la r d e lin e a tio n of the motto's triadic features. Ex. 141 Th. 2a m 0 5 ) 11 ,%i- 4-— &—I w 7^---^-! Ji- j- - 1 ,0 m. -+hL- f H i ■r . : ::|=:pp \ 1 ^j': iii' A n.il' t \ Its shape, a gradual curve ascending and descending, is complete in itself in comparison to that feature of Themes la and lb. Two motives of the melodic-rhythmic structure of Theme 2a provide ma t e r i a l fo r Themes 2b and 2c, developm ents of Theme 2a. Theme 2b employs m otive 1 of Theme 2a as i t s b a s is . -r, j è Theme 2c combines m otive 2 o f Theme 2a w ith th e descending chrom atic fe a tu re s o f Theme lb . Ex. 143 --- -1- f ^ 1 rf^L. "■ 7 "7 Themes 2b and c alternate together with the insertion of a m otive from Theme l a . Ex. 144 f , 1 The theme group ends with the motto which is immediately preceded by a harmonic development of motive 2, Theme 2a. Dev* o f mo. 2 . Th. 2a The aforementioned motto precedes Theme 3a, which is built upon it. The first measures outline an f-sharp triad ascending to the octave and descending in return. It is therefore the skeleton of Themes la and 2a. It proves in its continuation to be a long- breathed melody related to Theme 2a in its stepwise ascent and descent. The rhythm of the descending line J* J , i s sim ila r to that of the descent of Theme 2a but the dotted rhythm is new. Ex. 146 m F» 139 . , (from Th. 2c~ Thé second part of this theme group. Theme 3b, is composed of two alternating phrases. The first phrase is derived from motive 2 of Theme 3a and the second is a variant of the first phrase. Ex. 147 — ...- ...... ^ ( § D ______:------llXf'it.d- Following a motivic development of Theme 3b'the theme finally appears in this chordal form: Ex. 148 140 A figurai variation of the first three measures of Theme 3a expands its triadic concept into the accompaniment. Ex. 149 .. . , r , , « l à - - QM) ---- r r T ^ - - - f ------rrnfe Theme 3b returns and is extended through a rather lengthy and elaborate development of its motives. The forms taken are shown in Ex. 150, on the following page. The development section hardly deserves its term in regard to thematic-motivic material for in all but two instances the material retains its original identity. However, it is developmental in regard to tonal planes and thematic juxtapositions. Its plan is as follow s : Motto 135-36 2 Theme 3a 137-38 2 M otto 139-40 2 Theme 3a 141-42 2 143 1 Theme 2c 144-48 5 Theme 2b 149-52 4 M otto 153 1 Theme 2b 154-59 6 Themes 3a and 2c 160-68 9 Theme 3b 169-71 3 Transition 172-77 6 Developments of Th. 4b: O rig in a l” etc. This plan shows three divisions grouped according to thematic 142 material. At measure 154 Theme 2a assumes lyric proportions as it is expanded from a one-octave to a two-octave range. Here it becomes one of few lyric developments of the sonata, occurring strategically in the center of Section I. Ex. 151 b ' n M v / ------ Im m ediately follow ing t h is s e c tio n th e second p a rts o f Themes 3a and 2c occur in alternation. These ideas are respectively (1) the dotted motive and (2) the descending skips of a seventh, the interval changed here to a sixth. Ex. 152 143 A transition of six tseasurss anticipates the accompaniment of Theme 2 and the recapitulation. The recapitulation as compared to the exposition is condensed through the deletion of repetitions, especially in Theme group 2. Theme 2c of the exposition does not reappear here, nor does the vari a tio n o f Theme 3b (Theme 3b^). The s tr u c tu r e of th e r e c a p itu la tio n i s : Length Motto 179-180 2 Theme 2 181-201 21 Theme 2a 181-192 (12) Development of Theme 2b 193-201 ( 9) Theme 3 202-246 45 Theme 3a 202-209 ( 8) Theme 3b 210-221 (12) Theme 3aX 221-231 (10) Extension 232-233 ( 2) Theme 3b 234-240 ( 7) Theme 3a 241-246 ( 6) T ra n sitio n 247-249 3 A transformation of material occurs in the final appearance of Theme 3a near the end of the recapitulation. Its new lyric char acter is a product of its accompaniment and of a less static rhythm. Theme la is incorporated into its fabric. i a i i i -,1 I )■ j A bridge passage of two measures Involves the motto and leads to the coda. This final division of Section I is.a compression of the introduction. An eight measure transition to Section II antici pates Theme 5. It is based upon material from the first two measures of Theme la and therefore correlates with the coda of Section I. 5? # f - The bridge passage ends with a long rest and the indication, attacca. The exposition of Section' II (Presto) is as follows: Length Theme'4a ^ 285-311 ; 27 Theme ,4b ' • 312-362; 51 Theme l a , 363-365 3 366-367 2 Transition , 368-371 4 Theme 5a ; c . /373ÿ403 • 31 Transition . 404-411 8 Theme 5b 412-429 18 Themes 5a and '5b 430-442 13 The theme groups of this section are subdivided in much the same manner as in S ectio n I , Theme 4a i s a compound of two elem en ts: (1) Theme 'la employed in a nemetuum mobiie manner and ' (2) a repeated note- descending step: motive that priginates in the varied form of Theme Ic as seen in Ex. 5. This-slower triovihg part, takes on the dimensions of a theme as it acquires the character >f, à dotted rhythm. Ex. 155 14 Th. 4a 3 ^ ^ 1 1 . 1 l-ril 1 1 1 1 1 JTl 1 _------ * ^ ^ h’l 1 ' j” ' ■; t5------rp------S------H f ...... " anticipation of Th. 4b Theme 4b i s couched in Theme 4a b u t i s minus th e running s ix teenth-note figuration. It appears as a four-part canon with each entry an octave higher than the last. Ex. 156 H i f ^ i .. Theme 4b appears complete in this form beginning at measure 336. Ex. 157 Theme l a reap p ears n e a r th e end of t h is theme group. I t is . combined contrapuntally with the countermelody of the imitative passages of Theme 4b. This countermelody has a number of antecedents, th e o r ig in a l being m otive 4 of Theme l a . Ex. 158 a D I " ' " . M r r W - -: ■ ■ I %  varied form of the motto is employed previous to Theme group 5, at first alone, then with the sixteenth-note figure of Theme 4a. Theme 5a combines the chromatic descending concept, found originally In Theme lb, together with the triadic outline of Theme 2a. It Is a theme that evolves through twenty measures while retaining the rhythmic features of Its first measures throughout. Ex. 160 m The theme Is repeated in a condensed form in this varied manner: Ex. 161 The descending chromatic factor of the theme is utilized in a transi tio n to Theme 5b in a s t r i c t l y chordal fash io n . . Ex. 162 Theme 5b—a chromatic, harmonized melody—also has its origins in Theme lb as well as in the immediately preceding material. 150 .Ml Jri Like Theme 5a, Theme 5b evolves through a lengthy s tr u c tu r e and Is repeated in a condensed version. It incorporates into its fabric the running figure of Theme 4a. The two themes (5a and 5b) are combined in measures 430-442. Ex. 164 Th.5b; Without warning, for the themes and divisions are usually anti cipated, the development begins with Theme la. Its plan is as follows : Length Theme la /4 a 443-457 15 Theme lb 458-462 5 Theme 4b 463-473 11 Motivic development of 5a, 4b and la 474-533 60 Themes la, lb and 4b occur In succession together with fairly c o n sta n t new m o tiv e s, d eriv ed from Theme 5 a, m otive 2 , and Theme 4a, m otive 1 . Ex. 163 iiîroïïlUa. r.ev.- no. fron Th. 5a A len g th y developm ent, c h ie f ly o f m otive 1 of Theme 4 , but with insertions of Themes 5a and 4b, produces the motivic develop ments seen in Ex. 166, on the following page. The final triplet figure of this last development of the motive brings on the tran sition to the recapitulation. An unusual polychordal concept is employed in this passage where two chromatic harmonies finally resolve to an e triad. Ex. 167 Ex. 166 . Development of mo. 1, Th, 4» @ fi) A Qif'utU m # # ' > b *- 3 3 Z T ,3 r d ) As has been previously noted, the recapitulation serves a double purpose for it is the recapitulation of Section II and the coda of the whole sonata. Its structure is as follows: Length Themes 4a and b 534-576 43 Themes 4b and l a 577-628 52 Motto 629-630 2 Theme l a 631-635 5 Extension^® 636-642 7 Theme lb 643-646 4 Theme 5a 647-658 12 Transition 659-672 14 Theme 5b 673-684 12 Themes 5a and lb 685-688 4 Theme 5a 689-696 8 Theme l a 697-698 2 Themes 5a and lb 699-716 18 Theme l a 717-721 5 In only one instance. Theme 5a (measures 647-658), is material recapitulated employing the same methods used in the exposition. All other material is transformed, if only by inverting the voice parts. The commencement o f th e r e c a p itu la tio n (Theme 4a) i s d e a lt w ith in this latter manner. Harmonic concepts are apparent in the recapitulation and are e s p e c ia lly obvious in long harm onic p e d a ls. Themes 4b and l a employ this device (from measure 561 to 592). One of the pedal tones is actually a chordal pedal for a Vg chord which lasts for twelve meas ures. Here harmony is used as a device for thematic development ^®A new melody developed from Theme l a . 154 f o r Theme 4b h ad , in th e e x p o s itio n , been tre a te d c o n tra p u n ta lly . Ex. 168 Texture Is generally more dense as in the case of the appear ances o f Theme l a a t m easures 515 and 631. The l a t t e r m easures are extended to produce a newly developed melody. This melody, coming so late in the sonata, is an outgrowth of motives 4 and 2 of Theme la. It is organically conceived. Ex. 169 '^ïh. la, mo. 4 ^ ^ 71- » r IfT'TTH' f ( The sonata gradually dissolves as progressively smaller fragments of thematic material are employed. Summary 155 The complexities of this sonata are many. Its dimensions are a product of forms within forms. Two sonata-allegro forms are juxta posed and integrated. Large thematic structures are compounded of sub structures that assume individual formal dimensions through contrast, repetition, variation and development. All thematic material originates from a germinal motive, a minor triad. The first theme group arises from this motive and it in turn supplies motives for further thematic and motivic construc tion. This first theme group supplies both diatonic and chromatic melodic material which in turn produces both diatonic and chromatic harm onies. The two sections of the sonata parallel one another in thematic construction and thematic character. The themes of the first section are related to the themes of the second section in terms of their motivic origins, arrangement of thematic divisions, and tempo indi cations. Divisions within the sonata are usually anticipated in previously juxtaposed m aterial. Texture is often quite thick and counterpoint is much in evi dence, especially in the superpositioning of melodies. There are a number of im itative sections and one four-part canon (Theme 4b). S o n ate-B allad e, Op. 27 In Alfred Swan's biography, the following report of the Sonate- Ballade is given; Shortly before the outbreak of the war [World War I] Medtner was occupied with composing the Sonate-Ballade, Op. 27— a work that manifests again his whole creative psychology. Al though no program for this sonata appears in print, we find it in the composer's notebooks. Besides he also reported orally: the first movement—a magnificent primeval earth, its natural beauty without spirituality; the second—the temptation in the wilderness and a fervent knowledge of God...and finally in the Finale—the same primeval earth, but already striving heaven ward and with the bells ringing !19 The sonata was published in 1913 by Edition russe de musique in Berlin. There is no dedication. It is in two movements: (1) an Allegretto movement and (2) an introduction and finale. The former section of the last movement was evidently considered by Medtner as an entity since he described not two, but three movements in the preceding quote. Symmetrical features are*again apparent in the first movement (Allegretto). There is only one measure's difference between the expo sition and recapitulation and only three measures difference between the development and coda, the latter functioning as a second development. Although a detailed description of the formal fac tors of each section will be discussed separately, the exposition and recapitulation do treat material in an identical structural scheme. 19,DLNM, 79-80 [my translation]. 157 F i r s t Movement TABLE 18 FORM OF FIRST MOVEMENT, OP. 27 Location Length Key Exposition .1-80 80 Theme group 1 1-23 (23) F -sharp Theme group 2 24-66 (43) —»a-sharp—)V of C-sharp Theme group 1 67-80 (14) C-sharp « V o f F-sharp Development 81-149 69 —> c -sh a rp — o f F-sharp Recapitulation 150-230 81 Theme group 1 150-171 (22) A Theme group 2 172-214 (43) —» f-sh a rp —> Theme group 1 215-230 (16) V of f-sharp Coda 230-296 66 f-sh a rp A considerable amount of variety Is found In phrase lengths. This Is apparent In the exposition where Theme group 1 is comprised of 4 + 5 measures, then 2 + 2 + 5 + 5. Repetition is a key factor in the movement f o r Theme 1 b eg in s and ends both th e e x p o s itio n and th e reca pitulation; Theme 2 is in itself an alternation of contrasting material; and both development sections involve repetitive structuring. The unusual tonal factors are apparent in a movement that begins in F-sharp and ends at the tonic minor key level, in an exposition that never really establishes its dominant key level (C-sharp), and in a r e c a p itu la tio n th a t commences in th e d is ta n t key, a lowered m ediant. 158 of A (which is finally realized as III of the tonic minor). The tonal planes center around the F-sharp-f-sharp triads: f-sharp, a-sharp/a, c-sharp. There is much tonal ambiguity produced by con tinuous modulation and by the chromatic factor. The only instances of tonal security are at the beginning of the recapitulation (in the distant key of A) and in the coda. The tonic chord is seldom encountered. The germinal feature of thematic construction is that of step wise motion within the interval of a third and inaugurates all princi pal thematic m aterial. The incipient tones of each thematic unit are shown in the following example: Ex. 170 Except for this unifying element, the thematic principle is not always evolutionary—that is, one motive or theme does not always suggest another. The exposition is composed of the following melodic elements: Length Theme l a 1-9 9 Theme lb 10-23 14 Theme 2a 24-31 8 Theme 2b 32-38 7 Theme 2a 39-40 2 Theme 2b 41-48 8 Theme 2a 49-50 2 Themes 2a and b 51-60 10 Theme 2c 61-63 3 Themes 2a and b 64 1 Theme 2c 65-66 2 Theme l a 67-75 9 Theme lb 76-80 5 Although none of the thematic divisions are here designated as transitional elements, from a tonal point of view the first section of Theme group 2 acts in the capacity of moving from F-sharp to a-sharp. Similarly the section comprising Theme 2c can be considered a transition to the final section (the return of Theme group 1). Theme la, long and lyric, has nevertheless a narrow range. Its first phrase outlines two tones, c-sharp and d-sharp, whereas its second phrase outlines g-sharp and c-sharp. The whole is very close to the pentatonic mode for all of the theme's accented tones outline a pentatonic scale. The theme consists of the basic motive, the descending third expanded to wider intervals—fourths, fifths, sixths and sevenths—and a descending pattern (motive 3). A compari son of the rhythmic facets of the two phrases of the theme shows its unity and its irregularity. The complete theme illustrates a disjunct, weaving melodic line with no long directional movement. FPa I ) 'no. Chrom atic f e a tu re s of th e movement a re not foTind in the themes themselves, as is often the case in Medtner*s previous sonatas, but in accompanimental features. The pentatonic concept of Theme la is partially destroyed by varied harmonization of the melody in various sections of the movement. The same melody appears with the following chordal progressions in patterns that change the theme's purpose from an announcement of a key to that of modulation': Measure 1-4 F -sh arp : % I i | v . Measure 67-70 F -sh arp : ' % Measure 150-153 A: L ) 1 1 Measure 215-218 I I I I I I I , I. b7 >7 Theme lb immediately follows and is a product of Theme la. The neif melody is primarily built upon motive 4 of Theme 1 with its cadential descending fourth. Motive 2 is derived directly from motive 3 o f Theme l a . fm o.i I mo, 2 A: Theme group 2 consists of (1) an ascending-descending scalar pattern, often employed im itatively, and with chromatic accompanying fig u re s (Theme 2a) and (2) a m otive derived from m otive 1 of Tlieme l a t h a t i s expanded in to a com plete melody (Theme 2 b ). The two thematic subdivisions then alternate and are finally combined. Ex. 173 Th. 2a n r n s> bm o.lb Th. 2b I mo.l I Theme 2 c, c lo s e ly r e la te d to Theme l a , both through m otives and th e dotted rhythm, outlines the intervals of a fifth, a fourth, and a third; the scheme is repeated. Ex. 174 i mo. 1 I I m o.la I The development section is compounded of motives in the following scheme: M otives of Themes Length l a 81-90 10 2c 91-92 2 la 93-94 2 2c 95-98 4 lb and 2a 99-100 2 2b 101-116 16 lb 117-123 7 2 b /lb 124-126 3 lb and 2a 127-134 135-149 15 The development is in three sections with the first section illustrating the relationships of motives of Themes la and 2c. This is apparent in the positioning of an altered Theme la next to a readily reco g n izab le Theme 2c. The a lt e r a t io n o f Theme la i s th e r e s u l t of Intervalllc changes (between pitches 3 and 4, and 4 and 5) followed by a rhythmic compression and a final motive (e - b). Theme 2c has only two Interval changes (between pitches 1 and 2, and 3 and 4). Ex. 175 (la) s — -I f T (2c) k f u ' In the second section Themes lb and 2a show their Inter relatedness through descending scalar patterns. Ex. 176 Theme 2b Is chiefly represented by Its principal motive In the following form; m The developm ent o f m otive 2 of Theme lb produces a new melody from measures 117-123. The motive remains intact but is simply given new lyric proportions by means of its accompaniment. Ex. 178 The possibility of superpositioning motives is found in m easures 124-125 where a m otive of Theme 2b i s placed over a m otive of Theme l a . (Z# " 9 - ' ■ f 1 - y ' In th e re tu r n o f m a te ria l from Theme l a a t th e end o f the development, motivic material is handled by a process of deletion. In addition to chromatic harmonies the theme employs a sequence, disintegrates and then prepares for the recapitulation. Ex. 180 (Z Ë DW A lij'i 1^' V. KM n The coda is approached by a harmonic passage that includes an unusual instance, for Medtner, of quartal harmony. The quartal factor, however, is not consistent and the passage can as well be interpreted as a IIç chord over a dominant pedal. 166 Since the Coda, Allegro molto agitato . . ., as a second development section repeats for the most part motivic treatment as found in the first development, only further developmental techniques need elucidation. Motive 2 of Theme 2c progressively develops in measures 258-265. The motive is not made apparent until its final form reveals it in this passage. The process begins as an accom paniment to Theme la; then it is found in longer note values; then a more individual rhythm is employed; and finally the motive emerges. Ex. 182 accompaniment longer note values I5 Z ) / - rhythmic Term K J. A fin al form of motivai ^ The t r i l l o f Theme l a comes in to play a t m easures 274-277 in the following form: Ex. 183 A. In the final measures of the movement the descending scalar pattern, found especially in Theme lb, is employed in the folloïfing pianistic fashion: Ex. 184 Introduzione e Finale The introduction (Mesto), a slow section of 68 measures, is 168 both an architectonic entity and the thematic basis for the finale (Allegro) which Is In sonata-allegro form. The structure of the whole Is shown In Table 19 on the following page. Asymmetrical features of this finale are countered by balance In the Inner sections and In the Introduction. The latter I s In th re e s e c tio n s — Theme group 1 , Theme group 2, and a combi nation of the themes. The finale begins with an exposition treated, as In the first movement, with the return of the first theme group In the tonic key at the end of the section. The structure of these expo sitions Is therefore ternary. The development Includes a fugal section of considerable relative size. The recapitulation Is con densed, chiefly due to the absence of the ternary structure, for the first theme group does not return after Theme 4; rather a fairly short coda produces cyclic unity through the reappearance of Theme la of the first movement. This combination movement Is tonally concerned with F-sharp. Whereas the first movement began in major and ended In the tonic m inor,'this movement does the opposite for the major mode Is reached before the Introduction Is completed. There Is, In comparison with the first movement, very little equivocal tonality—and what exists Is chiefly In the center of the exposition and the development. The key levels reached from the tonic are the enharmonic mediant (b-flat/B -flat) and the enharmonic submediant (e-flat/E -flat). It Is notable that each of the three key levels Is found In both major and 169 TABLE 19 FORM OF SECOND MOVEMENT, OP. 27 Location Length Key Introduction 1-68 Theme l a (1-8) 8 f-sh a rp Theme lb (9-16) 8 Theme l a (17-24) 8 Theme 2a (25-38) 14 Theme 2b (39-48) 10 Theme l a (49-56) 8 F-sharp Themes 2a and b (57-64) 8 . Transition (Theme l a ') (65-68) 4 F in ale E xposition 69-197 128 F-sharp Theme 3a (69-84) (16) Theme 3b (85-98) (14) T ra n sitio n (99-116) (18) III = V of E-flat Theme 4 (117-134) (18) E - f la t Theme l a ’ (135-146) (12) Theme 3a (147-162) (16) F-sharp Theme 3b (163-176) (14) Transition (177-197) (21) Development 198-341 144 Fugal section (198-303) (106) b - f l a t B—fl a t —? E—fl a t —? (304-329) (26) T ra n sitio n (330-341) (12) Recapitulation 342-416 75 Theme 3a (342-357) (16) F-sharp Theme 3b (358-365) (8) T ra n sitio n (366-380) (15) Theme 4 (381-416) (36) (417-441) 25 170 minor modal forms. The germinal motive, three tones descending through the interval of a third, found in the first movement is the basis for all material in the introduction and finale. Motivic material for the movement is provided by Theme la of the introduction. The theme outlines two tones, f-sharp and g-sharp. The first tone; f-sharp, is repeated twice (motive 1), moves down through the interval of the third (motive 2), then back up to g-sharp. The final motive in repeating the downward steps out lines f-sharp, d-sharp, e-sharp (motive 3). Each of these motives is a device for subsequent thematic construction. Ex. 185 . ' mo. 2 ■ r mo. 1 1 I mo. 3 I r r f r w P w w f All themes of the introduction and finale are exclusively diatonic, as was most of the thematic material of the first move ment. Accidentals in the themes of the introduction (slow move ment) are a product of the various species of minor scales. ^^The term diatonic is used here in its all-inclusive, major- minor sense. 171 This lack of chromaticism is atypical of Medtner’s harmonic-melodic thought. Accompaniments in the introduction-finale are sometimes chromatically oriented. This is particularly true of the accompani ments to Themes lb and 2b. Transitional passages and contrapuntal sections employ the most chromaticism. The accompaniments to all themes in the finale lack the chromatic elem ent.M edtner here achieves harmonic variety in other ways. One of these ways is to stay clear of a definite tonic chord or a perfect cadence. In this he composes as in the first movement. Another method is to emphasize the subdominant rather than the dominant. Yet another procedure is the addition of the sixth to a triad. All of these methods are Illustrated in Theme la. Theme lb commences w ith th e f i r s t two m otives o f Theme la and continues with an ascending, then descending, scalar figure that includes dotted rhythm. Ex. 186 ^^A possible explanation for this lack of chromaticism lies in the program of the sonata. The picture of a primal earth could suggest less harmonic sophistication (e.g., pentatonic and diatonic s c a l e s .) The first two pitches of Theme lb are the direct derivati(^^ o f Theme 2a which im m ediately fo llo w s. The new theme c o n s is ts of two motives—the three repeated notes followed by a half-step up ward, and three ascending pitches moving by step. The final pitch of motive 2 is the first pitch of motive 1^ which is a tonal repetition of motive 1. The theme is distinguished by its rhythmic accompaniment as compared,to the chordal features of Theme group 1. Ex. 187 ^ ,/ ^ I 1 I I yil I /ffff irrr'^f G D kE _ l a _ imo. 2 -1 Theme 2b i s a p roduct of Theme 2a. M etric accen tu atio n and an expanded leap downward are its characteristic differences, as compared to m otive 1 of Theme 2a. Ex. 188 Th,| 2b No further development of material is employed in this introduction but for a sequential treatment of the motive of Theme 2b and th e a lte r n a tio n of Theme 2a (m otive la ) w ith Theme 2b. The rhythmic plan of the introduction is basically one of gradual acceleration. It moves from half and quarter note movement (Theme 1) to e ig h th and s ix te e n th n o te movement (Theme 2a) to triplet-sixteenth note accompaniment. A short cadenza is built from motive la of Theme 2a. A transition employs Theme la in diminution^^, followed by an anti c ip a tio n o f Theme 3a and a r e p e a t o f Theme la ^ . Ex. 189 Th. la-L r a @ 3 The Finale begins with a theme comprising two motives. The first is a rhythmic variant of the ascending interval found in Theme la (f-sharp to g-sharp). The second motive continues the character istic rhythm of the first motive in an ascending scale. As in Theme la the tonic-subdominant relationship is emphasized. Ex. 190 ^^term ed Theme la ^ , f o r i t i s to become in t h is v ersio n the subject of the fugue. V of VI VI V I IV The same rhythmic features delineate the second part of this theme (3a, part 2). Only the second motive, motive 3, Is cognizably d if f e r e n t and I s a form of m otive 3 o f Theme l a . Ex. 191 ------^ ------r w z j n . m Theme 3b follow s Im m ediately and I s more l y r i c th an the preceding material. It consists of the ascending scale steps of m otive 2 , Theme 3a and of m otive 3, Theme 3a. The second p a r t o f Theme 3b i s a v a ria n t of Theme 2a of the introduction. An anacrusis precedes the repeated tones. The theme and its derivation are illustrated in the following example. Ex. 193 D eriv a tio n V i t . . » f t T|T (f----- A transitional passage (measures 99-116) incorporates material a n tic ip a tin g Theme 4 to g e th e r w ith the second phrase o f Theme 3b, p a rt 2. Ex. 194 Anticipation of Th. 4 m Medtner, in a notebook, attaches the. words, "Vor Gott dem Vater biege du dein Knie" to the first phrase of Theme 4.^^ The theme is hymn-like in its periodic structure. Motive 1 has its source in Theme 2b with its repeated tones and the descending skip of a sixth. Motive 2 is an ascending scale. The two motives are employed throughout the theme in various rhythmic designs. Ex. 195 * * m o.l “1 I mo.2 J ------...... ^ rr'r If / Tf r"hl 1 fh:l,U r rn \. rU=^=L r r..i= ■■/-b’i, ' —,— 1 W 1— f pi cL1 = 23dLNM, 79. Theme la^ Is the subject for a three-section fugal structure. Each section concerns a scheme that consists of entries from a basic to n a l le v e l follow ed by m otive 1 o f Theme 3a. The form o f th e whole is illustrated in Table 20. TABLE 20 STRUCTURE OF FUGAL SECTION, DEVELOPMENT OF FINALE, OP. 27 Measures Key Part I (198-221)* 24 b - f l a t Canon S ( 4) I A ( 8) V S ( 5) I A ( 3) V Theme 3a ( 5) Part II (222-239) 18 B - f la t S ( 4) I Ent . ( 4) - I l l Ent ( 6) Theme 3a ( 5) Part III (240-303) 64 e-flat A ( 6) V S ( 4) I A ( 5) V S ( 7) I S ( 5) I A ( 3) V S tr e tto ( 8) Ent ( 4) Ent ( 4) Themes 2b and 3à (11) Themes 3a + S ( 4) c-sh arp Ent ( 4) III S » subject (tonic), A = answer (dominant), Ent = Entrv (other key level.) Each phrase length other than 4 measures rep resents an extension or compression of the subject. 178 The first fugal exposition commences with the subject and answer in canon. In successive entries counterpoint is usually provided by a motive from the subject or by a sixteenth-note figure Ex. 196 mo. f o r co u n terp o in t m r y L ~ " 1 \ r n i fig u re r f 1 In comparison to the other expositions the second exposition has no subject-answer tonal relationships. In the stretto section of the third exposition three entries occur in four measures, followed by three more entries in an equal number of measures. The tonal plan of the entries also produces symmetry for the first three entries are at the levels of C, f, and g-flat, whereas the second three are at the levels of d, g, and a-flat. The development continues with a form of Theme 2a combined with a dotted accompanimental rhythm (from Theme 3a.) This devel oped theme disintegrates until only the final motive remains. This motive becomes a part of Theme 2b which is the chief material em ployed in a transition, but in combination with an anticipation of Theme 3a and the recapitulation. The progress of this whole passage from the development of Theme 2a to is dovetailing with the transition is seen in the following example. Ex. 197 Th. 2a—dev. ^3 Q é F ^— r r QE) R ___ ' Th. 3a ' ------WÜS*! The recapitulation Is different from the exposition not only in formal structure (it excludes the ternary form produced by Theme 3 at both ends of the exposition) but also in thematic treatment. The t r a n s it i o n to Theme 4 i s brought about by a co n tra p u n ta l com bination of Themes 2b and 3b. Theme 4 i s a t f i r s t combined with Theme 3b (part 2) and then extended in a canon at the octave for 14 measures. These contrapuntal factors illustrate the influ ence of the development upon the recapitulation. Theme 4 is even further extended by a newly derived melody from its motives. The relationship of this melody produced out of Theme 4, th e l a s t theme o f the so n a ta , to Theme l a o f the f i r s t movement i s made clear by the return of Theme la in a short coda. The circle has come round. Ex. 198 Developed fom of Th. 4 I Th. la (from First Mvt.) Summary The two-sonata-allegro movements of this sonata employ sub structures within their forms: the expositions of both movements are in ternary form both thematically and tonally, theme groups in two In sta n c es (Theme group 2 o f the f i r s t movement. Theme group 1 in the introduction to the finale) produce their own ternary forms; the introduction has a complete formal scheme as does the fugal section of the finale. Thematic development is generated from a single motive. Through a series of themes the first theme of the sonata is reached once again as the final development of the last theme of the sonata. An unusual tonal plan is in force whereby the tonic key level is not reached at the recapitulation of the first movement, nor in th e in tro d u c tio n to th e f in a l e , b u t a t the commencement o f the finale itself. Thematic material is for the most part non-chromatic. In one instance quartal harmony is in evidence and the first theme has pentatonic aspects. Chromatic chordal alteration is not em phasized. Counterpoint is an important device in the finale, especially in a lengthy fugal section. The tonic triad is seldom in evidence and in some instances when it does appear the subdominant triad plays ah equally important role. Symmetry and balan ce among la rg e se c tio n s are found in th e f i r s t movement b u t n o t in th e f in a l e . However phrase s tr u c tures are usually periodic although extensions alleviate this periodicity. Sonata, Op. 30 The Sonata. Op. 30, probably written In 1914-15, was the last sonata published by Edition russe de musique. It was published in 1917 and performed by Medtner at an all-Medtner program in Moscow th a t y e a r . 24 The sonata is dedicated to L . E. Conus, a fellow pianist and friend. The work is in one movement, a single sonata-allegro form (see Table 20). With only a two-measure difference in the lengths of the exposition and development and with a recapitulation and a coda of considerable proportions the sonata illumines sectional bal ance. Most of the divisions of the exposition and the recapitu lation are symmetrical to one another. The outsized closing sec tions however are not of comparable length nor is the section that develops m otives o f Theme 2. Theme group 1 is a complex of fo u r d iv is io n s p lu s a devel opment of motives. Theme 2 is of exceptional length. The closing sections although tonally stable include developmental factors. The tonal plan is quite simple with its movement from tonic to dominant in the exposition, then through chromatically ascending keys (b, C, D-flat, D) in the development to the recap itulation approached through the sub-dominant (D). The recapitulation begins in the tonic major key with Theme Ic in the subdominant minor. 24dlnM, 83. In NMSS, II, 7, the first performance date is given as February 20, 1915. 183 TABLE 21 FORMAL STRUCTURE OF SONATA, OP. 30 Location Length Key Exposition 1-178 178 M otto 1-8 ( 8) Theme l a 9-16 ( 8) Theme lb 17-29 ( 13) development of m otives 30-48 ( 19) Theme Ic 49-61 ( 13) — > Theme 2 62-89 ( 28) development of m otives 90-106 ( 17) Closing section 107-178 ( 72) Development 179-354 176 V of b*^ C—> b-flat/D -flat—^ D s IV o f A Recapitulation 355-506 152 Motto 355-362 ( 8) A Theme l a 363-370 ( 8) Theme lb 371-383 ( 13) development of motives 384-408 ( 25) Theme Ic 409-421 ( 13) d Theme 2 422-450 ( 29) development of motives 451-458 ( 8) Closing section 459-506 ( 48) Coda 507-610 104 a, A The remainder of the sonata, in the tonic minor key, is approached, as was the recapitulation, through the subdominant. As in Op. 25, No. 2 , t h is so n ata commences w ith a t r i a d i c 184 motto. Perhaps because of this triadic concept the sonata Is essen tially diatonic. The themes of the sonata are all diatonic with the only accidentals resulting from the minor mode. Chromaticism is found throughout the movement chiefly in accompanimental or fig urai features (see examples 207 and 215). However here the principle is not that of a germinal motive for the whole movement but rather it is that of cyclic reappearance. The constructive principle is that of thematic evolution with one theme suggesting the motivic material upon which to build the next. Thematic and divisional outlines are often blurred by a method of anticipating the first motives of a section in the last measures of the preceding material. This dovetailing procedure is noted in the following areas of the sonata: m easure(s) 15 w ith 17 " 44-45 49 I. 53 56 57-60 62-63 105-106 107 211-212 213-214 234-235 236-237 580-581 582 Comparable areas in the recapitulation are treated as in the expo- The motto is composed of 4 + 6 measures and consists of an ascending and a descending motive, both outlining the a minor t r i a d . Both motives produce the initial pitches for Theme la and for Its accom panim ent. Ex. 200 Imo. I d The theme, an 8-measure phrase, gradually deletes pitches until only motive Id remains In sixteenth notes: j 1 n~n j 1 rm j rm J n J n The final pitches, g and e, are the first pitches for Theme lb. Theme lb then begins w ith th e in v e rsio n o f m otive l a . Theme l a . Its second motive is a tonal compression of motive lb of Theme la. Compression also produces motive 3 which is derived from a ll of m otive 1, Theme l a . The f i n a l m otive o f Theme lb , th re e ascending steps, proves to derive from motive la of Theme la for it anti cipates the return of this material following Theme lb. Ex. 201 I mo. 1 I f mo. 2 f mo. 3 Material from the three divisions thus far encountered is then developed. The motto and motive 1 of Theme la are employed in a polytonal canon (the tonal levels of B versus a). Ex. 202 This is succeeded by a rhythmic variant of motives 3 and 4 of Theme lb . Ex. 203 f | I H c m Motive 4 is extended in a chromatically rising passage that includes in its accompaniment an anticipation of the first four tones of Theme I c . Theme Ic is a combination of three motives—repeated tones, an ascending leap of a fourth, and a descending skip of a third. Ex. 204 = p 1 :: 1..: ^ . — I-.: J 1— ------1— — L _ • ' g The fourth is derived from the bass of the motto and the third orig inates in the same motto (or motive Id of Theme la). The theme consists of a five-measure phrase extended in its repetition to eight measures. The repetition of the phrase suffices as a tonal tran s it io n to Theme 2 and th e dominant key o f e . Once ag ain material in this transition anticipates the succeeding theme: the descending sk ip o f a f i f t h th a t ends Theme l a h e ra ld s Theme 2. The s tr u c tu r e o f Theme 2 c o n s is ts o f a seven-m easure phrase and its successor, a phrase extending through twenty measures. The first two pitches derive directly from the last two tones of the previous theme and a compound of the first three pitches are a product o f m otive l a o f Theme l a . The m ost c h a r a c te r is tic motive of the phrase is J' J (motive 1). The second phrase begins as the first but, following motive 1, a new motive, derived from motive 1^ in retrograde form, appears (motive 2a). This motive produces all subsequent motivic material for the lengthy second section of the theme for its ascending steps spawn motive 2b ( ^ ^ ^ J • J ), motive 3 ( J j[ j «I ), and three permuta tio n s —m otives 2a^ ( ) , 2a^ ( J) ), and 2a^ ( J «I ). The latter two motivic permutations illumine a pro cedure that mixes the order of the tones. The latter part of the second phrase is sequential, beginning with the first appearance of motive 3. The sub-phrase structure together with motivic align ment is illustrated in the following example:■ Ex. 205 mo. 2a mo. 2b -mo. 2a mo. 2b mo. 2a I I n I I I n mo, 3 i s:q, - 3 - mo. 2a mo. 2a mo. 2a I 1 I------J------I------»--I------1 jaaj- .. o.2a^ mo.2a^ mo.2a^ 3 n I------» 1 1 ------1 1 p i 1 1' I" r H I 1 I r i .r j n $ I , 1T19. 4 A development of Theme 2 ensues whereby the first phrase is contrapuntally combined with motive 4. A repetition of this concept produces, with the final two tones of motive 4, the two tones of the motto. Again the dovetailing procedure amalgamates two structural divisions. This last division of the exposition, the closing sec tion, is developmental with all thematic elements represented. The formal plan is as follows: Motto 107-131 25 Theme l a , m otive 1 132-135 4 Theme l a 136-139 4 Theme lb 140-148 9 Theme 2 149-152 4 Motto 153-155 3 Theme lb , m otive 3 156-158 3 Theme 2, m otive 2 and Theme Ic 159-178 10 It is apparent that the thematic material at first appears in its original order but for Theme Ic. The motto is developed for a time in an imitative sequential pattern, then is combined with a descending formula found throughout this closing section. The beginnings of its first imitative section and then the des cending pattern (derived from Theme lb, motive 3) are shown in the following example. Ex. 206 The re la tio n s h ip o f th e m otto to Theme l a i s made apparent at measures 132-133 where the motto continues the pattern set forth in the previous example into the first motive of Theme la. s im ila r ly Theme l a i s connected to Theme lb , thus amalgamating th ese two elements. The connection is seen in the following example : Ex. 208 if I mo.l, Tn. lb Part 1 of Theme lb is then developed sequentially and leads to a short canonic treatment of motive 1, Theme 2. Ex. 209 Thq motto returns briefly in its previous guise and reaches a cadence employing the descending pattern of Ex. 206 in a more 192 developed form. This cadential formula is then employed five times a f t e r a lte r n a tin g appearances of m otive 2b* Theme 2 and Theme I c . The cadential pattern emphasizes the dominant key of e.^^ Theme Ic continues onward Into the development proper. The development can be divided Into five sections according to thematlc-motlvlc treatment.. TABLE 22 FOBMAL STRUCTURE OF DEVELOPMENT, SONATA, OP. 30 Location Measures S ectio n I 179-235 57 Theme Ic 179-197 (19) Theme 2 198-205 ( 8) Theme Ic 206-212 ( 7 ) Theme 2 213-220 ( 8) Theme Ic 221-228 ( 8) Theme 2 229-235 ( 7) S ectio n I I 236-259 24 Theme 2, m otive 2 236-241 ( 6) Theme 2, m otives 1 , 3 242-248 ( 7) Theme 2, m otives 2 , 2 a, 3 249-259 (11) S ectio n I I I 260-285 26 Theme l a Section IV 286-343 58 Theme 2, m otive 3 286-301 (15) Theme 2, m otive 3 and Theme la 302-322 (21) M otives of Theme 2 323-343 (21) Section V 344-354 11 Theme l a 25cadential patterns are seldom employed by Medtner within a movement except at the end of the movement. This sonata Is excep tional In this regard. 193 Sections I and IV show near exact symmetry and balance although, because of overlapping of material this is not always Immediately apparent. The last section acts as an anticipation of the recapitulation and is the dynamic climax of the sonata. The f i r s t s e c tio n o f t h is developm ent provides Theme Ic and m otive 1 , o r th e f i r s t p h rase , of Theme 1 w ith new accom panim ental and harmonic devices. The two thematic elements alternate. Theme Ic is chiefly without accouterments but for a few seventh chords. Ex. 210 The first phrase of Theme 2 is found here with a figurai accom paniment that outlines a dominant 9th chord. Ex. 211 Theme l e reap p ears a t m easure 221 w ith in a f ig u r a i p a tte rn . Ex. 212 HI^ fl The second s e c tio n concerns elem ents of Theme 2 and begins with an octave representation of motives 2a and 2b. In the closing section motives 1 and 4 were combined. Here motive 1 Is combined with motive 3 producing yet another form of this chameleonic The sequential feature of motive 3 Is employed here and Is followed by motive 4 In sequential form. Section 3 Is anticipated at the end of previous material and Is primarily conceimed with a developed form of Theme la. êê=à Éb-É '(H3) Section 4 at first involves motive 3 of Theme 2 together with an accompanimental figure derived from this developed form of Theme l a (see Ex. 214). Ex. 215 M otive 3 o f Theme 2 i s employed throughout t h i s s e c tio n and i s com bined with Theme la as found (1) in a passage of the closing section of the exposition (see Ex. 207), (2) in Section 3 of this devel opment (see Ex. 214), and (3) combined in juxtaposition with m otive 1 o f Theme 2, to g eth e r w ith th e d eriv ed accompanimental figure that began this section. Throughout this passage from measure 302 to 322 a juxta- positioning of keys occurs as in the following example: The various forms taken by Theme Ic are illustrated in the following example : Ex. 217 z £ The final section employs the same previously described accompani mental figure together with a rhythmic variation of Theme la. Changes In the recapitulation are found in key and mode but not in further thematic or motivic development. However material as treated in the development. Section 2, is found in the closing section in place of the cadential material of the comparable closing section. A polytonal approximation is realized within measures 492-497: e versus b-flat. Ex. 219 Motives 3 and 2a of Theme 2, beginning with a canon at the octave, end this section and anticipate, or dovetail with, the Coda which is primarily concerned with these motives. The form of the Coda (Allegro molto) is as follows: TABLE 23 FORMAL STRUCTURE OF CODA, SONATA, OP. 30 L ocation Measures Theme 2 , m otive 3 507-533 27 e x te n s io n 534-542 9 Theme 2 , m otive 1 543-550 8 Theme 2 , m otive 3 551-560 10 extension 561-581 21 Theme l a 582-591 10 extension and motto 592-610 19 This final section treats its thematic material in reverse order— f i r s t Theme 2 , th en Theme l a , and f in a l ly th e m otto. Development of material is chiefly found In the extensions of motives rather than in the motives themselves. The previously employed accompanimental devices are used for these extensions together with the cadential formula found in the closing section of the exposition. All of this material has been motivically derived and illustrates a distillation of melodic m aterial found in accompaniments to themes and motives. Motive 3 of Theme 2 is employed in a passage beginning at measure 534 and is compressed into three repeated pitches and an ascending semitone. The motive is placed in the upper left hand part and is accompanied by chromatic movement, which in the lower parts progresses in parallel motion. Motive 2a of the same theme is found in measures 561-564 in two simultaneous mutations. The treble part expands the length of the ascending stepwise motive while the bass part expands the Intervals to fourths. The composer's articulatory markings make the latter development apparent. Ex. 221 Parallel diminished seventh chords, unusual in Medtner's sonatas, occur in a passage of the coda (measures 543-546). Yet another harmonic peculiarity appears in a passage of the coda (measures 547-549) that employs added tones. With a damper pedal indication the combination of pitches produces f, g, a, b-flat, c-sharp, e. The sonata ends with a pointillistlc version of th e m otto. Ex. 223 Summary The relatively large size of this single sonata-allegro form is conditioned by a complexity of sub-themes in Theme group 1 and by an extended Theme 2, together with a major portion of the sonata dealing with developmental techniques. Over two-thirds of the sonata 201 Is explicitly concerned with the vicissitudes of expository material for themes and motives are extensively developed outside of the proper development sections. Outlines of the sonata's divisions are consistently blurred through a technique of dovetailing by means of the anticipation of themes and motives In antecedlng material and the carryover of this material Into succeeding sections. The antclpatlons are for the most part found within accompanimental material. The composition Is based upon thematic evolution with the motives of one theme suggesting those for the next. In general the thematic material becomes Increasingly complex as It moves from an Initial motive to the Involutions of Theme 2. Theme 2 Is f i r s t p resen ted w ith a l l o f I t s m o tlv lc m ate ria l successively displayed. It later appears in more concentrated forms whereby motives are superimposed. Contrapuntal combinations Illumine the relationships between themes and motives. Imitative devices are employed but not extensively. The sequence as a constructive device Is used both melodlcally and harmonically. Polytonality Is employed In short passages and an unusual passage of diminished seventh chords is In evidence. Other wise the harmonic vocabulary Is consistent with earlier sonatas. Sonata Reminiscenza, Op. 38, No. 1 Op. 38, 39 and 40 are three cycles, or suites, called collec tively Vergessene Weisen. The publisher refers to these as: Op. 38 (E rs te r Z yklus); Op. 39 (ly r is c h e Weisen) (Z w eiter Z yklus); and Op. 40 (Tanzweisen) (D ritter Zyklus). The "Sonata Reminiscenza" is the first section of Op. 38. The work also includes three dances, three canzones, and a "coda alia Reminiscenza". These compositions were written during the first years after th e R ussian R evolution (1917) w hile M edtner rem ained in Moscow. He was allow ed to lea v e R ussia in 1921. A new p u b lis h e r, Zimmermann of Leipzig, was obtained in this year, and remained Medtner's publisher until World War II. Forgotten Melodies, Op. 38, was published in 1922. Whether a coincidence or not, one of the "forgotten melodies" in the sonata of Op. 38 happens to have originally appeared in the second theme o f th e f i r s t movement o f S o n ata, Op. 5. The sonata is a single movement with the first theme recurring at the end of the whole cycle (section VIII) as a coda to the vork. The sonata is marked Allegretto tranqulllo with the development section indicated Svegliando. The form is shown in Table 24. This sonata-allegro form is distinguished by a number of diversified factors. An introductory theme (Theme x).recurs at 26dlNM, 8 6 -8 8 . TABLE 24 FORMAL STRUCTURE OF SONATA REMINISCENZA, OP. 38, NO. 1 1 Location Length Key In tro d u c tio n : Theme x (1-16) 16 a E x p o sitio n 17-168 154 Theme l a 17-24 (8) a Theme lb 25-40 (16) D = V of G T ra n sitio n 41-60 (20) Theme 2a 61-76 (16) e Theme 2b 77-83 (7) Theme l a 94-91 (8) T ra n s itio n 92-103: (12) Theme 2c 104-117 (14) Theme 2d 118-137 (20) T ra n sitio n 138-139 (2) Theme lb 140-151: (12) Theme x 152-167 (16) Development 168-276 109 - ^ b - f l a t / D - f l a t - , V o f a Recapitulation 277-430 154 Theme l a 277-284 (8) Theme lb 285-300 (16) o f G extension* 301-322 (22) G T ra n sitio n 323-334 (12) Theme 2c 335-362 (28) Theme 2a 363-380 (18) Theme 2d 381-397 (17) Theme 2b 398-404 (7) Theme la 405-414 (10) Theme x 415-430 (16) new melody the ends of the exposition and recapitulation. The exposition Is In two sections with part of the first section repeated exactly In the second section (measures 41-57 = 92-108). The recapitulation Is 204 distinguished by a fairly lengthy extension of Theme lb followed by a transition comparable to that of the second section of the expo sition. Theme 2c is also extended to twice its original length. Symmetrical features show an exposition exactly the extent of the recapitulation and a development approximately two-thirds the length of the outer sections. A good proportion of the thematic material is repeated with formal exactitude in the recapitulation, although there is some diversification in the arrangement. The normal phrase length is eight measures (introductory theme. Themes la, l b , 2a, and 2d). Theme 2b i s seven m easures long w hile Theme 2c i s fo u rte en . The key movement from tonic to dominant (a to e) is approached through D. The same tonal plan is in effect in the recapitulation where G precedes a. All themes are in the minor mode and are con structed from the ascending-descending scalar pattern of the introductory theme. Other than this common factor the themes have little motivic sim ilarity and show more individuality in their respective melodic-rhythmic motives than homogeneity. Each theme is based upon the repetition of a motive or phrase followed by digressions and cadential material. The introductory theme is composed of two 8-measure phrases. The first four measures of each are replicas of one another with a pattern of five repeated notes and an ascending series of four scale steps. The last four measures of the first phrase produce a descending series of six scale tones whereas in the second phrase the ending is an ornamental cadential pattern built on the tonic 205 pitch. The singular simplicity of this theme is rhythmically delineated by a continuous series of quarter notes. Ex. 224 f mo.l T • no.2 -J G Theme group 1 i s follow ed Im m ediately by Theme la which con sists of a motive repeated and a cadential movement similar to the ending of the introductory theme. Ex. 225 H ro .l ___ m A T ...... — J r.o,^ ■ i r i # = = i = F /// Its melodic construction illustrates its derivation from the intro ductory theme. Ex. 226 Theme lb rises directly from the last two measures (motive 2) of Theme la. The new melody is a complex of motivic ideas within a phrase structure of 4 + 8 + 4 measures. Ex. 227 n c .l m t i : r 1 Repetition is found in the return of the initial material at the beginning of the second phrase. A motive of the first phrase, motive 2, is then employed for the remainder of the second phrase by means of the expansion and contraction of its intervals. The final phrase grows ineluctably from this motivic contraction as seen in the following motivic study: Ex. 228 Theme lb in the melodic construction of its initial phrase is the exact retrograde of the melodic construction of Theme la (see Ex. 226). Ex. 229 The transition to Theme group 2 is composed of three them atic elem ents: (1) Theme l a , (2) an a n tic ip a tio n of Theme 2a, and (3) an I n c ip ie n t form o f Theme 2c (n o t to appear fo r some 50 m easures). Ex. 230 anticipation of Th.2c int: Theme 2a, w ith l i t t l e ornam ental d iv e r s ity , I s alm ost a du plicate of motive 2 of the Introductory theme except for Its rhythmic orientation. It is the theme that approximates the beginning of the second theme of Op. 5. Op. 5,J. F ir st ri mvt. I) \ The new theme Is comprised of four 4-measure phrases with each beginning as the first. Theme 2b commences In I t s m elodic c o n s tru c tio n as a to n al Inversion of Theme 2a or, throughout the contours of Its first phrase. almost as a transposed replica of Theme la. Ex. 232 Theme 2b i s composed o f a three-m easure phrase t h a t in i t s r e p e ti tion is extended by a measure. The phrases consist of a motive and the extension thereof. Ex. 233 & a Theme la is repeated at the end of this section of the exposition. The second section begins exactly as the first transi- . tion to Theme 2^but at the point in the first section where Themes 2a and 2c are anticipated (see Ex. 230) the two motives are combined, out of which Theme 2c evolves. The melodic construction of the new theme shows its relationship to all other themes through its basic progressions by step. The theme consists of two closely related motives, each motive repeated at a different pitch level. Unlike other themes there Is no repetition of phrases and the melody spans a single fourteen- measure melodic curve. Ex. 235 Theme 2d follow s Im m ediately w ith I t s I n i t i a l m otive derived from motive la of the previous theme. Its melodic con struction Is the furthest removed from the generic material of all the themes but Its gradual descent by Step can be discerned In Its melodic construction. The theme Is concerned with motivic repetition and variation throughout its long course of sixteen measures. Motivic alignment Illustrates the rhythmic variation, principally diminution, and motivic extension in the following example: Ex. 237 11 11. M l 1 4 = ' ' ' ...... - ...... @ ' r-R-t-^Lhj n r r y - . ¥ ■ ' ' ------z 212 The first part of the theme is repeated after the sixteen- measure phrase. Out of this repetition emanates an extension that lead s seam lessly in to a reappearance o f Theme lb . The e x p o sitio n ends with an exact transposition, at the dominant key level, of the intro ductory theme. The development consists of the following theme elements and combinations : Length Themes 2a and 2b 168-183 16 Theme 2b 184-190 7 Theme 2a 191-197 8 Themes 2 a /la 198-213 16 b-flat/D -flat Themes 2 a /la 214-229 16 Theme x 230-249 20 Themes 2 a /la 250-266 17 Theme l a 267-276 10 V o f a Much of this development is subdivided into sixteen-measure sections, or with extensions beyond this length. The majority of the development is in a continuous state of modulation except for one definite section that fluctuates between a major and minor mode. The descending m otive o f Theme 2a i s in te rru p te d by Theme 2b and then repeated. The motive of Theme 2a takes an extended form that is the product of chromatic passing tones, in the first three measures beginning at measure 168, followed by diatonic extension of the up ward line in the fourth measure. This motive of Theme 2a is illus trated in the following example: Theme 2b then continues in an im ita tiv e p assage. It is interrupted, then followed, by a chromatic version of Theme 2a which first appears as follows: Ex. 240 É Theme 2a then appears in its original shape combined c o n tra p u n ta lly w ith Theme l a . Ex. 241 blX-jLiJ l LP The melodies are inverted and gradually Theme la takes on a more accompanimental character conditioned by a new rhythmic uniformity. Theme 2a also assumes a new chromatic guise. Ex. 242 The introductory theme, (Theme x), is affected by this chromat- Ex. 243 Themes la and 2a return (as In Ex. 242) and are followed by a climactic version of Theme la in augmentation, together with an accompaniment derived from it found elsewhere in this development. Ex. 244 i. -".adenza-like passage ends the development. The single melodic innovation of the recapitulation is found in an ex ten sio n of Theme lb . Here m otives 3 and 4 o f th a t theme produce a twenty-two-measure melody, the beginning of which is seen in the following example; Ex. 245 Generally harmonies are simple in the exposition and re capitulation and complex and chromatic in the development. Thematic m aterial therefore is developed by means of harmonic accompaniments in the developmental section. An Illustration of this is to be found In a comparison of the hamonies of the introductory theme as employed at the beginning of the sonata and in the development. The harmonies In the first Instance are principally diatonic whereas in the second they arc extremely chromatic. Ex. 246 0 The procedure of moving from G to a( - V of E) between Theee lb and the first transitional passage is effected by means of a common tone (d « 5th of G; d » 7th of V of a). 217 .1- - r '■ - . , 1 1 Ur------y_r ica,■)% the problem is handled quite differently in the recapitulation lAere an f-sharp is altered to an f-natural (■ 7th of V of c). Ex. 248 The dramatic change of harmonic idiom is seen immediately at the initiation of the development with a series of progressions commencing with Neapolitan harmonies. Ex. 249 Movement from f to f-sharp and from g-sharp to a is effected by some p a ra lle lis m in a sequence o f p ro g re ssio n s. Ex. 250 2 1 ----- Simmary This single sonata-allegro movement is characterized by an exactly balanced exposition-recapitulation but with the sections treated from within quite differently. This difference is a result of the rearrangement of thematic and transitory material. Eight different melodies exist, all of them related to each other either through the common material drawn from the intro ductory theme or through motivic relationships. The constructional process is one of repetition of motives or phrases within each theme. Themes are grouped according to their tonal or motivic relationships. The incipient melodic ideas for two of the themes are introduced in transitory material in an anticipatory manner. Only one of the themes (Theme lb) is con cerned with actual motivic development and in the recapitulation m otives from i t produce a new melody. Themes are varied in the development primarily by 219 harmonie means. Harmony plays a constructive role in the sonata whereby the essentially diatonic outer sections are contrasted to a highly chromatic development. Sonata Tragica, Op. 39, No. 5 The second cycle. Op. 39, consists ôf five sections— "Meditazione", "Romanza", "Primavera", "Canzona matinata", and "Sonata tr a g ic a " . The work was published in 1923 by Ziiranermann, although the first performance took place, together with Op. 38 and Op. 40, on March 28, 1921.^^ The sonata, coming at the end of the cycle, incorporates into it a theme from the canzona and an accompanimental pattern from the "Primavera" section. This sonata-allegro form is, for Medtner, unorthodox in its non-symmetrical structure, its incomplete recapitulation, and its extended cadenza and coda, the latter two sections being essentially non-thematic. The form is shown in Table 25. The exposition is three times the length of the develop ment. This is chiefly a result of so much development within the exposition itself. The recapitulation is brief due to the exclusion o f Themes 2 and 3 but i s lengthened beyond Theme 1 m ainly by a cadenza-like passage. The harmonic plan is triadic (c. E-flat, g) but with large sections of the composition in tonal flux. Theme 1 c o n s is ts o f four phrases in a measure grouping sequence of 3 + 4 + 5 + 6. 27kmsS, I I I , 7. TABLE 25 FORMAL STRUCTURE OF SONATA TRAGICA, OP. 39, NO. 5 L ocation Length Key Exposition 1-150 150 Theme 1 1-20 (20) Development 21-39 (19) Theme 1 40-53 (14) Theme 2 43-78 (25) E - f la t Theme 3 79-94 (16) g Development of Theme 1 * 95-128 (34) Closing section 129-150 (22) E - f la t Development 151-202 52 Recapitulation 203-266 64 Theme 1 203-222 (20) Development 223-235 (13) Cadenza 236-266 (31) - $ c Coda 267-305 39 Theme 2 employs same m otives h e re . I. mo,S“ HT. 1— I r i mo.7" 1------) I-----( r The first phrase contains the germinal material for the sonata— a repeated tone and the ordered intervals of an ascending second, a descending third, and a descending fourth. Phrase 2 begins with a retrograde form of motive 4 follcn^ed by motive 3> motive 2 in Inver sion (2a), and motive 4 expanded to a sixth. This pattern is then repeated a third higher but for the final motive which is at this point a fifth. Phrase 3 involves motive 1 followed by a series of steps consisting of motive 2 (or 2a). The final phrase comprises motive 4 followed by a sub-phrase made up of all the motives (in order—2a, 3, 2, 3, 4). Excluding the final interval, three repetitions of the sub-phrase are made with the last two each at higher pitch levels. The repeated pitches of motive 1 anticipate a development o f Theme 1 w ith p h rases 1 and 2 in a lte r n a tio n . W ithin the course of this development phrase 1 is rhythmically compressed. Filmed as received w ithout p age(s) 223 UNIVERSITY MICROFILMS. The extension employs, together with motive 2, a descending scalar pattern that Is to be combined with Theme 2. The scalar pattern has Its Incipience In the skeletal stepwise movement of Theme 1, phrases 2 and 3 and in the accompaniment to that theme. Theme 2 I s , f o r th e m ost p a r t , a new theme fo r I t I s composed of the two Inner phrases of Theme 1 plus an extension Involving a new arrangement of m aterial from motive 2. The theme expands further with the canonic employment of Its In itial phrase (phrase 2 of Theme 1 ). What produces th e e f f e c t o f a new theme Is i t s modal change to the relative major key plus a new accompanimental p a tte r n . Theme 2 , and th e succeeding Theme 3, a re e s s e n tia lly lyric In character. This feature Is produced by the accompaniment to the theme and by the theme * s long peregrinations, ascending and descending. Involving a recurrent rhythmic motive. 225 ^ j ,n / l } 4 ' Theme 3 follows immediately. It is found in exactly the same form, a half-step lower, in the previous "Canzona". Whether it is derived from Theme 1 or vice versa, it will here be considered in the former context. The melody comprises 4 four-measure phrases with phrases 1, 2 and 4 identical in structural format but for phrase endings. Phrase 3 advances half way, then begins the material again. The theme's first measures are akin to the condensed version of Theme 1, phrase 1, or the second measure of phrase 2 of the same theme. Ex. 256 n r W Theme 3 A development o f ph rases 3 and then 2 of Theme 1 fo llo w s. Phrase 3 is written in its entirety twice, then with seven shorter entries, the last four in canon. Phrase 2 is then treated canon- ically and then dissipates into repetitions of motive 5. The canonic form returns. The development begins with phrases 1, 2, and 3 of Theme la marked poco quasi recitative and written with the melody alone and in the bass register. The theme later enters upon itself in canonic fashion. The first part of the development is seen in the following example: Ex. 257 Phrase 3 is thenChen found inin block chords and in contrary motion. 227 Ex. 258 k = i @*îi i i This phrase Is twice repeated at different tonal levels. This i s succeeded by Theme 3 only a lte re d by o th e r accom panimental figures than those with which it was originally associated. Phrase 2 of Theme 1 is juxtaposed, thus showing the commonable features of the two entities. Theme 1 is then heard in its most climactic form as a polytonal passage, f-sharp/c. Ex. 259 The passage is succeeded by a block chordal transition to the reca- ._ pitulation. The transition is not convincingly thematic although motive 2 can be construed as its building block. @) 1 The recapitulation is treated exactly as the exposition to a point at which the development of Theme 1 is extended motivically to a lengthy section marked "quasi cadenza" (measure 236). The section is exclusively concerned with phrase 2 of Theme 1. The passage is most often figurai but direct thematic quotations are included. The various forms taken by the material are illustrated in the following example; Ex. 261 m The "cadenza" section is followed by the Coda (Allegro assai). It principally concerns the same forms of the motives of phrase 2, Theme 1 that were found in the beginning of the cadenza s ection (see Ex. 261). When this figure is not in force accom panimental figures associated with Theme 1 hold sway. The sonata ends with a pointi Ills tic variation of Theme 1, phrase 1. Ex. 262 Themes are essentially diatonic, both in their melodic structures, and in their harmonizations. Developmental sections are often highly chromatic. Theme 1, phrase 1 is harmonized originally in the tonic key of c. In its first development (measures 29-39) it is employed in temporary modulations from b to f , f to b, and then a return to the tonic key level. The harmonic structures within the three key levels are illustrated in the following example: 230 0 Cil zr %: y 5 P @ •>' ^ r t __ a:. *= "TTx g % 6; 3:^ — The return to c from b is effected chromatically. • Ex. 264 The development o f Theme 1, phrase 2 w ith in th e e x p o s itio n , is Involved with an ascending chromatic bass movement (measures 94-109), followed by a sequence of material supported by a pro gression through a sequence of fifths. Ex. 265 /^ / / i 3 /tM /o7 /tfS fù9 //< / f/S" //i. The latter device is seldom employed by Medtner but is used twice in this developmental section and is specifically associated with an imitative pattern. The development section (measures 151-202) moves from E-flat through d to c.  long chiomatic bass line leads from d to c (measures 182-199). Ex. 266 A l l ciZ & The cadenza section also involves chromatic movement. A temporary cadence on E-flat at about mid-point changes the direction of the bass line which then continues upward. Ex. 267 Summary The form is the least symmetrical and balanced of all the sonatas. This is partially the result of (1) an incomplete recapitu lation and (2) the development of materials outside of the proper development. There is about an equal amount of developed material in the exposition and in the development itself. The structure includes a lengthy cadenza-like section and a coda tre a te d m o tiv ic a lly much lik e th e "cadenza". Theme 2 i s e s s e n tia lly drawn quotably from Theme 1. The change is found principally in the accompaniment. Theme 3, although it first occurs in an earlier movement of the suite, is also related to Theme 1. The principal thematic material arises from the motives of the first phrase of Theme 1. Other key levels within the sonata are only temporary and are found chiefly within chromatic bass progressions. Chromaticism Is found In accompaniments and figures rather than In thematic alteration except for one Instance (see Ex. 257). A harmonic sequence through a series of fifths Is In evidence In the development section. Counterpoint Is apparent In canonic and Imitative passages. There are no contrapuntal combinations of thematic material. Sonata Romantlca, Op. 53, No. 1 More than ten years separate the Sonata Romantlca from i t s im m ediate p red e c e sso r, the Sonata T ra g lç a , Op. 39, No. 5. For Medtner, these were years in exile—in America, England, Ger many and France—years financed chiefly by concert tours. Op. 53, No. 1 was w r itte n during 1931-32, p u b lish ed by Zim- mermann in 1933, and first performed in London on January 19, 1935.^® It is dedicated to a Scottish friend, A. M. Henderson. It is, along with the first sonata. Op. 5, in four movements: Romanza (Andan- tino con moto) , Scherzo (Allegro-Presto) , Meditazione (Andante con moto) . and Finale (Allegro non troppo). F i r s t Movement The sonata-allegro form of the first movement is shown on the following page (Table 26). The near symmetrical factors of tne movement are apparent in a recapitulation made- two measures longer than the exposition, a devel opment approximately of similar length and a coda one-half as long. The p h rase groupings of Theme 1 a re 3 + 3 m easures. The transition passage however begins with a three-measure phrase fol lowed by an extension of the phrase to seven measures. Theme 2 is comprised of 4 + 5 measures followed by closing m aterial in the form of 3 + 2 measures. It is therefore apparent that the symmetry of the 28 nMSS, IV, 7. TABLE 26 FORMAL STRUCTURE OF FIRST MOVEMENT, OP. 53, NO. 1 L ocation Length Key Exposition 1-30 30 Theme 1 1-6 ( 6) b - f l a t Transition 7-16 (10) — of D-flat Theme 2 17-25 ( 9) D - f la t—>f Closing section 26-30 ( 5) Development 31-67 37 f-sharp, g, g-sharp, a, b-flat Recapitulation 68-99 32 Theme 1 68-73 ( 6) b - f l a t Transition 74-83 (10) — of G -fla t Theme 2 84-94 (11) G -flat—^b-flat Closing section 95-99 ( 5) Coda/Transition* 100-115 16 b-flat » V of e - f l a t to Scherzo movement Is but seldom adhered to within the phrase structure. The phrase structure of the development is not so fixed in its phrase shapes. This is in part due to contrapuntal overlap. The formal treatment of the recapitulation is changed only in the extension of Thème 2 by seven measures. The form of the coda is complicated by the non-uniform length of the phrases due to the number of beats per phrase. The transition to the next move ment is straightforward (2+2+4 measures). The m inor mode p r e v a ils in th is movement. Although Theme 2 begins in major. It ends in minor. Chromatic ascending key levels from the dominant minor (f) lead to the recapitulation. The coda emphasizes the tonic key level which, however, becomes in a transition the dominant key level of the succeeding movement. The basic duple meter of the movement remains constant until the transition to the scherzo. At this point a change to | meter and an accelerando lead directly to the scherzo. At the change of meter are found the contra dictory indications J=J, which is redundant, and Doppio movimento, which is incorrect. Theme 1 o f t h is f i r s t movement b ears resem blances to the opening of Rachmaninoff's Sonata. Op. 36 written in 1913 and revised and republished in 1931.^^ Ex. 268 [ Rachmaninoff Î Brahms S. Newman observes this feature in his book. The Sonata Since Beethoven (Chapel H ill: University of North Carolina Press, 1969), p. 724. 237 The theme can also be compared to the opening theme found in both slow movements of Brahms's Sonata, Op. S. The relationship is especi ally obvious in the "Intermezzo" of Brahms's sonata. The first motive of each theme from each of these three works is illustrated in example 268. Theme 1 is comprised of two melodic phrases. The first descends outlining the tonic chord while the second is prevailingly stepwise. Ex. 269 % o .l m tno.Zai /no.3 i »3a , ,? < > -n.? i imo.Id , ^ imnlai The theme consists of two basic intervals: a third or three stepwise pitches (motives 1, la and 2) and a second (motives 3 and 3a). Phrase 1 combines these motives into two sub-phrases whereas phrase 2, also divided into two sub-phrases, at first employs motive 3 and ends with the same motivic combination as phrase 1 (the combination referred to here as motive 4). The transition material continues the descending stepwise idea of phrase 2. 238 imo.2 ‘ ^ 'mo,2a ’ ho.2a-^ ^ The transition develops Itself rhythmically by changing to sixteenth- note movement, the rhythmic unit of Theme 2. This transition consists exclusively of five repetitions of motive 2 with varying inter vals dividing the repetitions, followed by motive 2a and an ex tension of it. The final sixteenth-note material that anticipates Theme 2 is built upon this extension of motive 2a and upon the opening theme. The developed aspects of the latter are seen in the following example and its derivation. Ex. 271 I Theme 2 i s s tr u c tu r e d s im ila r ly to Theme 1 w ith two p h rases, the first one divided into two sub-phrases involving like material. This material closely resembles phrase 2 of the first theme. The note-by-note relationship is as follows : Theme 1, phrase 2 239 n o tes 1-3 1-3 n o tes 4-7 In v ersio n 4-7 (motive 5) n o tes 8-10 in v e rsio n 9-11 (motive 6) The second sub-phrase involves the extension of motive 2a (2a^) and its inversion. It is this inverted motive that, to gether with motive 6, ends the theme. The theme is repeated and extended to a cadence at which point closing material is again based upon motive 2. Ex. 272 (PiiO•Us,I I iTiO« The development is based upon the melodic content of Theme 1 only. Tlie material is for the most part treated contra- p u n ta lly . P h rase 1 o f Theme 1 i s tre a te d im ita tiv e ly . Ex. 273 Phrase 2 becomes a canon at the fourth. Ex. 274 A rhythmic diminution of the descending motive ends the development. A recapitulation that departs but slightly from the exposi tion is folloifed by a coda which dovetails with a transition to the second movement. The coda, which is otherwise composed of material from Theme 1, b eg in s w ith a new m elodic m otive. Ex. 275 m yi- ^= An altered e-flat harmonic minor scale accelerates into the tempo of the succeeding scherzo and the key of e-flat. The principal themes of the movement are almost completely diatonic in their harmonizations. By contrast the transition to Theme 2 c o n tain s a chrom atic passage th a t i s even more e la b o ra te in a sequence of diminished triads in the recapitulation than in the exposition. Ex. 277 m ŒD \ h k \ 'H; - i Dissonance is mainly a result of chromatically altered chords that eventually resolve, as in measures 29-32. f b» , f , \ a ^ f J S I ^ t — c ± > ! : * ■ , ^ J L V b - * - Vr-4 L / ~ h . ' t^=a=^==±==^ & — • 4 i 4 * ------ — ijf" ' ^ — ^ — pU — / ------ A chord repeated three times within the transition to the next movement finally resolves at the beginning of the scherzo (see Ex. 276). A rather dissonant cadence within the transition to Theme 2 is the result of a chordal appoggiatura in measure 9. Ex. 279 l/fV I 1 I- ...| - - j — .... 243 Modulations are handled normally but for one instance: in measures 45-46 a Vg of g-flat is penultimate to g-sharp. Yet one more harmonic strategy is the climactic arpeggiated 9th chord of measure 106. Ex. 280 m t à Second Movement The second movement, entitled "Scherzo", is in the form of an arch—scherzo, development, trio, development, scherzo—with the first theme coming at the beginning and near the end of the movement. Its close symmetry contributes to the delineation of the chiastic form and is the result of outer sections of approximate length, developments of near dimensional exactitude, and a mid-section or trio of about half the length of the outer or scherzo sections. The form is illustrated in the following table; 244 TABLE 27 FORMAL STRUCTURE OF SECOND MOVEMENT, OP. 53, No. 1 L ocation Length Phrase Structure Key Scherzo 1-65 65 Theme l a 1-7 3 + 4 e - f l a t Theme lb 8-34 2 + 2 + 4 + 4 + 4 +4+3+2+2 Theme Ic 35-42 2 + 2 + 2 + 2 Theme Id 43-55 3 + 4 + 2 + 4 ->-V of b - f l a t Theme 2 56-65 4 + 6 b - f l a t - ^ V Development 66-113 e , b , V of D [T rio] 114-142 29 Theme 3 114-125 4+4+4 D Theme 4 126-142 2 + 2 + 7 + 2 + 2 f-sh a rp —> V of D-flat Development 143-191 49 a , b - f l a t . b , c ; V of c = g, g- sh a rp , a, fa- flat = V of e - f l a t Scherzo 192-253 62 Theme lb 192-207 e - f l a t Themes 2 anc 3 208-233 Theme lb 234-241 Theme 2 242-245 Theme l a 246-253 Theme 3 and Transition 254-265 12 g-flat (III) = F-sharp (V o f b) 245 As in the first movement, chromatic key relationships are apparent. The parallel harmonic movement of the first scherzo to its development (e-flat to b-flat; e to b) and the ascending chro matic lines of the second development show these relationships. The inner section or trio, begins in the major mode, a half-step below the home key and then continues in the key of f-sharp (the enharmonic mediant key level). The end of the movement employs this same enharmonic relationship in an immediate key change to b (g-flat = f-sharp » V of I), the key of the succeeding movement. All thematic m aterial is constructed from the two motives o f Theme l a . The f i r s t m otive o f Theme l a i s deriv ed from Theme 2 of the first movement. This relationship becomes more apparent in the Finale. The first motive ornaments a single tone; the second motive is an ornamental version of three descending scale steps. Ex. 281 Derivation; Th. 2, I. ( ( ! f ‘if mo. 2 * I . N Jj--> ' ------1 r f r wr-: Theme lb o u tlin e s th e m ost im portant m otive of th e movement, a five-note ascending scale (motive 3) derived in retrograde from th e m otives o f Theme l a ( b - f l a t , [ a ] , g - f l a t , f , e - f l a t ) . . Ex. 282 mo. 3 Theme lb reaches its climax through a long ascension to a passage of syncopated chords in contrary motion (motive 4). This motive is an extension of motive 3= Ex. 283 Theme I c , d eriv ed from m otive 2 , i s a se q u e n tia l p a tte rn . 247 T h.. l e ^— r* Theme Id is based upon a chromaCic version of motive 4. It is first found with an accompanimental figure of complimentary motivic d esign. Ex. 285 After imitative entries it is combined with a figure that anti c ip a te s Theme 2. Ex. 286 L ' A . V (SS> -, e tc . /,— 1 \j.i> i> h = N = i Theme 2 c o n s is ts o f a descending se q u e n tia l p a tte r n suc ceeded by a motive that Is twice repeated before It moves upward. The motives for this theme are derived from Theme Ic (motive 2a) together with a hybridization of the motive's Inverted components (x and y ) . Ex. 287 > 2 a . * f3Tirxir2a I m Œ £ ) i ZL i!kji l l Theme 2 continues In developed form by being combined with m otive 4 (Theme lb ) o r m otive 2 (Theme là ) In In v ersio n . Ex. 288 m The theme Is then combined w ith m otive 1 (Theme la ) 249 i At m easure 99 m otive 3 (Theme lb ) i s found in an augmented Ex. 290 The development ends with a return of Theme Id in canon. Ex. 291 h i I TÎ T r The t r i o b eg in s w ith a c o n tra s tin g ly ly r i c melody (Theme 3 ). Mr flj J~i _n I r-| ...... m Q j E > The Intervallic leaps, wide range, periodic structure and straight forward rhythmic swing—all are quite foreign to the other melodic m a te ria l of th e movement. N ev erth eless Theme 3 shows some r e la tio n s h ip to Theme 1 o f th e f i r s t movement as w ell as to m otives 1 and 2a of Theme I c of t h is movement. Ex. 293 |f fcVfc f ,^ - | ] Th. l a , mo. 1 I Th. Ic, mo.,2a 251 The loose motivic structure of Theme 3, never developed beyond its original form, is uncharacteristic of Medtner’s melodies and therefore may be derived from an outside s o u r c e .30 Theme 4 i s n o t r e a l ly new b u t i s a conglom erate of e a r l i e r motives organized by key. Motive 3 as previously seen in its augmented form (Ex. 290) is given a new accompanimental figure and then the melody continues directly into a developed and augmented form of the first figure of Theme Ic. Ex. 294 30M edtner's fo lk sources are discussed in Y asser, op. c i t . ,sources pp. 56-65. 252 The f i r s t m otive of Theme 4 i s rep eated w ith a second accom panim ental fig u re and co n tin u es now I n to a developed form o f m otive 1 o f Theme l a . Ex. 295 The first motive is repeated once more with yet a third accom panimental figure associated with Theme Id. This final form of the motive is varied intervallically to produce a whole tone scale (c, d, e, f-sharp, g-sharp). Because of its diverse o rig in s and developm ent w ith in i t s s tr u c tu r e , Theme 4 may be considered a part of the ensuing development. The thematic elements of this development involve Themes Ic, Id, and motive 3 as found in Theme 4. The Juxtapositioning of these materials culminates in a climactic polytonal version of motive 1 repeated three times in F-flat (c-flat, e-flat, g-flat, a « Vy of F-flat versus an e-flat triad). the preceding climax could be considered the return of the scherzo section but for sixteen measures based upon motive 3 that follow. The whole, including Theme la, motive 1, is built upon a dominant pedal. The return of the scherzo is highly modified in that thematic elements are rearranged. Themes 2 and 3 alternate but themes are not further developed. Part of Theme 3 is employed at the end of the movement as a transition to the next movement and the theme gradually dissolves into a single motive.. Themes l a , b and c . Theme 3 and Theme 4—a l l a re d ia to n ic to an extrem e. Theme Id and Theme 2 are ch ro m atically o rie n te d . Developmental sections primarily involve the chromatic thematic m aterial and in consequence harmonic materials in these developments are chromatically oriented. In the first development of Theme 2 a passage of augmented intervals progresses to a minor triad with an added raised fourth. 254 LtfJ SD At measure 220 Theme 3, originally harmonized diatonically, under goes a chromatic harmonization within C -flat/a-flat that is re peated four measures later in G-flat. Ex. 298 t-ie. T hird Movement Structural symmetry is apparent in the approximate lengths of the exposition and recapitulation (see Table 28 on the following page). The short development is augmented by two cadenza-like pass ages—one situated at the end of the development, one within the recapitulation. Although thematic materials are closely related TABLE 28 FORMAL STRUCTURE OF THIRD MOVEMENT, OP. 53, NO. 1 L ocation Length Key . E x position 1-22 22 Theme 1 1-14 (14) b Theme la 1-4 Theme lb 5-6 Theme Ic 7-14 Theme 2 15-22 (8) D -> Development 23-31 9 G -> Recapitulation 32-56 25 32-42 (11) e - f l a t Theme l a 32-35 Theme lb 36-37 —» E xtension 38-40* Theme Ic 41-42 Theme 2 43-50 (8) b - f l a t Coda 51-56 (6) measureless cadenza throughout the movement, the "cadenzas" and a non-recapitulatory tonal scheme lend an improvisatory character to the movement. The recapitulation is arranged like the exposition except th a t Theme lb i s follow ed by a ca d en z a -lik e e x ten sio n and Theme Ic is of only 2 measure length. Theme 2 is for the most .part treated differently but is of the same structural length as in the exposition. The difference appears in a motivic extension, rather than a repetition, of material. A coda comprising material o f Theme Ic concludes th e movement. In general the structural elements of the movement are handled in a square-cut and predictable manner, quite unlike the preceding movements. The square-cut features are somewhat alle viated by the developmental and cadenza-like sections. The harmonic plan is unusual in that the movement begins in b and ends a half-step lower, in b-flat, the key of the final movement. The recapitulation begins in e-flat, the key of the scherzo. The movement functions therefore as a transition from the second movement to the finale. The character of the thematic material is lyric in con trast to the rhythmic themes of the Scherzo. A four-part linear texture prevails. Theme group 1 may be div id ed in to th re e sub-groups—Theme la (4 m easu res). Theme lb (2 m easures), and Theme lo (8 m easures). The relationships of these themes to themes of the first and second movements is seen in the following example. Ex. 299 Th.la, III I Th.lb, III ' mo. 7 hiQ..,5p 0 lÆu nrrg r;;;m t;rTn imo.sai imo. o i 0 Th.lCi Theme 2 , a f u ll-f le d g e d melody, a ris e s from Theme 1. Thematic elements of the movement are closely related. Motivic relationships are as follows : M otives Relationship 3 - 5 interval of a third 5 - 5a re tro g ra d e 5 - 5b in v ersio n 5 - 5c retrograde inversion 1 - 7 rhythmic pattern 1-8 repeated tones 9-10 rhythmic pattern 0.21 tno. 6 I ? o n A The movement is highly integrated by the rhythm of motive 5 ( J ). Except for the cadenzas the figure is employed contin uously from measure 13 to the end of the movement. The development section consists of four measures derived from motive 5 (motive x of motive 9 and its inversion) and three measures of motive 1. The return of Theme la is approached by a measured cadenza built upon the complex polychord that ends the preceding passage. This vertical structure, consisting of a diminished triad, a perfect fourth, and a pedal tone, is horizon tally fragmentized and gradually resolves into V of e-flat. Ex. 301 É Follow ing th e r e tu r n of Theme l a . Theme lb i s extended in to an unmeasured cadenza. The interval of a sixth in this cadenza is gradually compressed until, some 150 notes later, only a trill rem ains. Ij, I , ( Z 2 J z f e # ^ *Ç^' ' 'ip' ^ Parallelism occurs in a passage in measures 45-46. (M) *$= “ 21 ? 7“ The passage continues with the same figure in parallel fourths (then fifths, and a third) opposed to metrically displaced chords. Ex. 304 w > , t -^,1 f r + 4 M : - Q y 1 / _ ^"4 M otive 9 o f Theme I c I s g rad u a lly d iffu s e d a t th e end of the movement through a process of deletion and separation. Ex. 305 f ^ I £f-f T fi F ourth Movement Most of the principal themes of the movements are rep resented In this cyclic final movement. These appear especially In the second development and In the grand Coda.. The first and third development sections are involved with material from the exposition. Symmetry is exact between the exposition and the first development. Partly because Theme 3 returns In the Coda rather than in the recapitulation, the latter section Is shorter than the exposition. The Coda is twice as long as the recapitulation (see Table 29 on the following page). But for the tonic-dominant relationship of Themes 1 and 2, key levels are a major, minor, or augmented second distant from the tonic. Tonal flux is primarily found in the three develop ments. The tonic key remains quite stable throughout the TABLE 29 FOKMAL STRUCTURE OF FOURTH MOVEMENT, OP. 53, NO. 1 L ocation Length Key E x p o sitio n 1-43^ 43 1-17* (15) b-flat, f Theme 2 18-25 ( 8) f Transition 26-36 (11) — of A -fla t Theme 3 37-43 ( 7) A -fla t Development I 44-86 43 —^b —> Development II 87-108 22 c-sharp —> Development III 109-133 25 Recapitulation 134-167 34 134-159 (26) b-flat Theme 2 160-167 ( 8) 168-234 67 first ending, 14-15; second ending, 16-17. recapitulation and coda, these last sections comprising almost half th e movement. Theme 1 is based upon a number of related motives which produce phrasal groups and extensions in a pattern, of 4 + 4 + 7 measures. The second phrase gradually ascends through three sequential patterns to a repetition of the first measure an octave higher than originally. The theme then gradually descends sequen tially and the whole is repeated. The first anacrusis is found in the previous movement which in its last measures anticipated the rhythm of motives la and b. All motives have their origins in motives la and 3. Motive 4a is the same as motive 5, Theme 2. Ex. 306 I m o . 1 *mo. l a ~ 7 ^o«4a ' fao.lb 11a < I mo. U i a If f—m-r ' ' rmôT5 I I I m o .xr^ 1 rm o . l b I The re la tio n s h ip s of Theme 1 to Theme 2, I I ; Theme l a . I ; and Theme lb. III are illustrated in the following example: 263 Th. 1, IV Î Th. 2, II 1 Th. la , I I h H - - f , - | - 4yi>i> ■■ 7 ■ 1 J . ^ f Theme 2 a ris e s from th e se q u e n tia l p a tte rn (m otive x) of measure 7, Theme 1. Essentially rhythmic, it consists of four contrasting motives, the last related to Theme la, II. Ex. 308 f mo. X ' T mo. 2 L (mo.3 ' I _ 264 Theme 2 I s succeeded by a tr a n s it i o n passage th a t I s a ls o a devel opment o f Theme 1 and m otive 3 o f Theme 2. With c o n tra p u n ta l tenden cies, It begins with an Inversion of motive 1, Theme 1 combined with m otive 3 , Theme 2. Ex. 309 " 1 1, Th. 1 1 K ...... ■ ■ 12 D (- k u ^ 3, Th. 2 l J” Theme 3 Is a metrically altered and transposed transplant of Theme 2 , I I I . Ex. 310 Th. 3 The first three measures of this six-measure theme in A-flat are immediately transposed at three key levels—G-flat, E, and D— to begin the first development section. The development continues with Theme 2 which includes an intervallic and directional variation of motive 3. Ex. 311 É Theme la is then developed by combinations of motives 1 and 5 and the inversion of motive 1. The latter mutant bears a close resemblance to Theme I c , I I I . Ex. 312 1 .TMc, III Near the end of this development (beginning at measure 76) motive 4 o f Theme 2 I s added. I t s r e la tio n s h ip to Theme l a , I I g iv es the motive the anticipatory factor of presaging that theme in the second development. The motive is also directly lifted from Theme 2, II. The motive progresses from eighth-notes to triplet eighth-notes to triplet sixteenth-notes. The derivations of this anticipation are illvr:ratf i In the following example: Ex. 313 Th. 2 , I Anticipat^n of Th. la, II Th. l a , I I The anticipation Is especially noteworthy In that Medtner employs the first three notes of Theme 2, I In grace notes here. He has used the grace note before as a developmental feature, In Op. 25, No. 1, but more obviously than In this instance. The second development, wholly concerned with thematic material of movements II and III, begins with Theme la, II, plus an added motive (^ 3 ) in measures 87-88. The rhythmic motive permeates the whole development. In measures 89-90 the theme is combined w ith m otive 4 , Theme 2 o f t h is movement, thus showing the relationships of the two motives. Relationships are further pointed out in measures 91-104 where Themes la and b, II are com bined with Themes la, b, and c. III. The beginning of this passage is seen in the following example: Ex. 314 (Th. la , ^III) ■ i(j ^■ j (Th.la, II] ---- =1 ..- / ' S- _L'r- r...... The section ends with a motive of Theme la, II (motive y of the previous example) combined with a variation of Theme la. III. At measure 108 this is simpHfied. 268 I The third development functions tonally as a transition to the recapitulation. It concerns fragmentation of motives of Theme l a o f th is movement. The theme in measure 109 i s now a direct product of the condensation of Theme Ic, III in the previous measure. (The change is in the interval of a sixth, found here between c and e-flat). Motive z of example 315 has become motive la of Theme 1, IV and it permeates the section. Ex. 316 Out of this rhythmic motive momentarily emanates Theme la, I. 269 Ex. 317 The brief recapitulation treats expository material quite literally but for some sequential extensions. The Coda's function is not only the cyclic return of thematic material but also to illumine thematic relationships through juxtapositions and combinational factors. In consequence the fabric Is constantly contrapuntal. TABLE 30 CYCLIC FEATURES, CODA OF FINALE, OP. 53, NO. 1 168-181 Theme 2 , IV + Theme 3, IV = (176-177) Theme 2 , I I I + (180-181) Theme l a . I I I 182 M otive l a . Theme 1, IV 183-186 Theme 1 , IV 187 M otive l a . Theme 1, IV 188-199 Theme 3, IV and e x ten sio n s 200-203 Theme l a , I I 204-211 Themes la + lb, III/Themes la + lb, II 212-215 Theme I c , I/c o d a m otive, I 216-219 Theme l a , IV/Theme l a , I 220-221 Theme l b , I 222-226 Theme l a , II/Them e 2, IV 227-229 Theme 2 , IV 230-234 Theme l a . I ; Theme l a , IV At m easure 182 m otive l a of Theme 1 , IV a n tic ip a te s th e theme In the following figure: Ex. 318 The same motive Is then Incorporated Into Theme 3,IV" Theme 2, I I I . Ex. 319 Theme l a . I I I I s amalgamated w ith Theme l a , I I beginning at measure 204. The neighboring tone relationship Is made apparent. Th. la, III Th. l a , I I Themes Ib of these two movements are sim ilarly combined beginning at measure 210. Ex. 321 Th. lb. III k . Ü %1 0 gf I l N ^ ~ w The previous passage is juxtaposed with Theme Ic, I thus illustrating the close relationship of the descending motive of this theme to Theme lb, III. Simultaneously the syncopated motive of the coda of the first movement, not employed elsewhere in that move ment, again appears. Th. l e , I At measure 216, the inversion of Theme la, IV is combined with Theme la, I. The measure is preceded by the material of the previous example and succeeded by Theme la, II combined with Theme Ic, I. The passage illumines five thematic relationships. Ex. 323 . 7 ' , r ' f c - f - p T m Y------J 273 In the l a s t measure o f t h i s exam ple, Theme 1, IV has assumed the downward lea p c h a r a c te r i s t ic of Theme l a , I ( b - f la t - e - f l a t ) and has adopted the role of that theme as It Is Immediately followed (In measures 220-221) by Themes lb and c, I In combination. A fte r a com bination of Theme l a , I I and Theme 2, IV, th e work ends w ith the a p p o s itio n of Theme 1, IV aud Theme l a , I . The linear movement of added tones produces a thick sonority. Ex. 324 Th.la, I y t , U —L> r 4” Most harmonic progressions are dlatonlcally oriented with chromatic movement occurring from within as In the following example: If An exceptional instance of parallel chromatic movement occurs in measures 192-202 where partially chromatic melodic movement and chromatically altered chords are employed in a modulation from e-flat to b-flat. The key is anticipated as far back as measure 193 by a dominant pedal tone. The quick harmonic rhythm then moves to a cadence on a D triad and a sequential bass line then progresses to ’j-flat. The sequential patterns of the passage contract and expand but retain the same general shape. Ex. 326 /...... jjlrti , ------, r ------^ 1------1\ n J .....^ * 0 ^ . j 275 As in the previous example chordal movement is often the product of the linear factor. A case in point occurs in measures 105-111 where a bass line outlining c-flat moves quite suddenly to F (V of b-flat). The chordal colors are effected by the linear inner movements. Ex. 327 t i ( 7 h r = kT ( T û ^ y ( / / / ) A passage in the coda involves thick clusters of tones and is the vertical result of two coinciding motives (measures 222 and 224). Summary This four movement sonata is Medtner's cyclic tour de force. All thematic material is derived directly or indirectly from Theme 1, I. Some thematic relationships are made more obvious than others as the sonata progresses. Medtner sums up the relationships of the 276 themes and motives in the Coda of the Finale by combining and aligning the most important relationships. The most employed technique of development is thematic and motivic combination. However there is ample evidence of motivic fragmentation and hybridization. A certain amount of thematic evolution is apparent, especially within movements. But, for example. Theme 3 of the Scherzo is not a direct descendant of the penultimate them e. In one in sta n c e —Theme 2, I I I and Theme 3, IV— a theme is literally employed in two different movements. Theme 3, IV does not return in the recapitulation of the Finale but in the coda. Aside from melodic m aterial, movements are integrated by various means. The transition to the second movement is effected by a gradual accelerando and the tonal level serves as the domin ant key of the following movement; the third movement is approached by a common tone between the tonic chords of the two movements; the tonal level of the fourth movement is approached well in advance for the third movement recapitulates in the key of the Finale. The latter movement is also coordinated with the "Meditazione" by a common rhythmic-motivic element and the anacrusis of the Finale's first theme is foîtnd at the end of the previous movement. The first three move ments end with the indication, attacca. In the first three movements symmetry is made an obvious feature. However the Finale, which does have some symmetrical divisions, is compounded by the reappearance of themes of other 277 movements with one of the development sections dealing exclusively with these. An arch form is in evidence in the Scherzo. Cadenza-like passages are found in the first and third movements. The latter movement is freely treated in regard to tonal levels for it ends'a half-step lower than it begins and it "recapitulates" at the key level a diminished fourth higher than at the commencement of the exposition. This is the only instance of a movement ending at a different tonal level than it began in all of the sonatas. A ll movements a re in the minor mode b u t w ith some themes in the contrasting major mode. Ascending chromatic key levels are found in the developments of both the first and second movements. Chromaticism is especially apparent in certain bass progressions and often in the linear relationships of chords. Counterpoint and contrapuntal devices are employed in all movements but especially in the Finale, considering its thematic combinations. Special isolated harmonic techniques are found in chordal parallelism (the last three movements), a polychord ("Meditazione"), polytonality (Scherzo), and a whole tone scale (Scherzo). Sonata, Op. 53, No. 2 "My last sonata (the "Orageuse") is my contemporary work for the tidal wave of today's events is reflected in it."31 Medtner is here referring not to contemporary music but to the political scene in Europe during the 1930s. The sonata, published together with Op. 53, No. 1, is referred to as the "Minacciosa" as well as the "Orageuse". It was first performed in Paris at the École Normale, March 3, 1932, in an all-Medtner program at which "all Russian musicians from Glazunov to Prokofieff were present."32 The sonata is dedicated to the Canadian pianist, Alfred La Liberté. The form o f th is s in g le movement work i s shown in Table 31 on the following page. The four sections of the sonata have the approximate proportional lengths of 2:4:2:1. In the exposition Theme 1 is developed before the appearance of Theme 2. The closing section functions also as a development and transition. The development proper may be divided into two sections with the second section being the fugue. Considerable m aterial labelled "sempre quasi cadenza" dis tinguishes the recapitulation. This material is also of develop mental ilk. The harmonic plan includes considerable modulation. The 3lLetter to Alfred Swan, August 9, 1933 (DLNM, p. 103) [my translation]. TABLE 31 FORMAL STRUCTURE OF OP. 53, No. 2 Location Length Key E x p o sitio n 1-90 90 Theme 1 and developm ent 1-53 (53) f - » Theme 2 43-78 (25) A - f la t Closing section 79-90 (12) —» Development 91-290 200 S ectio n 1 91-209 (119) c —► Section II; fugue 210-290 (81) f-sharp, e, f Recapitulation 291-394 104 Theme 1 and cadenza 291-320 (30) f —> Theme 2 321-345 (25) E - f l a t —> Cadenza 346-394 (49) Coda 395-448 .54 _ 5 ^ f. F key levels of the exposition through a portion of the development outline the tonic triad. The fugue begins at the raised tonic key level. After the return to the tonic at the recapitulation. Theme 2 begins at the key level of the lowered seventh. The final section of the coda is in the parallel tonic major key. Because of developmental complexities each successive division of the sonata will be formally analyzed and discussed. The form of the exposition is as follows: TABLE 32 FORM OF THE EXPOSITION, OP. 53, NO. 2 L ocation Length Key Theme 1 1-8 8 f Development 9-53 Cadenza 9-13 5 Motive Id 14-18 5 Motive Ig + Motive■7 19-24 6 Motive .2c:.+ Motive 4a 25-28 4 M otive 8 29-32 4 M otives 4a + 5b 33-34 2 —^ Motive 4a + 5b + Motive 8 35-37 3 M otive 8 38-45 8 M otive Ig 46-51 6 V of A-flat Extension 52-53 2 Theme 2 54-77 A -fla t Theme 2a 54-58 5 Theme 2b 59-62 4 Theme 2c 63-70 8 • Theme 2b 71-74 4 Theme 2c 75-78 4 —> Closing section 79-90 Motives le + 9 79-85 7 E xtension 86-90 5 Theme 1 com prises 4 + 4 m easures. I t s chordal harm onies, all found within the ascending melodic minor scale but for a b-nat- ural are often associated with the theme in its reappearances. The basic motives of the theme are highly related as seen in the following scheme: 2a = inversion of la 3 = descending step(s) of 2a 4a = 3 5a = inversion of 2a 6 = inversion of final pitches of 4b These and further motivic combinations (employed in later devel opments of the motives) are illustrated in this example. Ex. 329 l ü Î r â â I A cadenza-like passage leads to a development of the theme. The "cadenza" is built upon motive 5c. Ex. 330 .Aiu in mi Motive Id is then treated In pointilllstic fashion. Its harmonies are considerably altered from the first appearance at the begin ning of the sonata. Ex. 331 mo. Id An extension leads to a development of motive Ig together with a new rhythmic motive (motive 7). m m Imo. V I Motive 2a is developed in the following forms: Ex. 333 r 2 < £ ^ rz-gâ 1 rji—I J-J------1 I3I ' t e @ u n a Z Ü At measure 33 motives le, 4b, and 5b are combined. 284 Motive Id Is provided with a new accompanlmental figure at measure 46. Ex. 335 The section ends with motive la employed In a descending pattern followed by a short "cadenza" built upon the harmonic structure of the descending pattern. The harmony Is an Ay arpeggio over a d-sharp » e-flat pedal that leads to A-flat. Ex. 336 ( 3 ) Theme 2 i s so com pletely derived from Theme la th a t i t can be considered a development of the principal theme and in conse quence may be considered monothematic. Nevertheless Theme 2 is a theme in its own right in that it has its own key and its own unique structure. Because of its extended and periodic structure i t may be viewed as th e m elodic form of m o tiv e-o rien ted Theme 1. The first section of this new theme is based upon motives lb and 7 < ■ motive 9) and a repeated note extension of motive la. Inverted, combined with 2a ( = motive 10). The second section involves an extended pattern built upon motive la ( » motive 11) together with the inversion of 2a ( - motive 12). The third part of the theme combines motives 9 and 12. (See Ex. 337). 286 ^ I 1 mo. 7^ r i r H — 4 .....r -=^ ¥ ^ ~-- P (M) ... ■ I - K • w - r # £ S = ^ ...... 6 k j n t j b ^ - . ------1 i j ' ^ b a f c L ^ . ------L _ l _ ^ ^ 16' f-J i?0 1 J .H A c lo sin g se c tio n a lte r n a te s m otives of Themes 1 and 2. 287 A cadenza-like extension leads to the development proper. Section I of the development concerns the following motivic p lan ; TABLE 33 FORM OF DEVELOPIIENT, SECTION 1, OP, 53, NO. 2 Location Length Key Motive 13* 91-110 4 Motive Id 111-112 2 Motives 4a + 7 113-116 4 Motive 4a 117-120 4 Motive Ic 121-124 4 Motive 8 125-131 7 Motives If + 3 132-143 12 E xtension 144-147 4 Motive 13 148-151 4 E xtension 152-155 4 Motives 9, 10, 12 156-163 8 Motive 9 164-165 2 M otives 10 + 12 166-173 8 Motive I f 174-181 8 Canon: m otive 13 182-189 8 Canon: extension 190-197 8 Motive 3 + 4a 198-201 4 f-sh a rp Motive 13** 202-205 4 M otive Id 206-209 4 new motivic combination approaching thematic level **retuTO of the canonic extension of measures 190-195 The development commences with a motivic complex derived from motives 3 + 2a ( « motive 13). This "new" motive is first presented in its entirety, then in a developmental process that becomes increasingly compressed. Ex. 339 mo. 3 mo. 2a + 3 m . An extension of the motive is harmonized with augmented triads. 289 Near the end of the section motive 13 anticipates the fugue as it is employed in canon. Ex. 341 ( z n ) A further developmental process takes place in measures 164-165 where tones from motive 9 (at a pitch level found in measure 162 preceding) are chosen to form a new figure. a m The figure appears in imitation at the interval of an augmented In measures 177-180 the tones of motives 3 and 4a are per muted and then the figure is repeated eleven times. Ex. 343. Section II (measures 210-90) of the development, a fugue, appears in the form shown in Table 34 on the following page. The fugue is divided into three sections according to key levels. The midsection; in e, is characterized by false and canonic entries. The final section "recapitulates" at the lowered tonic key level, f, which is in advance of the sonata's thematic recapitulation. Some degree of tonal ambiguity is always present in the fugue due in part to the chromatic character of the subject and countersubject. This subject is a near representation of motive If extended by TABLE 34 STRUCTURE OF FUGUE, OP. 53, NO. 2 Length Key s 4 * f-s h a rp Ent 4 + 2* S 3 + 5 Ent 4 Ent 4 + 2 Ent 3 + 4 Ep 2 —> F a lse Ent 2 Ent 4 + 3 Ep 2 Canonic Ents 4, 4, 3 + 2 Ent 3 + 2 f Ent 3 Ext 7 , . T ra n sitio n 5 a two-measure extension. The same format is employed in succeeding entries. sequential repetitions in sixteenth notes. The subject appears with this sequential extension only in the first three entries. Ex. 344 Subject y • - Count ersub.je et A series of canonic entries in the i.iid-section produces bitonal sell ernes at the levels of a ninth (b/c) and of sixths (e/c and a/c). The first of these entries is illustrated here. Ex. 345 This passage is preceded by an episode consisting of a dramatically augmented fom of the countersubject as found in the previous example. Ex. 346 "1 ^ 293 The sonata's recapitulation is approached sequentially with the resolution of the final pattern being delayed by the theme's a n a c ru s is . f + ^ 4 % m ) . h f /r> Vh—1~ 4 FORM OF RECAPITULATION, OP. 53, NO. 2 L ocation Length Key Theme 1 291-301 11 f Cadenza 302-320 19 M otive Id 302-306 ( 5) M otives 4b + 2b 307-308 ( 2) Motive 2b 309-314 ( 6) M otive lb 315-316 ( 2) Motive lb, extended 317-320 ( 4) Theme 2 321-345 25 E - f l a t — > Cadenza 346-394 49 Motive lOa 346-349 ( 4) Theme 2b 350-357 < 8) M otive 13 358-359 ( 2) M otive 12 360-361 ( 2) E xtension 362-364 ( 3) Canon: m otive 13 365-372 ( 8) M otive 13 373-386 (14) E xtension 387-390 ( 4) Motive 9 391-392 ( 2) E xtension 393-394 ( 2) 294 À cadenza, based upon and developing material of the two themes, follows each theme of the recapitulation. The first cadenza develops m a te ria l o f Theme 1. M otive 2b (in clu d ed in Id ) tak es th e follow ing Ex. 348 P p—f-i — — 9------\ ^ — = # ! ( T— n t r —M ^ C Z D ‘ (H D Œ h. 5— ------ Motive 4b, closely related to 2b, is found in combination with 2b. Ex. 349 2b:  highly dissonant harmonization of motive lb is written with a two- measure damper pedal indication. The cadenza ends with another damper pedal effect employing a scale—f-flat, g-^flat, a-flat, c-flat, d-natural—over a b-flat pedal within a six-octave range. The second cadenza is concerned with the employment of m a te ria l from Theme 2 and m otive 13. o f th e development s e c tio n . The cadenza is divided into two major sections. The first i n s e r ts m otive 13 in to th e m elodic lin e o f Theme 2b. The in s e r tion is made seamless by a continuing accompanimental pattern. The second section begins with motive 13 in a canon at the fifth together with a rhythmic motive J J j 3 , derived from motive 13, that pervades this section. Following the canon, motive 13 is twice changed, at measure 377 and at measure 381. Ex. 351 m p 296 At measure 387 a pentatonlc scale combined with the last motive of the preceding example is employed for four measures. The scale continues together with motive 9 thus illustrating the motive's pentatonic idiom. Ex. 352 The m o tiv ic s tr u c tu r e o f th e Coda i s shown in Table 26 on the following page. This coda is, except for Theme 2a, a recap itulation of motives as employed in the first section of the devel opment. The only new developmental features are found in extensions of motives and in a single contrapuntal combination. The last two notes of motive 13 are extended in measures 403-408. The first two notes of motive 10a are extended in measures 440-442. The only other instance in this sonata of a contrapuntal combination TABLE 36 STRUCTURE OF CODA, OP. 53, NO. 2 L ocation Length Key M otive 13 395-402 8 Extension 403-408 6 Theme 2a 409-412 4 f M otive Id 413-414 2 M otive Ig 415-419 5 Motive 8 420-425 6 Extension 426-427 2 M otive I f* 428-433 6 M otive 9 434-435 2 Motive 10a 436-444 9 F M otive l a 445-446 2 M otive 10a 447-448 2 combined with motive 13 in measures 430-431. of motives occurs in measures 430-431 where motive If is countered by motive 13. Ex. 353 mo. 13 298 m The chromatic element is much emphasized in this sonata, Chromatic movement is especially apparent in the following instances: meas 25-27 bass lin e meas 46-49 accompanying parts meas 101-111 bass lin e meas 146-147 b ass lin e meas 166-173 bass lin e fugue countersubject meas 282-285 meas 253-55 bass lin e meas 305-06 with pedal tone meas 307-03 chords meas 309-12 bass in thirds meas 313-14 contrary motion meas 346-47 inner accompaniment meas 352-56 bass with pedal meas 365-69 bass lin e meas 374-76 inner parts meas 403-08 treble part meas 436-43 bass and accompaniment A chromatically altered f scale occurs in measures 428-49 and again in measures 432-33. Pentatonic scales at two pitch levels are employed simultaneously (measure 106). A descending harmonic sequence involves chordal relationships a diminished fifth apart: B-flat - E^; G-sharp - D^; F-sharp - C (measures 156-163). A sim ilar relationship is found in measures 279-281 (f - b). In measures 420-425 three ninth chords each resolve on f. The chaige of mode from f to F is effected through a chromatic modulation in measures 434—436. The 3?.me ninth chord of this passage is enharmonically spelled in the final cadence of the sonata. Ex. 355 -f- 300 The damper pedal is used for arpeggios with added tones in measures 9-11, 52-53, 320 and 361-363. In measure 364 one of the tones is held beyond the pedal release. Medtner uses the pedal in measures 315-316 to accumulate seven pitches (b-flat, c-flat, f-flat, g-flat, g, a-flat). Summary This large single-movement sonata consists of a sonata- allegro form with a fugue following the development. Symmetry is apparent but the development plus fugue is twice the length of the exposition or recapitulation and the Coda is half the length of the latter sections. Developmental features are found throughout the sonata. The coda is essentially a'recapitulation of the material as found in the development. Section I. Phrase structures are generally short, often of four measures duration. This is chiefly a product of almost continuous motivic c h a in s. The so n a ta i s monothem atic in th a t Theme 2 i s e s s e n tia lly a developed form of Theme 1. All motives and motivic combinations result from Theme 1. The motives of this theme are closely related, closely enough to label this a mono-motivlc sonata. Except for two instances motives are not contrapuntally combined. Rather they are juxtaposed, a technique that at times produces new motivic combinations. 301 The fugue is anticipated by canons and canons are also employed within the fugue. There is also a canonic section in the recapitulation. Tonal levels are separated by extensive modulations. The fugivjj ’^fhicb is in a state of continual tonal flux because of a moQuiatory subject, begins in the key of the raised tonic and ends at the tonic key level. Theme 2 of the recapitulation is at the tonal level of the lowered seventh. Only Theme 2 is associated with the major mode and a motive associated with this theme ends the work in the parallel major tonic key. A pentatonic scale is in evidence as is a bitonal passage. A number of special damper pedal effects produces considerable dissonance. There are many predominantly chromatic passages in the sonata. Sonate-Idylle, Op. 56 The last sonata was written in 1937, published by Novello of London in 1938, and first performed In London on February 10, 1939.^^ The work Is dedicated to "my friends, L. E. and 0. N. Conus",^^ Anna Medtner describes a performance of the work together with the violin sonata. Op. 57 In a letter dated 27 April, 1939: "For three days Kolja gave concerts with his new pieces, the violin sonata and the little Sonate-Idylle for piano . . . The works were greeted by the musicians as something completely new and youthful". The piece Is In two movements. Allegretto Cantablle and Allegro moderato e cantablle. F i r s t Movement The short first movement Is In a ternary form but includes some developmental features In Its midsection. Three quite symmetrical sections are distinguished by their thematic treatment and by their tonal levels. The movement Is harmonically exceptionally simple. Reiterated cadences, an ostlnato, and pedal points help to confirm the tonal stability. The outer sections In G are contrasted by an Inner section moving ^^The sonata Is listed as a first performance on a recital program of this date. ^^Olga Cpnus 1 of Cincinnati Conservatory of Music. ^^DLNM, 106-107 [my translation]. TABLE 37 FORM OF FIRST MOVEMENT, OP, 56 LocaCion Length Key SecCion 1 1-52 52 Theme l a 1-8 ( 8) G Theme lb 9-20 (12) Theme Ic 21-32 (12) Theme lb 33-Af (14) Theme Id A7-52 ( 6) SecCion 11 53-97 45 Theme l a 53-68 (16) G — ^ 69-77 ( 9) Theme l a + oscinaco 78-85 ( 8) Theme 2 86-92 ( 7) Theme lb 93-97 ( 5) E SecCion 111 98-140 43 Theme lb 98-110 (13) G ExCension 111-120 (10) Theme Id 121-126 ( 6) Closing secCion 127-140 (14) Theme Ic 127-136 Theme la 137-140 from G Co Che submedlanc level. SecClon 111 Is approached by Theme lb In Che submedlanC major key. SecClon 1 consisC s o f a s in g le Cheme, h ere subdivided inCo four componenCs. These consCiCuenC parCs are reordered in .SecCion 111. Theme la, consisCing of Cwo basic mocives, begins in imiCaCion aC Che fourCh. 1 ' ©'■'J-Hi fiJjl T^'rf, m q.Q-.:=a m Motivic materials for Themes lb, c, and d are derived from the preceding motives in the following scheme; Motive Icl = motive Ic (retrograde) Motive 3 = motive 2c Motive 4a = expansion of motive Ic Motive 5 = contraction of motive 4b Theme Id = new harm onization of m otive 4a 7 I ' r% -4 a= lc A T h a c T $ î - ( i m rzz 1 121— I 305 (W > W . . Section II begins with a four-part contrapuntal development of Theme la. At measure 61 close Imitative entries at the fourth and seventh are found. Ex. 358 (ID The Imitative passage begins again a step higher In a modulation to Theme 2. Theme 2 I s b a s ic a lly an o s tln a to o f 24 m easures. I t Is the only Instance of the employment of this device In all of the sonatas. The ostlnato accompanies a melodic phrase consisting of a rep eated tone and th e m otives o f Theme la . Ex. 359 306 Th. 2 h J - P A (ID g; T= T i ; The pattern continues to accompany Theme la and finally the return o f th e f i r s t melody o f Theme 2. The s e c tio n ends w ith Theme lb a t the submediant major key level. Further development of material occurs in an extension beyond Theme lb in S ectio n I I I . Here m otives 2 a ^ , and then, motive 4b are employed sequentially. Noticable dissonance (c, e, g, a, b) is the result of a damper pedal indication (measures 117-121). A c lo sin g s e c tio n commences w ith Themes lb and Ic in com b in a tio n . Ex. 360 (ZED .1-^ . 7. Themes l a and lb a re th en combined to end th e movement. Second Movement 3Qy Tlie second movement is in the following sonata-allegro form: TABLE 38 FORM OF SECOND MOVEMENT, OP. 56 Location Length Key E xposition 1-96 96 Theme 1 1-16 (16) 6 Theme 1 /tr a n s i t io n 17-34 (18) —> Theme 2 35-50 (16) b Theme 2 / tr a n s i t io n 51-64 (14) Theme 3 65-72 ( 8) D Theme 3 /tr a n s i t io n 73-84 (12) Clos ing/transition 85-96 (12) Development 97-146 50 a* f» a —> Recapitulation 147-231 85 Theme 2 147-162 (16) Development/ trans- 163-178 (16) Theme 1 179-184 ( 6) G Developmen t/tra n s ition 185-209 (25) Theme 3 210-217 ( 8) G Theme 3 / tr a n s i t io n 218-231 (14) ---- > [Coda] 232-273 42 G Divisional proportions are approximately 2:1:2:1. A distinctive feature of the form is to be found in the transition passages. The boundaries between the recapitulation and coda are blurred and Medtner does not employ the term, coda. The term is felt to be justified pri marily for tonal reasons for from this point (measure 232) the home key is emphasized and without modulatory interventions. In each of these the previous theme is extended and developed while the passage also serves as a tonal transition to the next theme or formal division. Key levels employ third relationships. The reca pitulation begins in the relative minor key. The procedures of thematic evolution continue in this move ment v Theme 1 i s based upon Themes l a and b o f th e f i r s t move ment. This new theme consists of three primary motives which are repeated or developed within the theme. Their derivations and de velopments are given in the following description: Motive la = motive 3, I M otive 2b = m otive Ic , I Motive 3 = motive 4, I Motive 2b1 = m otive 2b (v aried ) Motive la-*- ' motive la (varied) Motive 2b^ = motive 2b (extended and varied) 0 1 . 1 )f"rrri --Ï ..- , f' I—Wf-r--Lj— --F In th e f i r s t tr a n s it i o n m otive lb . Theme 1 a cq u ires a new harmonization. Motive 3 is employed in a series of imitative entires, the last in diminution. Ex. 362 Theme 2 is anticipated at the end of this transition by its distinctive rhythm and by a chordal motive associated with the theme. The theme itself is derived from motive 3 of Theme 1. The new theme also bears some resemblance to Theme 2, I in its inter- vallic outline and repeated tones. I 4 a n ŒD' T his l i l t i n g them e. Theme 2 , i s tw ice in te r ru p te d by th e chordal motive anticipated in the previous transition. This motive, (m otive 4bis derived directly from the theme itself (motive 4b), a component of which in turn is derived from motive 2a. Ex. 364 f- f - / I .. 'li H i j f •7 The two p a rts o f Theme 2 a re combined c o n tra p u n ta lly in a t r a n s it i o n based upon Theme 2. Theme 3 i s a l y r i c developed form o f Theme 2. Ex. 365 In the transition that follows. Theme 3 is accompanied by a motive derive' from itself. Ex. 366 ( g g ) The closing section follows immediately upon the previous passage. It chiefly concerns imitative entries of motive lb of Theme 1. The motive's relationship to the accompaniment of the aforem entioned passage i s made ap p aren t. Ex. 367 ,ro , J The plan of the development is as follows: Length Key. Theme 1 97-106 10 F. a Theme 3 107-118 12 f Motive lb 119-126 8 Theme 3 and m otive 4a 127-142 16 — > 143-146 4 Theme 1 is at first found in conjunction with an ascending scale pattern. The theme is then employed in imitative entries (meas ures 101-104) similar to measures 24-28. An alternation of Theme 3 and motive 4a of Theme 2 ensues. The latter motive Is found in a d o tte d rhythm s im ila r to th a t of Theme 2 and th e m otive follow s the section of Theme 3 that employs the same motive. Thematic relationships are again made more obvious. The juxtaposition is seen in the followiiig examnle. Ex. 368 I mo. 4a, in, 4 tmo.4a,Th.3l The recapitulation, beginning with Theme 2, is anticipât d by four measures ending the development that employs that fivst measure of this theme. Theme 1 reappears in more concentrated rhythmic values. The first eleven measures of the theme as found in the exposition are here-condensed into six measures. Ex. 369 The accompaniment to Theme 1 flows into and connects the theme to Theme 2 with seven measures of the latter bringing about an o th e r appearance o f Theme 1. Theme 1 t h is tim e tak es on the triplet-sixteenth rhythm associated with Theme 2. That which took place in three measures in the exposition and in two measures at the return of Theme I In this recapitulation now Is condensed Into one measure. Ex. 370 The preceding material serves as a transition to Theme 3 which at first appears In a chordal guise that results In the climax of the sonata. Ex. 371 m n Theme 3 th en , lik e Theme 1 b e fo re . I s rh y th m ically condensed and takes on the triplet-sixteenth rhythm of Theme 2. Ex. 372 The structure of the coda is ÎS follows: 314 Length Theme 2 232-233 . 2 M otive X 234-237 4 Theme 2 238-239 2 Theme 1 , m otive 3 240-243 4 Motive X 244-245 2 Theme 2 246-255 10 Motive y 256-260 5 Extension 261-266 6 Theme 1 , m otive lb. 267-273 7 Two new developments occur in this final f i r s t ph rase o f Theme 2 i s rh y th m ically ste a d ied and newly h a r monized (motive x). Ex. 373 Motive lb of Theme 1 is treated to basically the same rhythmic format (motive 7). The chromatic ornamentation of this motivic development is immediately expanded. Ex. 374 ||jlLXD-|,tn, Hi * The second movement provides a large amount of chromati cism. The chromatic chordal movement of example 364 is found also in measures 73-82. Ex. 375 ŒD ______(3D C/n CS) QD (&) ' A polychord without resolution is found in measure 88 and again in measure 92. Ex. 376 p 1-----b:—!— I- — l A irtb (.V ■ 1 k f 1 r ■ • ' 4 14 y - -4Z t A sequence is employed near the end of the development in which the bass line ascends chromatically. ê H H - r (#)-[------1 I. k ÿ , # ^ n . f H L j,1" ^ I hf ^ ------— 2 - 1 / Jt 4 5 = = f 5 = Another such sequence is employed in the recapitulation. The passage continues with chromatic chordal movement. Ex. 378 I - r t r The preceding passage approaches the return of Theme 3 employing a reiterated Iy chord (see Ex. 371). From measures 226-231 chromatic sequences are employed in a passage leading to the coda. The example begins with two coinciding sequences—the treble in parallel fourths in triple rhythm, the bass in duple rhythm. l i f r ;i 1 1 't z . The sonata ends with a seven-measure damper pedal indication in volving a single tonic chord with added sixth in widely spaced sonorities. Summary The Sonate-Idylle begins with a short first movement in a ternary form that includes some developmental features in its mid section. The second movement is a sonata-allegro form with transi tional passages that also serve as thematic extensions, developments, and tonal bridges. The outlines are sometimes blurred because of the characteristics of these transitions arid because of anticipatory thematic material. The first movement is more linear and involves a more per vasive counterpoint than the second movement. Both movements at times employ imitation. An ostinato, unique in the sonatas, is found in the mid-section of the first movement. This ostinato, w ith many c a d e n tia l p a tte rn s and w ith p e d a l- p o in ts , gives th is movement a singularly static tonal quality. There are only two tonal level in the first movement, tonic and submediant. The return to the tonic occurs abruptly without modulation after a false recapitulation at the submediant major lev il. In the second movement key levels related by thirds are em ployed. The recapitulation begins at the submediant key level. In com parison to th e to n a l s ta s i s of the f i r s t movement th e second move ment employs a large amount of chromaticism. The constructive principle used is that of thematic evolu tio n . The f i r s t p a rt of Theme 1 of th e f i r s t movement su g g ests subsequent them atic m a te ria ls . The f i r s t theme o f th e second move ment results from this material, the second theme arises from it, etc. New motivic development continues into the coda. The recapitulation of the second movement is far from being literal. Thematic material assumes the characteristics of other thematic material. Rhythmic condensation (not precise diminution) takes place in Themes 1 and 3 of the recapitulation and the order of themes is altered. A sonata based upon thematic evolution implies a mono- thematic concept and thematic interrelationships are illumined by motivic and rhythmic commonnesses. TECHNIQUES OF COMPOSITION IK THE SONATAS The fourteen sonatas of Medtner include twenty-five movements. An analysis of each of these movements has shown compositional tech niques that are common to all of them. Many of these techniques are employed by the composer in a treatment that is based upon tradition. These techniques Include the standard approach to formal divisions, procedures of melodic development, harmonic plan and chord progressions, contrapuntal techniques, and cyclic features in multi-movement forms. However certain sty listic idiosyncrasies illumine a compositional indi viduality. These traits are found in the treatment employed in each division of sonata form, the generative and evolutionary consistency of thematic development, the harmonic individuality of the tonal schemes, and the methods employed in cyclic forms. The inherited techniques and those that show the composer's individuality are combined to produce Medtner's style. A. Forms The m ulti-m ovem ent so n atas in clu d e Op. 5 , Op. 25, No. 1, Op. 27, Op. 53, No. 1, and Op. 56. Op. 11 in clu d es th re e so n atas under one t i t l e ( Sonatent r i a d e ) , and Op. 22 and Op. 25, No. 2 each c o n sists 319 320 of two movements under one heading. Of the multi-movement sonatas two a re com prised o f fo u r movements— Op. 5 and Op. 53, No. 1. The f i r s t , third, and last movements of both are in sonata-allegro form. In both sonatas this exceptional movement is a fast second movement, e n ti t le d in Op. 5 "Interm eM o" and in Op. 53, No. 1 "S cherzo". Op. 25, No. 1 is in three movements. These are interrelated through thematic materials and the final movement serves as a recapitu lation for the sonata-allegro form begun in the first movement. The ner movement consists of a single repeated melody which also returns i v V f in a l e . 27 i s a two movement so n a ta w ith th e second movement sub- ii. i- v.v wo large sections—"Introduzione" and "Finale". The i£Gi ih ; / ' subdivisions, despite the titular connotations, is a «ff; -contained movement. The last sonata. Op. 56, is also in two move ments, the first movement being a ternary form, the second being a sonata- allegro form. Five of the outwardly appearing single movement sonatas incor porate combinational movement concepts within their designs. Op. 11, the Sonatentriade. consists of three separate sonata-allegro movements which nevertheless can be construed to be a unit because of peripheral, although apparent, relationships. Op. 22 includes a slow "Interludium" within its structural design whereas Op. 25, No, 2 incorporates two sonata-allegro forms within its single movement framework. The s in g le movement so n a ta s a re Op. 30, Op. 38, No. 1, Op. 39, No. 5 , and Op. 53, No. 2. Two s o n a ta - a lle g r o movements, "Sonata Reminiscenza" and "Sonata Tragica" are separate sections of cyclic 321 suites both entitled Vergessen Weisen—respectively the first and last s e c tio n s o f Op. 38 and Op. 39. Op. 30 and Op. S3, No. 2 a re sin g le movement sonata-allegro designs. Further categorizations must be made for some of these sonatas or their movements. Arch forms are apparent in the whole of Op. 22 and in the "Scherzo" of Op. 53, No. 1. Two other sonatas. Op. 25, No. 1 and Op. 30 incorporate chiastic features by reversing the order of themes in the codas. Tlie "Intermezzo" of Op. 5 has an ABABAA struc ture. The "Introduzione" of Op. 27 assumes an AB A+B form. The short first movement of Op. 56 is a ternary structure. This large variety of forms illustrates Medtner's diversity of approach to the sonata. Medtner's structural sense is also apparent - in the symmetrical features of the. majority of the sonata-allegro move ments. Two of the movements—Op. 5, I and Op. 27, I—adhere to Tanei- ev's dictum that the exposition-development comprise one-half of a sonata-allegro form with the development-coda comprising the other halfE m ploying this principle the proportions result in 123-123 and 149-147 measures respectively. Symmetrical proportions between the ex positions and the recapitulations are found in all but four movements: Op. 25, No. 2; Op. 27, I I I ; Op. 30; and Op. 39. In some cases th e development is the approximate length of the exposition: Op. 5, I; Op. 11, No. 3; Op. 27- F in a le ; Op. 30: and Op. 53, No. 1, I . Symmetry i s sometimes a fe a tu re among theme groups o r w ith in a theme group itself for some thematic complexes exist within their ^Supra, p. 17. 322 own formal structures. The latter feature is the case in the ternary form of . Theme group 1, Op. 38, in the ternary structures of both the exposition and recapitulation of Op. 27, I, and in the thematic com p lex es o f th e e x p o sitio n s of both s e c tio n s of Op. 25, No. 2. B. Features of the Sonata-allegro Forms 1 . The In tro d u c tio n s . Sonatas Op. 22, Op. 25, No. 2 , and Op. . 38, single movement works, are the only sonatas with introductory sec tions. Op. 27 includes the movement entitled "Introduzione" previous to the finale. In all of these introductions motivic material for f u tu r e th em atic c o n stru c tio n is p rese n ted . The in tro d u c tio n of Op. 22 is only eight measures long but announces the germinal motives of the movement. This introduction appears in varied forms before the "Inter ludium" and at the end of the sonata. The "In tro d u zio n e" of Op. 25, No. 2 i s th irty -s e v e n m easures long and includes a full-fledged theme, the germinal material of the sonata, and its development. The material returns in the codas of both the first and second sections of this work, thus creating a means of unification. The "Introduzione" of Op. 27, besides providing the thematic basis for the finale, is an architectonic entity. The form is a ternary one which includes two theme groups. Harmonically the form serves as a transition from the first movement to the finale. The introduction of Op. 38, the/'Sonata Reminiscenza" is composed of two 8-measure phrases that produce the germinal material for the sonata. The material recurs at the ends of the exposition and the recapitulation. 323 2. The Expositions. Two movements of the early sonatas. Op. 5, I and Op. 11, No. 3 In d ic a te a r e p e titio n of th e e x p o sitio n with first and second endings. The first ending of the exposition of Op. 5, I is markedly different from the second ending and there is a four-measure difference between them. The second part of the exposition of Op. 25, No. 1, III is also repeated. In all three instances the repeat should probably be observed since the composer has indicated first and second endings. Newman has noted that the repeated exposition has all but disappeared by the end of the Romantic era.^ However, Op. 5 has shown the influence of Brahms's Sonata, Op. 5, which also indicates a repeated exposition. All of the movements of the sonatas except Op. 25, No. 1, II contain at least two contrasting themes or theme groups that are obviously distinguishable by their contrasting key levels. Out of the twenty sonata-allegro movements fifteen employ two themes and five employ three. In ten of the expositions the first theme is a thematic complex; five of the second themes are thus characterized, and one of the third themes—if present—has this feature. The thematic complexes may take one of two forms; (1) a succession of contrasting phrases or phrase groups related by motives and key level; (2) a return of one or more of the phrases of the theme group after the intervention of contrasting thematic material. Thirteen of the subsidiary themes are approached through a transition passage. These transitional sections of the expositions. W illiam S. Newman, The Sonata Since Beethoven (Chapel H i l l: University of North Carolina Press, 1969), p. 151. 324 while serving as modulations to a new key level, are found In a variety of structural schemes. Most may be Identified by their own motivic s tr u c tu r e . E xceptions a re found in Op, 5 , IV and Op, 38 where the tr a n s it i o n I s based upon Theme 1; Op. 25, No. 2 and Op. 53, No. 2 where transitions are extended developments of the preceding theme; Op, 56, II where the transitions are repetitions, although modulating onps, of th e p receding themes ; and Op. 53, No. 1 , IV In which th ere Is no t r a n s it i o n to Theme 2 and an In v erted form o f Theme 1 serv es as a b rid g e from Theme 2 to Theme B esides o fte n developing preceding thematic m aterial, new themes are usually anticipated In the trzinsi- tlonal passages. Ten of the expositions end with a closing section that may also double as a transition to the development. The distinction between the end of this section and the beginning of the development Is sometimes effaced although Medtner usually makes the division ap parent in the score with a double bar line. Like the transitions to subsidiary themes the closing sections may exist with their oifn motivic m aterial, develop preceding m aterial, serve as modulations to the developments, or anticipate the first appearing thematic material o f th e developm ents. Op. 27, I , Op. 38, and Op. 53, No. 1, IV have no section comparable to a closing or transition to the development. The tonal plan of the exposition usually consists of a scheme that begins In the tonic and ends at the dominant key level. Three e x p o sitio n s—a l l beginning In th e minor mode—Op. 5, IV; Op. 11, No. 2; and Op. 53, No. 1, I I I —end a t th e m ediant le v e l. Op, 25, No. 2, section I and Op. 53, No. 1, IV end at the leading tone level. The 325 e x p o sitio n o f th e f in a le o f Op. 27 ends a t th e to n ic le v e l. Op. 39' and Op. 53, No. 2 are in a process of modulating to the development at the end of the exposition. In all of the expositions either an interim key is reached between the initial and final key or else a considerable section of modulation exists before the final key is reached. 3. The Developments. Thematic material remains relatively in ta c t in Op. 5 , I I I and IV as w e ll as in Op. 25, No. 2, S ectio n I . Most of the other sonatas show thematic and motivic relationships in their developments through either contrapuntal combinations or juxtapositions. Contrapuntal techniques are more in evidence in developments than elsewhere. Imitation, canons, and fugues are some times employed. The latter form is found within the developments of Op. 5 , IV, Op. 27, f in a le and Op. 53, No. 2. A new theme appears in th e developm ent o f Op. 11, No. 3 and a new l y r i c developm ent o f previous thematic material occurs in the development of Op. 25, No. 2, S ectio n I . In a number of later sonatas (Op. 25, No. 2, II; Op. 27, I and F in a le ; Op. 30; Op. 53, No. 1 , IV; Op. 53, No. 2; Op. 56, I I ) Medtner structures the developments into separate sections that feature related materials. Op. 22 includes two development sections separated by an "Interludium". Considerable variety is evinced in the tonal organizations 326 of the development sections. The developments of both sections of Op. 25, No. 2 have obscured beginnings because they both begin at the key level found at the end of the exposition. Six of the developments are approached through modulatory t r a n s it i o n s (Op. 5 , I I I ; Op. 11, No. 2; Op. 22 [second developm ent]; Op. 53 , No. 1 , I I I ; Op. 53 , No. 2; Op. 56, I I ) . Seven developm ents commence w ith m odulatory passages (Op. 22; Op. 27, I ; Op. 38; Op. 39; Op. 53, No. 1, I, III, IV). Six of the developments begin in differ ent keys than at the ends of the expositions. Three of these move to a key le v e l a m ajor t h ir d h ig h er (Op. 5 , I ; Op. 11, No. 1; Op. 27, f i n a l e ) , two move up a m ajor second (Op. 5 , IV; Op. 3 0 ), and one moves up a perfect fourth (Op. 25, No. 1, I). The developments that begin • with a change of key produce an obvious structural division whereas those that involve an approach and continuance of modulating material obfuscate that division. Although the three earliest sonatas include developments centers ing around only one key level (Op. 5, III and IV; Op. 11, No. 2; Op. 22, second development) the developments of the later sonatas in clude a number of key levels together with a certain amount of modu l a t i o n and to n a l f lu x . Of th ese Op. 11, No. 1 and Op. 56, I I reach th re e key le v e ls a th ir d a p a rt ; Op. 27, I and Op. 38 reach two keys a fifth apart ; Op. 27, Finale reaches three keys a fourth apart ; and Op. 30 and Op. 53 , No. 1 , IV reach th re e keys a second a p a r t. No specific key is reached in the developments of either Op. 22, first development, or Op. 39. Chromatic key relationships are apparent in th e developm ents o f Op. 5 , I ; Op. 25, No. 2; Op. 30; Op. 53, No. 1, I ; 327 and Op. 53, No. 2. In all but the latter sonata the chromatic key levels progress upward. In five of the movements the recapitulation is approached by th e dominant : Op. 5 , I I I and IV; Op. 11, No. 1; Op. 11, No. 2; Op. 25, No. 2, I I ; Op. 38; in two by th e subdom inant: Op. 5 , I ; Op. 30; and in th re e by th e to n ic : Op. 25, No. 1; Op. 53, No. 1, I ; Op. 53, No. 2. Three of the movements approach the recapitulation from the submediant: Op. 22; Op. 25, No. 2, I; Op. 27, I. Six of the movements approach th e r e c a p itu la tio n through a m odulating p assage: Op. 11, No. 3, Op. 27, I I ; Op. 39; Op. 53, No. 1 , I I I and IV; Op. 56, I I . Three of the movements end the development, or approach the recapitulation, by means of a cadenza-like section. The first the matic material of the recapitulation is anticipated at the ends of the developments of seven of the movements. 4. The Recapitulations. The developments are usually in fluences upon the recapitulations, in that compositional techniques employed in the developments carry over into the recapitulations. The most obvious instance is found in the finale of Op. 27 where the fugal and canonic development gives rise to new canonic developments in the recapitulation. Newly developed material appears in twelve of the recapitulations. In these recapitulations themes or motives are subjected to further developmental techniques. Thematic and motivic developments produce new themes in the recapitulations of Op. 11, No. 3 and the finale of Op. 27. Those movements that treat material, as compared to the exposition, quite literally are: Op. 5, I; 328 Op. 11, Ko. 1; Op. 27, I; Op. 30; Op. 53, No. 1, I; Op. 53, No. 1, IV; and Op. 53, No. 2. Nine movements condense material of the expositions in the recapitulations. This procedure does not always produce a shorter recapitulation for extensions and further developments of material may balance the lengths of the two sections. The condensation is brought about by either eliminating extensions or developments that existed in the exposition. Cadenza-like passages (often marked "quasi cadenza") are found in the recapitulations of six of the movements. Op. 53, No. 2, \diich otherwise treats expository material quite literally adds a lengthy cadenza-like passage after each of its two theme groups. Two o f th e movements—Op. 5 , I I I and Op. 39—d e le te th em atic m ate ria l, from t h e i r r e c a p itu la tio n s . In Op. 11, No. 2 and Op. 53, No. 1, IV the appearance of the final theme is reserved for the coda. There is great variety in the tonal schemes of the recapitulations. As a fe a tu re of th e arch form of Op. 22 th e r e c a p itu la tio n commences in a key other than the tonic. Because of the reversal of Themes 1 and 2 in the recapitulation of Op. 56, II the key levels of the themes are also reversed for the key levels of these two themes.of the exposition were G and b; in the recapitulation they are e and G. Because of the transitional character of Op, 53, No. 1, III the recapitulation begins at a key level other than that at the start pf the exposition and ends in yet another key, the key of the next movement. Op. 27, I begins its re c a p itu la tio n a t a le v e l o th e r th an th a t a t th e commencement of th e e x p o sitio n . The modes of Op. 5 , IV and Op. 11, No. 2 change from to n ic minor to tonic major; the reverse is true of Op. 30. 329 Six of the recapitulations remain throughout at one key level. At the o th e r extrem e Op. 25, No. 2 , s e c tio n 1 moves through f iv e key levels within its recapitulation. 5. The Codas. The indication. Coda, f: found in seven move m ents (Op. 11, Nos. 2 and 3; Op. 27, I ; Op. 30; Op. 39; Op. 53, No. 1, IV; Op. 53, No. 2). Three other movements include lengthy closing s e c tio n s th a t do n o t employ th e term (Op. 5^ I ; Op. 25, I I ; Op. 56, II). Most of the other movements end with codas of considerably shorter proportions than the other major divisions. Those movements that include the term. Coda, and those with closing sections of large proportions serve a variety of functions besides acting as conclusions. Four of the codas function either as second recapitulations or as a continuance of the recapitulation. Of th ese f o u r Op. 11, No. 2 and Op. 11, No. 3 (both w ith in d ic a te d codas) recapitulate the final theme group in this section rather than in the proper recapitulation. The coda of Op. 25, I serves as a brief reca pitulation of all themes for the actual recapitulation occurs in the third movement. The coda of Op. 25, No. 2, Section II serves as a condensed recapitulation for the whole sonata. Four of the codas function as second development sections. Of th ese th e codas o f Op. 27, I and Op. 30 (both in d ic a te d codas) pro duce new thematic and motivic developments. The codas of Op. 53, No. 2, and Op. 56 basically repeat the motivic material of the development sections. The functions of the codas of the finale of Op. 27 and of 330 Op. 53, No. 1, IV are to illumine the cyclic features of the whole sonatas. In the latter sonata the relationships of themes and motives are made clear through juxtapositions and contrapuntal combinations. The coda of the finale of Op. 27 returns to the first theme of the sonata as this theme has become the final stage of an evolutionary process. The arch concept is employed in the codas of Op. 22 and Op. 38 where the introductory theme ends the movement. In the latter sonata the coda is an exact repetition of the introduction. The codas of the first and last movements of Op. 5 are indi cated by a faster tempo. The same is true of Op. 11, No. 3. In the finale of Op. 27 an accelerando produces the final climax. The faster tempo indication of the coda of Op. 39 is principally a con tinuation of the cadenza-like passage that precedes it. Most of the codas emphasize the tonic key level. This is ac complished through pedal points and an emphasis upon the tonic chord. However the coda of Op. 25, No. 2, section I begins at a key level a minor second above th e to n ic . The codas of Op. 30 and Op. 53, No. 2 begin in the tonic minor mode and end in the tonic major mode. The change to major is effected at the beginning of the coda of Op. 11, No. 2 in a movement t h a t beg in s in m inor. C. Harmony Medtner's preference for the minor mode is made manifest in ten sonatas including seventeen movements beginning in minor keys. Of th e s o n a ta s . Op. 5 , Op. 11, No. 2 , Op. 30, and Op. 53, No. 2 begin in a minor key and end in the parallel major key. The movement entitled 331 "Introduzione" to the finale of Op. 27 also ends in the parallel major key. Only Op. 53, No. 1 of the multi-movement sonatas couches all of its movements in the minor mode. Key relationships between the movements of the five multi movement s o n a ta s v a ry . Op. 27 and Op. 56 have homogeneous to n al p la n s . Op. 5 h as a I - V - V II - I scheme; Op. 25, No. 1 has a I - I I I - I p la n ; and Op. 53, No. 1 has a l-IV -I-I p la n . Medtner*s own observations of harmonic principles have been summarized in Chapter II. The basic harmonic structures, pitch relationships, and principles of voice leading conform to his dis c u ssio n s o f t r a d i ti o n a l harmony in The Muse and the F ashion. There are no instances of Medtner's striking out in new paths harmonically. However numerous reiterated features exemplify his harmonic style. Harmonic devices that produce tonal stability are seldom featured. Pedal points occur in a few instances, especially in preparation for a new key (approach to the recapitulation. Op. 11, No. 1) or in preparation for the final cadence. Cadential patterns a re u s u a lly avoided w ith in a movement and a f t e r Op. 11, No. 2 the final cadence is not anticipated by a dominant-tonic chordal reiteration. Rather, the penultimate chord is a chromatically altered chord that then resolves into the tonic chord (e.g., example 85 ). E x cep tio n al movements, Op. 30 and Op. 56, I employ numerous cadences throughout the work. Also exceptional is the use of a sequence of fifths (see example 265). Despite the usual absence of these preceding devices Medtner usually makes clear the tonal centers of his theme groups by harmonizing them diatonically. 332 Exceptions are found in the first theme groups of Op. 11, No. 3 and Op, 56, No. 2. More important to Medtner's harmonic style are the devices that are consistently used to obscure the tonality. The principal item of obfuscation is chromaticism. The chromatic element may be explicit in (1) melodic movement where non-diatonic tones appear in an otherwise diatonic scheme, (2) horizontal voice leading within a diatonic context, or (3) chromatically altered chords. Each of these chromatic techniques is found repeatedly, thus producing an important element of Medtner's style. Chromaticism in melodic move ment, although not usually employed within the in itial announcements of themes, is often employed as a developmental technique (examples 80, 111, 238-39, 242, 285-89, 291, 341, 362). Chromatic movement is often found in the linear movement of chords. Even in instances in which chordal sonorities are emphasized the linear movement from one verticallty to another is apparent. In order to achieve this horizontal movement, that writing which is chordal, but simultaneously linear, moves from voice part to voice part principally by step. This compositional method can be as simple as that of ornamented auxiliary tones (e.g., example 52) or as complex as compounded chromatic lines moving simultaneously (e.g., examples 326 and 377). Chromatically altered chords are usually the result of the aforementioned method. However distinct vertical structures involving altered tones are found. Included in this category are augmented triads (examples 19, 24, 328, 340), and augmented sixth chords (ex amples 96 and 145). The diminished seventh chord is exceedingly 333 rare—surprisingly so In an otherwise chromatic Idiom. The Neapolitan harmony (examples 6, 96, 249) Is also seldom employed. Seventh, ninth, eleventh, and thirteenth chords eventually resolve Into triads (an exception Is seen In example 69). Major sevenths and ninths are also found (examples 67, 82, 181, 338). A few Instances of tonal clusters and polychords are found (examples 12, 118, 129, 296, 376) and chords with added tones, especially sixths, abound. Two Instances of polytonality are found (examples 202 and 259). Dissonant harmonic combinations produced by the Indication of the damper pedal are especially apparent In the last three sonatas (e.g., example 350). Scalar passages are atypical although the employment of scalar concepts within the thematic material Is not unusual. The pentatonlc scale Is employed In the first theme of Op. 27, I and pentatonlc scales at two simultaneous pitch levels are found In Op. 53, No. 2. The whole tone s c a le Is found once In Op. 53, No. 1, II. Op. 25, No. 1 employs the so-called Hungarian scale as a cyclic device and a major scale with lowered sixth and seventh degrees Is also apparent In this sonata as well as In the recapitula t io n o f Op. 56. Another major feature of Medtner*s harmonic style Is the real, or Implied, quickness of the harmonic rhythm. This harmonic rhythm may be the by-product of coinciding melodic lines, thus especially apparent in contrapuntal passages but also found In the numerous examples wherein the linear approach to chordal writing Is 334 apparent. However quick harmonic rhythm is often found in passages in which a melodic line is vertically harmonized with each pitch of the melody (examples 19, 24, 32, 36, 82, 83, 88, 90, 121, 146, 185, 190, 258, 328, 364). D. C ounterpoint This study pointed put in Chapter II that Medtner must have had considerable contrapuntal training, especially in his studies with his teacher, Taneiev. This is made apparent in his normal consistent linear approach to harmonic writing. Specifically contrapuntal devices are found in all of the sonatas with the chief technique being the employment of contrapuntal combinations of thematic m aterials.^ Imitation is used in most of the sonatas as a developmental device but it seldom exceeds mere than two entries and is usually shortlived. An exception is found in Op. 56, I (example 358) where three-part imitation at the intervals of a fourth and a seventh occurs. Most imitative entries are at the octave. Op. 56, I also includes the only instance of an ostinato pattern (see example 359). Short two-part canons are frequently in evidence with the second entry appearing at almost any intervallic level. Two so n atas employ p o ly to n a l canons: Op. 30 and Op. 53, No. 2 (see example 345). The cited canon of Op. 30 involves chordal entries rather than single melodic lines. This same technique is observed elsewhere in the same sonata (see example 209). A single four-part ^ In f r a , p . 338. 335 canon with each entry an octave higher than the preceding Is found in Op. 25, No. 2, Section II (see example 156). Full-fledged fugues are features of the development sections o f th e f in a le of Op. 27 and o f Op. 53, No. 2. An In c ip ie n t fugue with four entries (I - V - I - V) appears at the beginning of the developm ent of Op. 5 , IV. The fo u r-p a rt fugue o f Op. 27 I s In three sections with non-fugal material separating the divisions and the subject beginning alone after each Interruption. The three- part fugue of Op. 53, No. 2 Is also In three sections with episodes dividing the structure. Stretto is employed in the final section of Op. 27 whereas a series of canonic entries Is used In the third section of Op. 53, No^ 2. The tonlc-domlnant relationship Is adhered to In most entries of Op. 27; those of Op. 53, No. 2 appear at other key levels. The fugue of Op. 27 is approached by a canon whereas t h a t of Op. 53, No. 2 employs canons follow ing I t . E. Thematic Development The vast majority of Medtner's themes are based upon conjunct motion. Those that are based upon chords or triads are: Op. 5, I I , Theme 1; Op. 11, Wo. 1 , Theme 1; Op. 22, Theme 4; Op. 25, No. 1, I , Theme 2; Op. 25, No. 2, Theme 5; and Op. 53; No. 1, I , Theme 1. Two of the sonatas begin with trladlcally based motives: Op. 25, No. 2 and Op. 30. Some o f th e themes combine s c a la r and t r i a d ic elem en ts. Most themes are either exclusively or principally diatonic. The tr a n s it i o n a l them atic m a te ria l o f Op. 5, I and I I I and Op. 30 I s 336 contrastingly chromatic. Chromatic elements are also found in the first theme groups of Op. S3, No. 1, II and III. Some diatonic themes become chromatic during the course of the movement (e.g.. Op. 5, I, Theme 2 and Op. 38, Tlieme 2 a ). Medtner, In The Muse and the Fashion, differentiates between themes and melodies.^ The distinction Is made valid In comparing the themes within each sonata or movement. The first theme Is generally a compound of motives of non-lyric character with distinctive rhythmic elements. Out of this theme, or thematic compound, eventually appears a lyric melody. The melody, with less pronounced rhythmic features, Is accompanied by subordinate material of harmonic character, as a broken chord figure whereas the first theme usually employs dl^^erse accompany ing motives within Its texture. Tills developmental process whereby a "theme" becomes a "melody" Is one of the characteristic traits of Medtner*s sonatas. In two Instances—Op. 27, I and Op. 56—perhaps because of programmatic factors, the first theme of the movement Is distinctly lyric according to the aforementioned criteria. Beginning with Op. 11, No. 2 a germinal motive or motivic compound Is the basis for all future thematic development. This germinal material may either (1) suggest the thematic material that Immediately follows It and that m aterial suggests the succeeding elements, etc., or (2) It may be the direct derivation for each subsequent theme. Incipient germinal and evolutionary procedures are found in th e e a rly so n a ta s Op. 5 and Op. 11, Nos. 1 and 3. In th ese 337 vorkfi Rétives are developed within themes and there Is some trans ference of motivic elements from one theme, to another. In Op. 11, No. 2 , Op. 22, Op. 25, No. 1, Op. 38, Op. 39 and Op. 53, No. 1 thematic material is derived from in itial motives but evolutionary techniques are not always apparent. In the other sonatas— Op. 25, No. 2, Op. 27, Op. .30, Op. 53, No. 2 , and Op. 56—th e m o tiv ic - thematic process is basically an evolutionary one. One of the principal means by which Medtner develops a theme is through its motives. The motives may be developed in a variety of ways. Such features as inversion, retrogression, augmentation and diminution are found in a number of instances. Motives may in turn produce new motives or themes may change through a process of linear expansion or contraction, ornamentation, intervallic widening or narrowing, rhythmic variation, or the rearrangement of pitches. The actual themes undergo a variety of procedures in their evolutionary developments. Many of the processes are similar to those possible for motivic development. A theme may acquire a different harmonic complement (e.g.. Theme 1, Op. 27, 1)5 or a new accompanimental figure (e.g.. Op. 25, No. 1, II: example 128), or have its accompaniment deleted (Op. 30: example 210). A theme may acquire a new rhythm as in Op. 56, II where the rhythms of Theme 2 a re tra n s fe r r e d to Theme 1. These compositional devices and those contrapuntal procedures previously discussed often contribute to the evolutionary processes ^Supra, p . 158. 338 by which themes and motives are transformed into new material. In order that thematic and motivic relationships may be made apparent the composer chooses one of two methods: (1) contrapuntal combinations of motives or themes or (2) juxtapositions of materials. In the latter method the appositive elements contain related motivic materials. In most instances the evolutionary process stops at the conclu sion of the development section. However it may continue in the coda or in new developments that occur after the beginning of the recapitulation. The last two sonatas are the most highly organized in these continuous evolutionary procedures. It is, however, only in the final sonata that these processes affect even the recapitulation of thematic m aterials. F. Cyclic Features and Other Unifying Elements Medtner is continually concerned with structural unification in the multi-movement sonatas. Only in the final two-movement sonata. Op. 56, does the continuous evolutionary process negate any need for cyclic techniques. In the other sonatas he employs the obvious cyclic device of including material from previous movements in the finale. In Op. 5 themes of the first and third movements, plus a transitional passage that occurs between the second and third as well as between the third and fourth movements, are incorporated into the formal scheme -fif the finale. Op. 25, No. 1 is unique in that its three movements are conceived as one with the second movement being the single lyric theme of the sonata and the third movement acting partly as a recapitulation for the themes of all the movements. In the sonata. 339 Op. 25, No. 2 two separate sonata-allegro forms are combined Into one movement and themes of the first section return in the second section. Op. 27 includes the thematic material of its "Introdu zione" into the finale and the principal theme of the first movement returns at the end of the work. The latter theme is treated iti such a manner that through a process of evolution it emanates once again: a truly cyclic procedure. In Op. 53, No. 1 themes from all three preceding movements are incorporated into the finale and thematic relationships between movements are illumined by combina tions and appositions. An important unifying device is that of the effacement of structural divisions. The instruction, attacea, and delayed chordal' re s o lu tio n s a re found betw een movements o f Op. 5, and Op. 53, No. 1. More subtle means are used in most sonatas for in all of the sonatas but Op. 39 anticipations of themes or divisions can be found in pre viously adjacent material. This anticipatory factor usually occurs in melodic material but in Op. 30 it is found principally in accom- panimental figures. This same sonata employs a procedure of dove tailing whereby motives of one section are carried over into the next s e c tio n . In Op. 27 and Op. 56 th em atic se c tio n s a ls o serv e as to n a l transitions to succeeding sections. The method of retaining a tonal level into the commencement of a succeeding section is found e s p e c ia lly in Op. 56. These fairly consistent methods of blurring outlines are not employed in Op. 53, No. 2. Probably because of its monothematic 340 factors it was not necessary to efface divisions since motives inte grated the sections anyway. However the fugue of this sonata is anticipated by a canon that precedes it. CONCLUSIONS A. Chronological Features Medtner's chronological style neither evolves nor dramatically changes. However there are factors within the sonatas that appear at various chronological points. These are listed and discussed here. Medtner's involvement with thematic development and cyclic cohesion Is noted from the start of the sonata output. Nevertheless he does not achieve a completely unified compositional process until the penultimate sonata, Op. 53, No. 2. Because this single movement form Is mono-motlvlc. I.e ., a motlvlc compound with variations upon it, the problems of unification are not present and thematlc-motlvlc development becomes the ubiquitous feature. Finally in the last sonata the need for cyclic unity is eliminated by the process of con tinuous evolution. Hov^ver from the first sonata new thematic mater ials evolve from previous mcfves and this practice continues through out the whole of the sonata output. The methods of Illuminating thematic relationships through contrapuntal combinations or thematic juxtapositions are found In the earliest sonata and in all others. Thematic complexes In which more 341 342 than one theme is found at a single tonal level are most apparent from Op. 25, No. 2 onward, although one instance of a thematic complex occurs in Op. 5 , I I I as w e ll as in Op. 11, No. 2. Condensed them atic material in recapitulations is first found in Op. 25, No. 2 and this feature, or the varied treatment of expository themes in recapitula tions, is employed in most succeeding sonatas. The exceptions are found in Op. 38, and Op. 53, No. 1, I . Sectionalized developments appear first in Op. 25, No. 2 and sporadically thereafter. The repetition of materials as employed in the developments within the codas are features of the two last sonatas. Expositions with first and second endings are found only in the early sonatas, Op. 5, I and Op. 11, III; cadenza-like passages are especially features of sonatas from Op. 39 onward and evince Medtner's concern for the improvisatory element in his writings. Harmonic factors enter the chronology for "new" major seventh and ninth chords first appear in Op. 11, No. 2 although these chords are not consistently found in all later sonatas. Also in this same sonata Medtner employs for the first time a penultimate chord to the final triad that is other than the dominant. He continues to have £5 penchant for this cadential feature and it may be generally noted that from this time onward he tends to obscure tonal factors. This is often accomplished by a de-emphasis of the tonic chord, of cadential patterns, and of diatonic key relationships especially in development sections. Increasingly larger sections of tonal ambi guity are found beginning from the first sonata. The recapitulation is 343 approached by the dominant only through Op. 25, No. 2. Damper pedal markings over fairly lengthy harmonic passages produce sonorous and dissonant combinations especially in the last three sonatas. B. The Import of Medtner's Sonatas It may be that Medtner is a relatively unnoticed composer today because his style is isolated from the main musical developments of the twentieth century. His sonatas and his writings show him to be a successor of Beethoven, but a century intervenes and although Medtner's harmonies are of a later era he is historically out of c o n te x t. Although Beethoven is undoubtedly a great influence upon this composer, it is only in his first sonata. Op. 5, that Beethoven rerves as a direct model.^ All subsequent sonatas show Medtner’s continuing search for individuality, while at the same time adhering to stylistic features found in Op. 5 and consequently stemming from Beethoven. These features can include formal schemes of balanced sections, thematic relationships and the characteristics of themes, harmonic factors employed in key relationships, and the anticipa tions of themes and formal divisions. There are factors that may appear on the negative side of a criticism of the sonatas. The fact that Medtner often uses thematic material*: that seem so insignificant at their outset that they are not memorable enough to be employed developmentally is only a negative criticism if one considers his principle, that themes of sonatas must 1Supra, pp. 27-29. 344 be simple,^ as Invalid. A composer who can develop a motive through an evolutionary process for as many as 723 measures In a slngle-move- ment sonata (Op. 25, No. 2) might possibly be termed prolix. It Is again partly because his compositional principles of development and evolution help to produce the extreme lengths of many of the sonatas. It Is also because Medtner did not conceive of a theme as a melody, but rather as the Ingredients that could produce a melody.^ A composer who begins a sonata with germinal material that employs the simplest of tonal concepts, scales or triads, and who writes fourteen sonatas and some twenty-five movements Is apt to have his basic materials branded repetitive. But It Is the diver sity of approaches to the developments of these Inclplencles that shows the composer to be a master constructivist. The balance and symmetry of his forms, his concern with structural unification, the variety of approaches to sonata form, and the development and evolution of themes—all exemplify his admirable compositional procedures. The harmonic writing is always interesting for the chordal vocabulary has the variety of the late nineteenth century chromatic Idiom. The tonal schemes of movements illustrate in their compari sons great diversity. Modulation and key contrast enhance the struc tural logic of the works. Medtner's sonatas are permeated with counterpoint. The almost ^Supra. p . 22 ^Supra. no. 21-22. 345 constant linear factor of the music creates an interest that is compounded by the vertical harmonic factor. The individuality of Medtner's composition must take his basic contrapuntal approach to writing into account for it is upon this approach that his devel opmental processes are conceived. Thematic logic is made apparent through the contrapuntal combinations of materials within the course of the composition. This concept must be extended to include Juxta positions of m aterials, as well as simultaneous combinations. The individuality of Medtner's style is further illumined in the evolutionary processes Involved in thematic developments. These processes, although not always employed in all of the sonatas, are enough in evidence to stipulate them as a general feature of his style. When the evolution of themes is combined with the contra puntal development of themes the uniqueness of Medtner's compositional method is made manifest. BIBLIOGRAPHY Allen; W. D. Philosophies of Music History. New York: American Book Company, 1939. Asafleff, Boris V. (Glebov, Igor). Russian Music from the Begin ning of the Nineteenth Century. Translated by Alfred J. Swan. Ann Arbor: American Council of Learned Societies by J. W. Edwards, 1953. Bertensson, Sergei, and Ley da, Jay. Sergei Raun^uinoff. New York: New York University Press, 1956. Bowers, Faubion. Scriabin. 2 vols. Tokyo and Palo Alto: Kodanska International Limited, 1969. Calvocoressi, M. D., and Abraham, Gerald. Masters of Russian Music. - New York: Alfred A. Knopf, 1936. D o lin sk a ia , E lena B. N ikolay M etner. Moscow; Muzyka, 1966. Eschman, Karl. Changing Forms in Modem Music. 2d ad. Boston: E. C. Schirm er, 1968. Gillespie, John. Five Centuries of Keyboard Music. Belmont, California; Wadsworth Publishing Co., 1965. Holt, Richard. Medtner and His Music. Edited by Fred Smith. London: Rim ington. Van Wyck, 1948. ______. (ed.). Nicholas Medtner; A Memorial Volume. London: Dennis Dobson Ltd., 1955. lA kovlev, V a s i li i V. N ikolai K arlovich M etner. Moscow: Musik- alnai Sektor, 1927. Leonard, Richard A. A History of Russian Music. New York: M acm illan C o ., 1957. 346 347 Lockwood, Albert. Notes on the Literature of the Plano. Ann Arbor: University of Michigan Press, 1940. M edtner, N. K. Guide to th e D ally Work of. th e P ia n is t. Excerpts from a Russian Diary. Translated and edited by Madam Olga Conus, a s s is te d by A lverda F itz g e ra ld . Moscow: Government M usical Publishing House, 1963. Medtner, Nikolas K. The Muse and the Fashion. Translated by Alfred Swan. Haverford, Pennsylvania: Haverford College Bookstore, 1951. (O rig in a lly pu b lish ed as Muza i Moda; zah ch ita osnov* muzikaliago iskusstva. Paris: Sklad'izd. "Bozrozhdenie", 1935.) Metner, N. Povsednevnaia rabota pianista e kompozitora. Edited by M. A. Gurvich and L. G. Lukom skii. Moscow: Muzgiz, 1963. Sobranle Sochinenii. Edited by A. F. Gedike, et al. 13 vols. Moscow: Gozudarstzennoe Muzikal'noe Izdatel'stvo, 1959—. Montagu, Nathan. Contemporary Russian Composers. London: C. Palmer and Hayward, 1917. ______. A Histor/ of Russian Music. London: William Reeves, 1918. Nestyev, Israel V. Sergei Prokofieff. New York: Alfred Knopf, 1946. Pinsonneault, Bernard. Nicholas Medtner, pianiste, compositeur, 1879-1951. Montreal: Éditions Beauchemin, 1956. Sabaneyeff, Leonid. Modem Russian Composers. New York: Inter national Publishers. 1927. Schllfstein, S. I., (ed.). Sergej Prokofjew. Translated into German by Felix Loesch. Leipzig : VEB Deutscher Verlag fur Musik, 1966. Taneiev, Serge. Convertible Counterpoint in the Strict Style. Translated by G. Ackley Brown. Boston: Bruce Humphries, 1962. V asll* ev , P. F o rte p ia n n ie S onati M etnera. 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"Brahms and the Piano S o n a t a Paul A. P isk; Essays in his Honor. Edited by John Glowacki, Austin: University of Texas Press, 1967. London Times, The. 1928-1944. Lourie, Arthur. "The Russian School," Musical Quarterly, XVIII (1932), 519-29. Lyle, Watson. "Medtner and his Music," Sackbut, XI (1931), 260-6. Marx, Karl. "Uber die zyklische Sonatenformen—zu dem Aufsatz von Gunther von Noe," Neue Zeitschrift fur Musik. CXXV (1964), 142-6. M iller, Sydney. "Medtner's Piano Music," Musical Times. LXXXII (1941), 361-3. Montagu, Nathan. "Serge Prokofieff," Musical Times. LVII (1916), 465-66. 349 Newman, E. "N icholas M edtner," M usical Times, LVI (1915), 9-11. "N. Medtner Returns in Own Compositions," New York Times (Jan. 18, 1930), p. 22. Niemann, Walter. "Neue Klaviersonaten," Neue Zeitschrift flir Musik, XXV (1905), 544. Hoe, Gunther von. "Der Strukturwandel der zyklischen Sonaten formen," Neue Zeitschrift fur Musik. CXXV (1953), 55-62. Riesmann, Oskar von. "Nikolai Medtner," Rheinische Musik und T h eater Z eitu n g , No. 41/42 (Nov. 22, 1924), 375-6. ______c "N. M edtner," Sackbut. V (May, 1925), 302-4. Sabaneev, Leonid. "Nikolai Medtner," Musical Times, Vol. LXIX No. 1021 (Mar. 1, 1928), 209-10. . "Two Critiques," Music and Letters, Vol. VIII (1927), 322-334. Swan, Alfred J. "Das Leben Nikolai Medtners, 1880-1951," Musik des O sten s, IV (1967), 65-116. _. "Medtner and the Music of Our Times," Music and Letters, VIII (1927), 46-54. ______. "Nicholas Medtner," ChesterIan, X (December, 1928), 77-81. Swan, A. J. and Katherine. "Rachmaninoff: Personal Reminiscences— Part I," MusicaJ Quarterly. XXX (1944), 1-19. Yasser, Joseph. "Carrying Classicism into the Futurist Camp: Nicholas Medtner Comes to Win New Worlds," Musical America, Vol. XLI, No. 3 (November, 1924), 5; 24. _. "Progressive Tendencies in Rachmaninoff’s Music," Tempo, XXII (W inter, 1951-52), 11-25. Other Sources Medtner Archives, Library of Congress, Washington, D. C. M etner A rchives, C e n tra l Museum of M usical C u ltu re , Moscow.