Arts, Faculty of
Music, School of
DSpace
UBCV
Stanyer, Derek
Doctor of Musical Arts - DMA
University of British Columbia
Nikolai Medtner (1880-1951), a Russian composer, is deserving of greater recognition for his music, particularly his art songs. Unfortunately, his songs have been critically neglected in the art song repertoire, both in terms of performance and scholarly research. This can be attributed to various factors, such as his uncompromising musical beliefs, high philosophical ideals, and the inherent complexity of his compositions, both in interpretation and musical demands. The purpose of this doctoral thesis is to provide performers with a gateway to approach Medtner's art songs, specifically focusing on his Op. 9 No. 1 and all four songs of Op. 45. To accomplish this, a comprehensive understanding of the composer is necessary, including his musical philosophy, beliefs, motivations, and personal relationships. Medtner's lifelong affinity for poetry serves as a starting point, which involves delving into his upbringing and interactions with others to elucidate his strong musical philosophy. The investigation then turns to Medtner's treatise, titled "The Muse and the Fashion," which provides insights into his controversial thoughts and motivations concerning music and his compositional process. By comprehending his firm musical philosophy and ideology, the subsequent analysis gains context and informs the exploration that follows. The study of these songs begins by examining the poetry and exploring how Medtner imbued meaning into his music based on his interpretation of the poems. Finally, the analysis narrows down to Op. 9 No. 1 and all four songs of Op. 45. The inclusion of the Op. 45 songs is significant, as they showcase Medtner's frequent utilization of innovative techniques with complex poetry. Conversely, Op. 9 No. 1 exemplifies his profound emotional connection with the poetry. Overall, this doctoral thesis seeks to shed light on Nikolai Medtner's underappreciated art songs and aims to provide performers with valuable insights and guidance in their interpretation and presentation of his works.
THE ART SONGS OF NIKOLAI MEDTNER by DEREK STANYER A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF MUSICAL ARTS in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Piano) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) October 2023 © Derek Stanyer, 2023 ii The following individuals certify that they have read, and recommend to the Faculty of Graduate and Postdoctoral Studies for acceptance, the dissertation entitled: The Art Songs of Nikolai Medtner submitted by DEREK STANYER in partial fulfilment of the requirements for the degree of Doctor of Musical Arts in Piano Examining Committee: Mark Anderson, Professor, Music, UBC Co-Supervisor Nancy Hermiston, Professor, Music, UBC Co-Supervisor Leigh Van Handel, Professor, Music, UBC Supervisory Committee Member Patrick Raftery, Professor, Music, UBC University Examiner Peter Ward, Professor, History, UBC University Examiner Alexandre Dossin, Professor, Music, University of Oregon External Examiner iii ABSTRACT Nikolai Medtner (1880-1951), a Russian composer, is deserving of greater recognition for his music, particularly his art songs. Unfortunately, his songs have been critically neglected in the art song repertoire, both in terms of performance and scholarly research. This can be attributed to various factors, such as his uncompromising musical beliefs, high philosophical ideals, and the inherent complexity of his compositions, both in interpretation and musical demands. The purpose of this doctoral thesis is to provide performers with a gateway to approach Medtner's art songs, specifically focusing on his Op. 9 No. 1 and all four songs of Op. 45. To accomplish this, a comprehensive understanding of the composer is necessary, including his musical philosophy, beliefs, motivations, and personal relationships. Medtner's lifelong affinity for poetry serves as a starting point, which involves delving into his upbringing and interactions with others to elucidate his strong musical philosophy. The investigation then turns to Medtner's treatise, titled "The Muse and the Fashion," which provides insights into his controversial thoughts and motivations concerning music and his compositional process. By comprehending his firm musical philosophy and ideology, the subsequent analysis gains context and informs the exploration that follows. The study of these songs begins by examining the poetry and exploring how Medtner imbued meaning into his music based on his interpretation of the poems. Finally, the analysis narrows down to Op. 9 No. 1 and all four songs of Op. 45. The inclusion of the Op. 45 songs is significant, as they showcase Medtner's frequent utilization of innovative techniques with complex poetry. Conversely, Op. 9 No. 1 exemplifies his profound emotional connection with the poetry. Overall, this doctoral thesis seeks to shed light on Nikolai Medtner's underappreciated art songs and aims to provide performers with valuable insights and guidance in their interpretation and presentation of his works. iv LAY SUMMARY Nikolai Medtner, a Russian composer, deserves greater recognition for his art songs, which have been neglected in performance and scholarly research. This doctoral thesis focuses on Medtner's Op. 9 No. 1 and Op. 45, aiming to provide performers with insights to approach his music. Medtner's treatise, "The Muse and the Fashion," offers insights into his thoughts and motivations in music and composition. By comprehending his firm musical ideology, the subsequent analysis gains context and informs the exploration. The analysis then focuses on Op. 9 No. 1 and all four songs of Op. 45. Op. 45 showcases Medtner's innovative techniques with complex poetry, while Op. 9 No. 1 exemplifies his deep emotional connection to the poetry. Overall, this doctoral thesis provides performers with valuable insights for interpreting and presenting his works, while aiming to revive interest in his music and grant his art songs the recognition they deserve. v PREFACE This dissertation is unpublished, original, independent work by the author, D. Stanyer vi TABLE OF CONTENTS Abstract…………………………………………………………………………………………...iii Lay Summary……………………………………………………………………………………..iv Preface……………………………………………………………………………………………..v Table of Contents…………………………………………………………………………………vi List of Figures……………………………………………………………………………………vii Introduction………………………………………………………………………………………..1 Biographical Information…………………………………..……………………………………...3 The Muse and the Fashion………………………………………………..……………………...10 Poetry……………………………………………………………………………………….……13 Innovations in Art Song………………………………………………………….........................17 Analysis…………………………………………………………………………………………..22 Introduction to Analysis………………………………………………………………….22 Wanderers Nachtlied, Op. 9, No. 1, Goethe………………………………………………23 Elegy, Op. 45, No. 1, Pushkin…………………………………………………………….28 The Cart of Life, Op. 45, No. 2, Pushkin…………………………………………………40 Night Song, Op. 45, No. 3, Tyutchev…………………………………………………….50 Our Age, Op. 45, No. 4, Tyutchev……………………………………………………….60 Conclusion……………………………………………………………………………………….68 Bibliography……………………………………………………………………………………..70 vii LIST OF FIGURES Figure 1. Sonata in E minor Op. 25……………………………………………………………...15 Figure 2. Preface before Sonata-Triade Op. 11………………………………………………….15 Figure 3. Vocalization in Arion, pg. 7…………………………………………………………...17 Figure 4. Vocalization in Arion, pg. 81………………………………………………………….18 Figure 5. Vocalization in Elfenliedchen, pg. 2…………………………………………………..19 Figure 6. Mm. 3-6 of Wanderers Nachtlied, Op. 9, No. 1…………………………………….…24 Figure 7. Mm. 9-10 of Wanderers Nachtlied…………………………………………………….24 Figure 8. Mm. 15-21 of Wanderers Nachtlied…………………………………………………...25 Figure 9. Mm. 1-7 of Elegy, Op. 45, No. 1………………………………………………………29 Figure 10. Mm. 16-19 of Elegy………………………………………………………………….30 Figure 11. Mm. 26-31 of Elegy………………………………………………………………….30 Figure 12. Mm. 32-39 of Elegy………………………………………………………………….31 Figure 13. Mm. 40-47 of Elegy……………………………………………………………….…32 Figure 14. Mm. 56-66 of Elegy………………………………………………………………….33 Figure 15. Mm. 71-77 of Elegy………………………………………………………………….35 Figure 16. Mm. 78-83 of Elegy………………………………………………………………….36 Figure 17. Mm. 84-89 of Elegy………………………………………………………………….37 Figure 18. Mm. 102-110 of Elegy……………………………………………………………….38 Figure 19. Mm. 111-127 of Elegy………………………………………………………….……39 Figure 20. Mm. 1-6 of The Cart of Life, Op. 45, No. 2………………………………………….42 Figure 21. Mm. 7-8 of The Cart of Life………………………………………………………….43 Figure 22. Mm. 13-16 of the Cart of Life………………………………………………………..44 Figure 23. Mm. 17-18 of the Cart of Life………………………………………………………..45 Figure 24. Mm. 22-24 of the Cart of Life………………………………………………………..46 Figure 25. Mm. 29-32 of the Cart of Life………………………………………………….…….47 Figure 26. Mm. 35-37 of the Cart of Life………………………………………………………..48 Figure 27. The end of The Cart of Life…………………………………………………………..49 Figure 28. The end of Erlkonig, D. 238 by Franz Schubert…………………………………...…49 viii Figure 29. Mm. 1-8 of Night Song, Op. 45, No. 3…………………………………………….....51 Figure 30. Mm. 9-11 of Night Song……………………………………………………………..51 Figure 31. Mm. 14-17 of Night Song…………………………………………………………....52 Figure 32. Mm. 18-20 of Night Song……………………………………………………………53 Figure 33. Mm. 21-22 of Night Song…………………………………………………………....53 Figure 34. Mm. 25-30 of Night Song……………………………………………………………54 Figure 35. Mm. 31-34 of Night Song………………………………………………………...….55 Figure 36. Mm. 35-48 of Night Song…………………………………………………………....56 Figure 37. Mm. 52-56 of Night Song………………………………………………………..…..57 Figure 38. Mm. 59-60 of Night Song……………………………………………………………58 Figure 39. Mm. 63-69 of Night Song……………………………………………………………59 Figure 40. Mm. 1-7 of Our Age, Op. 45, No. 4………………………………………………….60 Figure 41. Mm. 23-34 of Our Age……………………………………………………………….61 Figure 42. Mm.35 to 45 of Our Age………………………………………………………….….62 Figure 43. Mm. 47 to 57 of Our Age………………………………………………………….…63 Figure 44. Mm. 57-61 of Our Age……………………………………………………………….63 Figure 45. Mm. 67-74 of Our Age…………………………………………………………….…64 Figure 46. Mm. 84-89 of Our Age…………………………………………………………….…65 Figure 47. Mm. 90-94 of Our Age…………………………………………………………….....65 Figure 48. Mm. 99-102 of Our Age…………………………………………………………...…66 Figure 49. Mm. 103-116 of Our Age……………………………………………...…………..…67 1 Introduction Nikolai Medtner was a Russian composer who was born in 1879 (1880 according to the Gregorian calendar) and died in 1951. His colleague Sergi Rachmaninoff said that Medtner was the “greatest composer of his generation,”1 while established music critic Ernest Newman proclaimed in 1915 that “a musician more thoroughly skilled in the mere craft of composition could not be imagined.”2 His compositional output was numerous, including 14 piano sonatas, 3 violin sonatas, 3 piano concerti, and 108 art songs. I argue that Medtner’s music – particularly his art songs – has long deserved more widespread recognition than it has been given. His songs are critically neglected in the art song repertoire, both in performance and in scholarly research. There are a few reasons for this, none of which relate to the compositional quality of the writing. Some of the barriers to tackling these songs are the language, poor access to quality recordings, the technical and musical demands asked of the pianist and singer, and the depth and complexity of many of the poems he set to music. My aim is to provide performers a gateway to approach Medtner’s art songs, specifically his Op. 9, No. 1 and all four songs of Op. 45. My analysis of these songs focusses on the poetry, since that is what Medtner began with, and looks at the music through the perspective of what the poems meant to him and how he communicated that meaning through his music. When done well, art song is the fine line where the best of literature meets the best of music, and as performers we must always remember that we are interpreting a composer’s interpretation of a poem, rather than interpreting a poem ourselves. To do this, we 1 Barrie Martyn, Nicholas Medtner: His Life and Music, (London: Routledge, 1996), 145. 2 Ernest Newman, “Medtner,” The Musical Times 56, No. 863 (1915), 10. http://www.jstor.org/stable/909070 2 need to know everything we can about the composer: his musical philosophy, beliefs, motivations, personal relationships, etc. As we will see with the songs I have analyzed, having done this groundwork can change the tone of the poem and song completely. I begin by looking into Medtner’s upbringing and his interactions with others to explore his strong musical philosophy and understand him as a person. Next, I delve into his treatise, titled “The Muse and the Fashion,” to better understand Medtner’s thoughts, and motivations regarding music itself. While quite dense and at times convoluted, it is an invaluable resource in understanding Medtner’s compositional processes and views on many musical topics. Understanding his strong musical philosophy and ideology informs and contextualizes the exploration of his songs that follows. I then focus on his relationship with poetry and how it influenced his other compositions, before looking at certain techniques he innovated and expanded upon which made his art songs unique. Finally, I move into the analysis of Op. 9, No. 1 and all four songs of Op. 45, as the Op. 45 songs highlight some of these innovative techniques and complexities that Medtner frequently used, and Op. 9, No. 1 shows his deep emotional connection with the poetry. 3 Biographical Information Due to the scarcity of scholarly research on Nikolai Medtner, most of the biographical information in this section comes from Barrie Martyn’s biography titled Nicholas Medtner: His Life and Music. Martyn is the most notable scholar on Medtner and is also the author of Medtner’s New Grove article. He gathers his information primarily from Medtner’s correspondence that is not otherwise translated into English, as well as recollections with those who knew Medtner personally. The letters are of special interest to me, since aside from Medtner’s treatise, they are one of the best ways to understand his thoughts, personality, and musical aesthetic. Martyn’s biography is by far the most comprehensive book on Medtner, as no other resource comes close to its depth and thoroughness. Nikolai Medtner was born and raised in a highly intellectual and cultured household, along with 3 older brothers and a sister. His brother Karl was active in Moscow’s literary circles and frequented the theatre.3 Alexander became a professional violinist and violist, as well as a teacher and a conductor. Emil, with whom Nikolai was closest to, “possessed perhaps the most remarkable intellect of all the brothers, [and] interested himself in every aspect of art and thought.”4 He was especially interested in German culture, philosophy and psychology, and this passion for German literature and music was passed on to the younger Nikolai. Despite the highly intellectual household environment heightening his mind and tastes, it also disconnected 3 Martyn, Nicholas Medtner, 3. 4 Ibid, 3. 4 him somewhat from the realities of everyday life and gave him a feeling of not being entirely connected with the present world.5 Alexander Ossovsky, a colleague on the advisory board of the Russian musical press, described Nikolai: “As a person he was unusually attractive, infinitely modest, quiet, delicate, shy, like a little girl, with a sensitive and lofty soul, he was in truth ‘a man not of this world’, being in no way adapted to practical life. The very simplest things seemed complicated to him, and he would embark on a philosophical analysis of them”6 When he was twelve, Nikolai demanded to be enrolled at the Moscow Conservatory.7 His parents were hesitant but relented under the convincing of Emil, who strongly supported Nikolai’s musical and artistic endeavours his whole life. Nikolai excelled at the conservatory, however not without some conflict. He dropped Sergei Taneyev’s counterpoint class halfway through because he was told to “simply move some elements around like rearranging furniture in a room” while having difficulties with a composition.8 He could not accept this, as organic growth was integral to him; he became quite upset at being asked to treat compositions so trivially. Much later in his life Taneyev said to Nikolai, “Until now I thought that it was impossible to become a real composer without having thoroughly learned counterpoint, but now I see from your example that I was mistaken in this.”9 In 1897, Nikolai began studying piano with Vasily Safonov, who became his most influential teacher. He became a formidable pianist, graduating in 1900 while receiving the Conservatory’s “Small Gold Medal,” which was the 5 Ibid, 4. 6 Ibid, 93. 7 Ibid, 4. 8 Ibid, 6. 9 Ibid, 6. 5 highest achievement the Conservatory awarded. Safonov said that he should have received a diamond medal, had such a thing existed.10 Shortly after graduating, Nikolai Medtner’s performance career took a turn when he entered the Rubenstein competition as a pianist. The competition was filled with scandal and suspicious incidents,11 and even though he received the first honourable mention, Medtner was left feeling disillusioned and backed out of a performance tour Safonov had arranged for him. He did not want to play the same musically empty Rubenstein Concerto everywhere he went or give recitals of musically empty works merely to show off technique,12 and pledged to make composing his full-time career. This shocked Safonov and his family, who hardly even knew he composed. Once again it was Emil who advocated for his brother and convinced their family to accept his decision.13 Thus from his early life we can see Nikolai Medtner’s stubbornness, strong musical opinions, and his willingness to confront those with whom he didn’t agree to defend his art. This did lead to some hardships later in life, as his faithfulness to his beliefs contributed to his “financial discomfort and artistic obscurity.”14 He would much prefer to take the more ideologically difficult path rather than compromise his ideals. Medtner rarely performed other composers’ works except for Beethoven’s. He often referred to himself as Beethoven’s pupil,15 and was most strongly influenced by his work. Medtner believed that the artist’s role is to create lasting beauty. He held the act of musical creation to be sacred and considered it one of the highest forms of human activity. His disposition toward Romantic language in both music and literature caused him to become 10 Ibid, 9. 11 Ibid, 10. 12 Ibid, 13. 13 Ibid, 13. 14 Denise Rudell, “The influence of Romantic Poetry on the Career and Music of Nicholas Medtner.” (Doctoral Dissertation, University of South Carolina, 2016), 12. 15 Martyn, Nicholas Medtner, 77. 6 increasingly disconnected from the musical trends of the time. In a letter to his brother, he shows some of his frustration with this disconnect, “Has it not crossed your mind that I was born too late, that what I write is not in tune with the times?”16 Arthur Alexander wrote in 1950, the year of Medtner's death, that he was a composer who came “both too late and too soon.”17 Medtner was looking backwards towards great German composers such as Beethoven, Wagner and Schumann, while other composers of his time such as Stravinsky, Prokofief, Debussy and others were looking forward in new directions. It is interesting to note that despite Medtner’s music often having a feel of a Brahmsian quality to it (indeed, both of their piano sonatas Op. 5 in F minor seem to share certain similarities in form, affect, and structure), he did not like being compared to Brahms. In a letter to his brother Emil about his own first piano concerto, he wrote: “I feel I put a very great deal into it and, ridiculous though it may sound, I believe that Brahms never dreamt of such music… I speak of this not by way of boasting, that is I am not speaking of myself – I may have a long way to go to approach Brahms; he is a colossal master! – I am speaking merely of my muse, which everyone for some reason has decided to consider the sister of even the daughter of Brahms, which I cannot accept at all…”18 Medtner believed that his inspiration for composing was very different from Brahms’, and more resembled Beethoven’s. Medtner’s muse was intrinsic to his composition process, which is a concept I will look at in more detail in the next section. Medtner became close friends with Rachmaninoff in 1902, and Rachmaninoff supported Medtner both artistically and financially. They had a strong mutual admiration for each other, with the composer Marcel Dupre saying, “If you ask Medtner who is the greatest pianist of the present time, he will say ‘Rachmaninoff’. And if you ask Rachmaninoff, he will say 16 Ibid, 57. 17 Arthur Alexander, “Nicholas Medtner: An Appreciation,” Tempo No. 22 (1951): 3. 18 Martyn, Nicholas Medtner, 120. 7 ‘Medtner’.”19 In 1911 Medtner wrote his “Night Wind Sonata,” which Barrie Martyn labeled “perhaps the greatest piano sonata of modern times,”20 and dedicated it to Rachmaninoff. Rachmaninoff was constantly encouraging Medtner to perform more and set up engagements for him, including personally funding his North American concert tour in 1929 while refusing any compensation in return.21 Much of the information Martyn uses in his biography comes from Medtner’s correspondence with Rachmaninoff. Despite having many fervent supporters among colleagues and critics, not all were impressed with Medtner’s compositions. In 1913, music critic Vyacheslav Karatygin said in an article, “In Petersburg he has very few admirers, but all the musicians who are interested are keenly interested, and heatedly discuss their impressions of each work and argue the point. Medtner’s music does have a personality, you cannot in any circumstance confuse Medtner with anyone else, but there is a significant and quite disagreeable side to Medtner’s classicism. It is without a soul.” Karatygin went on to liken Medtner’s music to a magnificent temple built by a gifted architect in the bare and stony desert.22 Many of Medtner’s supporters came to his defence writing articles of their own in support. Life became particularly difficult for Medtner in 1914 when Russia went to war with Germany. Medtner described how he felt in a letter to Rachmaninoff: “You know that for me Russia and Germany are two fatherlands, equally beloved. This is why this… fratricidal war is for me the most horrifying event of my life.”23 Because of the war and his German last name, he 19 Ibid, 190. 20 Ibid, 89. 21 Ibid, 205. 22 Ibid, 99. 23 Ibid, 108. 8 began to be cold-shouldered in Russia, despite his family having lived there for four generations. During this time Rachmaninoff supported his friend even more, heatedly confronting Yuli Engel (a music critic) about the lack of attention Moscow critics gave him, nearly creating a scene. Rachmaninoff later apologized to Engel, while saying “I know that you are an honourable…man, but there are very many honourable men and very few musicians like Medtner, and it grieves me, loving him as I do, that the press is indifferent to him and keeps silent about him.”24 The next decade was full of uncertain times for Medtner, fueled by wars and the Russian Revolution. He struggled with poverty and a feeling of not being accepted in Russia, before moving to Berlin in 1921 where he found few engagements. In a letter to Rachmaninoff, he complained, “My spirit has sunk at the hopeless futility of all my concert attempts… I played very well and the success I had with the public was enormous. But the critics tore me to pieces… My muse is not wanted here.”25 He moved to Paris for a short stint, before beginning to feel nostalgic for his homeland; as he wrote to Emil, “with each day I love Russia and everything Russian more and more.”26 So he moved back to Russia for a short period of time. In 1928 he travelled to England to give a concert which was very well received, with noted music critic Ernest Newmann remarking, “Judging by the packed appearance…at the first appearance of Medtner in this country, this Russian composer has a larger following here than one thought.”27 This began a series of trips and performances in England, causing Medtner to become very fond of the country. He wasn’t getting many opportunities elsewhere though, writing to Rachmaninoff, “It seems that, apart from the English and the Russians, no one wants to know 24 Ibid, 113. 25 Ibid, 149. 26 Ibid, 174. 27 Ibid, 191. 9 me.”28 Many of his difficulties as a concert pianist were a result of his insistence on largely performing his own compositions, with which most people were unfamiliar.29 He lived in Paris until the end of 1935 when he finally moved permanently to London, where he continued performing and became an established piano teacher.30 28 Ibid, 192. 29 Ibid, 200. 30 Ibid, 122. 10 The Muse and the Fashion The best way to understand Nikolai Medtner’s strong beliefs about music and understand his musical ideology is through the treatise he wrote in 1935 titled “The Muse and the Fashion: Being a Defence of the Foundations of Art Music,” which was published and endorsed by Rachmaninoff. It is an impassioned, critical response to the direction he saw music heading, moving away from music rooted in tonality and traditional rhythmic and melodic structures. Medtner urged the younger generation of composers to follow their muse and to not give in to what he calls the fashion of the time. In its essence, his treatise is a 150-page protest based on technical, fundamental, and philosophical reasoning, against music that abandons the standard Western tonal system. He felt so strongly about this that he was genuinely frightened about what he felt was happening to the direction of music, saying after a performance of an unnamed contemporary work, “When I listened to that work, I for the first time became frightened for music. For the first time I was present on an occasion when noise, ordinary everyday noise, affixed on paper by notes, was represented as music.”31 Medtner’s strong sense of integrity kept him from naming any specific composers that he took exception to, but there are some anecdotes. While attending a concert where Prokofiev performed his first piano sonata, Medtner was upset during the performance and was heard to have said, “If this is music then I am no musician.”32 His stance never softened even in his final years, writing to an amateur composer, saying, “How can I accuse you of harmonic incoherence 31 Nikolai Medtner, The Muse and the Fashion: Being a Defence of the Foundations of Art Music, Translated by Alfred Swan (Haverford, Pa.: Haverford College Bookstore, 1951), 86. 32 Martyn, Nicholas Medtner, 257. 11 at a time when so talentless a numbskull as Stravinsky is hailed as a ‘classic’?”33 In his treatise Medtner boldly asserts his position by saying, “Errors of theory and of practice have been observed before, but no theories of error have been known to exist before now.”34 In “The Muse and the Fashion,” Medtner explains that the primary role of the composer is to discover, and not to create.35 He believes that the purpose of music is to imitate or recreate the voice, which is the origin of music for humanity. He frequently references a ‘Divine Song’ which has existed since the beginning of time from which all great music is born. In essence, the “Divine Song” can be seen as a metaphor for the essence of artistic inspiration, representing a deeply personal expression of emotion that transcended the superficiality of fashion. This deep expression of emotion is something that a composer discovers and explores, rather than creates. This “song” can be cultivated and formed through a deep and intimate connection between the composer and their muse, which is a force that represents a deeper, more profound level of creativity. Medtner asks, “If musical creation is acknowledged to be the highest form of our art, wherein, may I ask, is its superiority? If in ‘creation’ the notion of mistakes is not admitted, if it is free from any kind of obligation, is it not then the easiest, the most accessible, and therefore the lowest form of artistic craft?”36 For Medtner, music was bound by fundamental laws which all great composers of the past followed, and to abandon these laws would cause music to lose all meaning. He defended these laws as vigorously as his own deep beliefs. While Medtner was a firm musical traditionalist and defender of tonality, that did not mean that he didn’t support or encourage dissonance. Medtner draws an analogy with everyday 33 Ibid, 257. 34 Medtner, The Muse and the Fashion, 101. 35 Ibid, 53. 36 Ibid, 92. 12 life and says that in life we prefer the motion of dissonances to the repose of consonances. Even in all the bustle of daily activity, the dissonances of our life don’t consume us, and we long for the times we can rest. The more dissonances in our life, the stronger we feel the pull to repose and the more we appreciate the calm. However, if one were always at rest, life would have no meaning. Likewise, dissonant chords are a necessity, but “are justified only by a general gravitation towards the consonance.”37 Medtner references chromaticism as being integral to music: “Chromaticism… is justified in so far as it surrounds the mode and gravitates towards it in the same manner as the other notes of the mode gravitate towards the tonic. Chromaticism, as an encirclement of the diatonic mode, is also one of the fundamental senses of the musical language.” This “gravitation” from complexity to simplicity and from dissonance to consonance is one of the first things Medtner talks about in his treatise and is one of his primary fundamental laws of music. As Medtner makes clear, chromaticism and dissonance must be rooted in harmonic structure, and eventually resolve into consonance. “When there is no such gravitation, the “accidental” harmony turns into an accident.”38 Musical sounds are always contextualized by their relationship to the tonic; the farther one pushes with dissonance or chromaticism, the stronger the pull is back to the tonic (like Medtner’s daily life analogy). However, he follows up the previous quote with a caution: “But a chromaticism that has detached itself from the mode turns into a swamp that cannot serve as a foundation for any musical construction.”39 To reject or stray from this gravitation to tonality is to move us away from the aforementioned “Divine Song.” 37 Ibid, 82. 38 Ibid, 70. 39 Ibid, 24. 13 Poetry Medtner wrote 106 art songs, more than any other established Russian composer before him, making it one of his most prolific genres. However, it is also one of his most neglected genres. Malcom Boyd wrote in 1965 that “Medtner’s songs have never been more in need of advocates, among both performers and critics, than they are today,”40 and this holds true in the current time as well. Of all the great pianist-composers of the 19th and 20th century, Medtner is the only one whose compositions centered around art song. Rachmaninoff, Liszt, Chopin, and others wrote many successful songs, but our knowledge of these composers does not suffer too much if we are not familiar with them.41 However, neglecting Medtner’s art songs is a serious hinderance to those who want to know him and his music. According to Martyn, “his music often expresses the most noble human feelings, and his strong texts are invariably chosen from poetry of the highest quality. Indeed, it is perhaps among the best of the songs…that the composer’s finest work is to be found.”42 I believe it is critical to look at a composer’s songs through the poetry they choose to set, and this is more relevant for Medtner than most. Forty-four of these are settings of German poems, with sixty settings of Russian poems and two vocalises. From a young age, he was fascinated with poetry that posed philosophical questions of artistic purpose. This was not merely an idle hobby or a pastime for Medtner. Denise Rudell stated that “It is possible that the reading of this poetry was the genesis of his ideology,”43 which I strongly echo. He was attracted to Romantic poetry and was drawn to setting poems that dealt with the most profound issues of life, 40 Malcom Boyd, “The Songs of Nikolai Medtner,” Music and Letters 46, No. 1 (1965): 16. http://www.jstor.org/stable/731919. 41 Ibid, 16. 42 Martyn, Nicholas Medtner, xii. 43 Rudell, “Romantic Poetry,” 20. 14 philosophy, and the eternal questions of existence.44 In fact, only two poems he chose to set were contemporary: “Epitaph,” Op. 13, No. 2 by Andrei Bely (1880-1934), and “In the Churchyard,” by Valery Bryusov (1873-1924) set as Op. 28, No. 4. Two poets to whom Medtner was strongly drawn were the German poet Johann Goethe and the Russian poet Alexander Pushkin. In a letter to his brother Emil, Medtner describes his relationship with these poets: “So then, about Goethe... I have acquired a certain technique in reading verse. Earlier I had lacked this technique to appreciate it, whereas now I see that there is a certain technique here as absolutely indispensable as musical technique is in reading notes. And now, when I opened Goethe, I went off my head with delight....With Pushkin you feel the originality in everything.” He later said, “This is just why I especially love Pushkin and Goethe, because, with all their greatness and spirituality, they always vindicate life.”45 More than half of his songs were settings of these two poets’ works, with 33 songs of Pushkin texts (ranging from some of his Op. 3 to his Op. 59) and 30 of Goethe (ranging from some of his Op. 3 to his Op. 46). He also set 13 poems of Fyodor Tyutchev and 10 of Afanasy Fet. While earlier in his life he set more German poetry and later in his life more Russian poetry, it is difficult to discuss or pinpoint different compositional periods in Medtner’s life as his compositional style hardly changed. Martyn remarks that “he emerged fully-fledged with his earliest published works, his entire oeuvre being remarkably consistent in quality.”46 It is not just in Medtner’s art songs where his affinity with poetry is evident, but throughout his other work as well. He included poems as an epigraph to many of his other works 44 Robert Rimm, “Medtner and Rachmaninov: Romantic Compatriots,” in Composer Pianists: Hamelin and the Eight, (Portland, Or,: Amadeus Press, 2002), 126. 45 Martyn, Nicholas Medtner, 67. 46 Ibid, xii. 15 to help capture the essence of the music; some of these poems he later composed into songs themselves. For example, his Sonata in E minor, Op. 25, No. 2 is preceded by the poem “Of what do you howl, night wind?” from Fyodor Tyutchev, his Sonata-Triade, Op. 11 is prefaced with a section of “Aussohnung,” from Goethe’s trilogy of Passion, and his Suite-Vocalise is preceded by Johann Goethe's “Geweihter Platz.” Medtner writes a short song with the poem before going into vocalization, building on the emotional content of the poem. Figure 1. Sonata in E minor Op. 25 Figure 2. Preface before Sonata-Triade Op. 11 16 His Sonata-Ballade, Op. 21 is based on a poem by Afanasy Fet describing Christ’s temptation in the wilderness. Medtner did not print the poem with the score, but in the manuscript, we can see lines of the poem written above the sketches.47 The melodic theme of Christ triumphing over Satan in the desert was also used in “The Muse" and in his Piano Quintet. This theme had a special meaning to Medtner, as did many of his themes that were inspired by poetry.48 He would frequently reuse and borrow from his previous compositions, crossing genres. Even the title of “Fairy Tales” that he used for collections of his smaller pieces is linked to poetic tradition. The Russian version of the title is commonly printed as “Skazki,” however the pieces were originally titled “Marchen,” which is a term that Medtner borrowed from German Romantic Poetry.49 It is evident that poetry was integral to Medtner’s musical philosophy and was a clear tool for distilling and communicating his musical aesthetic. Therefore, my study of his art songs begins with the question of how the poetry has influenced the decisions he made while composing. 47 Martyn, Nicholas Medtner, 32. 48 Ibid, 96. 49 Ibid, 134. 17 Innovations in Art Song Perhaps the most unique innovation was Medtner’s use of vocalization in his songs, along with humming. He used this technique as a continuation of the text, to convey a certain emotion that was being highlighted in the poem, such as pain, mourning, joy, playfulness, etc. An example of this technique can be seen in Op. 36, No. 6, which is a setting of Pushkin’s poem titled “Arion.” It is based on the legend of the poet and musician Arion, as he travelled by ship for a music competition. The sailors were jealous of his wealth and plotted to kill him, but Arion discovered their plan and asked to sing them a song first. He sang a song dedicated to Apollo, the Figure 3. Mm. 56-60 of Arion 18 god of poetry, and then leapt in the water. He was saved and carried to safety by a dolphin who was transfixed by his song. Medtner uses vocalization in two spots: first to show Arion singing to the sailors and transfixing them, and for the last two pages of the song, as Arion is drying his clothes in the sun, joyful and happy to be alive. The singing is not in the original poem of Pushkin; it has been added by Medtner to help convey the emotional content of the poem. Figure 4. Mm. 61-71 of Arion 19 Op. 6, No. 3 is a setting of Goethe’s poem titled “Elfenliedchen,” and here he uses vocalization in a similar way to “Arion.” It vividly depicts the elves coming out to dance and sing at midnight when the humans are sleeping. Medtner uses vocalization twice, both times to depict the playfulness and singing of the elves. Figure 5. Mm. 17-23 of Elfenliedchen Op 36, No. 6 is a setting of another Pushkin poem titled “The Muse,” which held a very special place for Medtner. The poem expresses the essence of his musical aesthetic in a few sentences,50 and he quotes it in full at the beginning of his treatise: “The Muse and The Fashion.” The song was inspired by a letter from writer Sergei Durylin which expressed admiration for 50 Boyd, “The Songs,” 21. 20 Medtner’s close empathy with the Russian poets whose poems he had been setting as songs.51 Durylin mentions “The Muse” as a poem he thought would be good for Medtner to set. It describes a muse teaching an artist their craft, gently nurturing, and constantly pushing, until the artist reaches a point where he feels the muse join in and perform with him. Like many of Medtner’s songs, it begins simply and builds in complexity in harmony and rhythm before breaking into a vocalization at the end to depict the joy of being one with their muse. Medtner’s songs display many additional innovations and evolutions on the existing genre. Another of his primary innovations was his use of rhythmic complexity. Rhythmic complexity in Medtner’s music is not limited to his songs, as he used rhythm in new and innovative ways in his piano music as well. However, while other composers such as Rachmaninoff and Brahms often used a simpler rhythmic language for their songs relative to their piano music, Medtner did not. I will discuss this further with specific examples in my analysis of his Op. 45 set. The rhythmic complexity in Medtner's music pushed the boundaries of the established norms, and in his art songs particularly, the rhythmic complexity continues to push the boundaries even by today’s standards. Many of Medtner’s songs have unusually extensive piano interludes and postludes, carrying on and expanding on Schumann’s tradition. However, these extensive piano parts were one of the main criticisms of Medtner’s songs, which occasionally got labelled heavy-handed and too dense. For example, Alec Robertson writes that “The song ‘Arion’ [Op. 36, No. 6], with its over-written piano part, disappoints.”52 Robertson also notes that in Op. 45, No. 2, “[Medtner] forgets that a song is not a piano solo with vocal obbligato,” but reluctantly admits that no one 51 Martyn, Medtner, 100. 52 Alec Robertson, “Medtner’s Songs,” in Nicholas Medtner: A Tribute to his Art and Personality, Richard Holt (London: Dennis Dobson LTD, 1955), 112. 21 can doubt that Medtner is a born song writer.53 I find these criticisms unfair and narrow-minded. Boyd agrees and says, “One suspects that [these criticisms] have been applied to the songs in general by those who have neither heard them nor have sufficient technique to play them themselves.”54 The piano textures appear thick on paper because Medtner was a contrapuntal composer, and each line in the piano part has its own rhythmic and melodic life. When performed with this in mind, the incidental material falls into place to reveal the essential clarity of the writing.55 Most of Medtner’s piano parts are not for a pianist that is lacking technique and sensitivity, and when performed skillfully with careful attention to the poetry, the songs come to life. In “The Muse and the Fashion,” Medtner quotes the poet Fyodor Tyutchev, saying, “Like poetry, music may at times tell us about chaos. But a song must always remain a song, even when ‘chaos roars underneath it.’”56 Despite the intricacies and complexities in the piano parts, Medtner’s intention is to always serve the text and communicate the poetry. 53 Ibid, 113. 54 Boyd, “The Songs,” 17. 55 Ibid, 18. 56 Medtner, “The Muse and the Fashion,” 54. 22 Introduction to Analysis I chose to analyze Medtner’s setting of Johann Goethe’s poem titled “Wanderers Nachtlied,” Op. 9, No. 1, because I believe that Medtner’s personal thoughts and struggles are best expressed in his unique interpretation of Goethe’s poem. This highlights how knowing the historical and personal context a song was written in can directly add to its depth and meaning. The first two songs of Op. 45 are settings of poems by Alexander Pushkin and the last two are settings of poems by Fyodor Tyutchev. I chose to look at this set because of the songs’ emotional depth and complexity both musically and in subject matter. One of the main priorities of this document is to provide a gateway for future performers to assist in the interpretation of his songs, which can be quite intimidating with no fundamental groundwork. Hopefully this will make these songs more approachable and less daunting to future performers. I have also chosen these five songs because there is very little written about them, save for a sentence or two in a handful of articles or books. I am using Alfred Swan’s English translations,57 as he specifically translated all the songs that Medtner set. However, at times I rely on my own word for word translation to reconcile some of the differences in the poetic translation. 57 Alfred Swan, English Texts for the Songs of Nicholas Medtner, (Haverford: Haverford College Bookstore, 1951). 23 “Wanderers Nachtlied,” Op. 9, No.1, Goethe In 1906 Medtner wrote a set of songs on Goethe’s poetry (Op. 9) while visiting his brother Emil and his wife, Anna, and dedicated the songs to the two of them. The first song in particular is unique, and through it we can learn about Medtner’s song writing process as well as his mental and emotional state at the time. I will first analyze the song, and then I will look at the circumstances in Medtner’s life to shed light on incongruities in the song. Goethe’s poem is one of his most well-known, and is titled Wanderers Nachtlied II: Über allen Gipfeln Ist Ruh, In allen Wipfeln Spürest du Kaum einen Hauch; Die Vögelein schweigen im Walde. Warte nur, balde Ruhest du auch. Over all the peaks it is peace, in all the treetops you feel hardly a breath of wind; the little birds are silent in the forest… only wait – soon you will rest as well. Medtner’s song starts with a prolonged tonic chord in E flat major, with an expected calm and peaceful atmosphere given the ethos of the poem. There is a rocking, suspended feeling that pervades throughout the song. However, in m. 4 on the word “peace” (Ruh), Medtner does the exact opposite of what one would expect and writes a disruptive German +6th chord with an accent, which dies away back into E flat major (as opposed to B flat, which would be more common resolution). Even though there is no repetition in Goethe’s poem, in m. 6 Medtner then repeats “is peace” (Ist Ruh) over the same chord, but this time adds a suspension in the voice part to create even more tension. It once again fades away into E flat major. 24 The next few lines are Medtner’s first real departure from E flat major, where he briefly passes through C minor in m. 9 and achieves the quietest dynamic marking of the song in m. 10 to go with the text “you feel hardly a breath of wind.” After building over a pedal B flat with Figure 6. Mm. 3-6 of Wanderers Nachtlied, Op. 9, No. 1 Figure 7. Mm. 9-10 of Wanderers Nachtlied 25 descending chords changing every beat, the song arrives at a glorious fortissimo back in E flat in m. 15. This is the only line for the singer that is louder than pianissimo, and it is triple forte, saying “Only wait – soon you will rest as well.” The dissonant chord from m. 4 and m. 6 returns in m. 16, again resolving to E flat major on the word “soon.” Only after the singer has cut off does Medtner instruct the pianist to diminuendo, and after a few measures of reaffirming the tonic, we arrive back at the pianissimo the song started at. Figure 8. Mm. 15-21 of Wanderers Nachtlied 26 With only a cursory analysis, Medtner’s setting doesn’t seem to completely connect with the poetry. While the atmosphere in general does convey a sense of stillness and peace, some questions are raised. Why would Medtner write dissonant chords on the word “peace” both times it appears, and then again on the word “soon?” Why did he make the ending so dramatic, while the poetry seems to be communicating something different? To understand this, I would like to consider the context in which it was written. In 1896, Nikolai Medtner met Anna Bratenshi, and they soon became good friends. After his older brother Emil started courting her, their mother believed that Nikolai’s growing attachment to her (Anna being two years older than the 16-year-old Nikolai) was undesirable and kept him from seeing her. Emil and Anna married four years later in 1902, and despite not revealing the deep feelings she still had for Nikolai, she admitted to Emil that she could “never be a proper wife to him.”58 Nikolai finally saw her again the following year, and all the feelings they shared years before came rushing to the surface. They then confessed their love to Emil, with Anna writing: “We told Emil everything with total frankness, and he was magnanimous and understanding, but he begged us, out of consideration for his parents, particularly his mother, not to take any steps for the moment.”59 Anna continued to play the role of loyal wife for the sake of Emil’s career and their parents’ feelings, and the relationship between Emil and Nikolai was somehow never strained despite Nikolai saying later in life that he had “done his brother a terrible wrong for which he would 58 Martyn, Nicholas Medtner, 14. 59 Ibid, 69. 27 never be forgiven.”60 In 1918 after their mother died, Emil gave Nikolai permission to marry his wife, and all three of them somehow remained on good terms throughout the rest of their life. Understanding Medtner’s feelings and emotions about the marriage of Anna and his brother Emil may help us reconcile the inconsistencies in this setting. Medtner is not at peace, which he communicates with the dissonances on the word “peace.” However, he is trying to be at peace and accept the situation, which is shown in the way he keeps coming back to the rocking E flat major chords. After the buildup before the last two lines, he can’t contain the inner turmoil anymore. He could be speaking the last two lines to himself, Anna, or to God, but it is clear now that he is pleading that rest will soon be at hand for his heart. He is imploring that it comes soon, hence the dissonant chords on the word “soon.” This idea is supported in the piano postlude with the familiar rocking motion soothing us, bringing us from the emotional high back down to the comfort of E flat major. 60 Ibid, 28. 28 “Elegy” Op. 45, No. 1, Pushkin I love your secret hidden flowers, your twilight that so mystic gleams, O poetry, thou gift of Heaven, well-beloved child of blessed dreams. You poets tell us that the shadows, pellucid band from Lethe’s firth, descend again to seek the places which were most dear to them on earth. Unseen they visit haunts belov-ed, a sleeping loved one each attends, and in a vision thus appearing, they comfort their deserted friends. They wait, these loved ones in Elysium, these shades with life immortal blest, as mortals at a fam’ly banquet await a tardy, welcome guest. But yet, mayhap, this, too, is dreaming; perhaps, when in my burial shroud, I will forget all earthly feelings, and all of which I am so proud. Perhaps, where all is clothed in glory, is beauty that cannot decay, the sacred flame that shines eternal will burn the thought of earth away, my soul will lose life’s transient image, ‘mid all the beauty there above, know not regret, nor joy, nor yearning, forget the bitter pangs of love. In my opinion, this setting by Medtner is arguably the greatest of all his songs. It is unique in many ways, starting from the time signature. Medtner marks it as 2/2 and unconventionally adds 10/8 in brackets, which highlights the quintuplet figure employed unceasingly throughout the song in the piano part. The voice floats over top in duples giving a 29 feeling of breadth and expansiveness. The quintuplet figure in the piano begins as a pickup and is slurred over the barline, which results in a feeling of continuous forward motion. The beginning of the poem can be seen as an ode to poetry, and in particular the beautiful descriptions it provides us of the afterlife. The piano supports this with meandering quintuplets, providing lush harmonies along with a sense of wonder and discovery. In m. 17 when the poem begins describing how poets generally depict the afterlife, we can feel that this is becoming something more important than what came before. The harmonies change more frequently, and the texture gets thicker with the piano part joining with the duple rhythm in the voice against the quintuplet right hand. Figure 9. Mm. 1-7 of Elegy, Op. 45, No. 1 30 The tempo picks up in m. 26 and the meter becomes obscured with the left hand joining the right hand in the 10/8 pulse. This is during the description of the departed spirits descending from above to seek those on earth they care for. In the short piano interlude beginning in m. 30, we can hear the spirits descending, and the tempo slows as the spirits visit their sleeping loved ones. Figure 11. Mm. 26-31 of Elegy Figure 10. Mm. 16-19 of Elegy 31 In m. 35 Medtner sets a beautiful melody in the voice as the singer describes the joy and contentment the spirits bring to the dreams of others. It is filled with longing, which Medtner achieves in two ways: by keeping the pulse in 5, and by having rests on the main beats in either the vocal line or in the right hand of the piano. This causes a feeling of trying to grasp something elusive or fleeting. Medtner treats this stanza very intimately and with a lot of care, with meticulous markings of “dolcissimo,” “molto tranquillo,” “largamento,” “espressivo,” and yet another “dolcissimo” which winds down with a “molto ritenuto.” The singer can help emphasize this by phrasing into the rests and being sure not to rush the groups of 4 against the pianist’s 5. The next stanza beginning in m. 42 continues the description by likening the spirits to guests at a party who are waiting for others to arrive. They are already in their immortal life and are eagerly awaiting the moment when their loved ones will pass on and join them. Medtner portrays this excitement and anticipation in the poetry with markings to continuously increase Figure 12. Mm. 32-39 of Elegy 32 the tempo, such as “appassionato” and “crescendo.” The texture thickens in m. 42 and the left hand of the piano shifts from a half bar harmonic pulse to full bar sweeping arpeggios picking up intensity with frequent harmonic changes. This leads to the biggest dramatic shift in the song both musically and thematically in m. 58, which is still less than half-way through. Medtner takes an unexpected turn to C minor in m. 54 and follows it up with an unanticipated E flat minor chord two bars later. Medtner then introduces a C under it to make a half-diminished chord, before arriving at m. 58 with another half-diminished chord a minor third higher which then resolves back into the original half-diminished chord. The tone of the song definitively changes at this point, but it isn’t clear yet poetically what has prompted this shift. The unsettled piano interlude beginning in m. 58 has a strong rhythmic drive and leaves us hanging with this uncertain half-diminished harmony. We Figure 13. Mm. 40-47 of Elegy 33 still have the 10/8 pulse; however, it is now a dotted rhythm which contributes to the agitated feeling of barrelling forward into uncertainty. An important note here for the performer: all of the professional and amateur recordings of this song I have come across – there aren’t many – mistakenly distort the rhythm between bars 58 and 75. The pulse gets incorrectly turned into 6/8 with the last two 8ths of each quintuplet feeling like a duple that takes the same duration as the first 3. This undermines the effect Medtner is trying to achieve by removing the rhythmic intensity, and it unfortunately ends up settling into a more relaxed affect. Figure 14. Mm. 56-66 of Elegy 34 The piano interlude diminuendos and the texture thins, but the underlying energy is still relentlessly driving forward as the piano ends up playing just an octave on E flat. The next line of text from the singer in m. 62 finally explains the dramatic shift when they exclaim that perhaps this idea of the afterlife is not what happens at all, perhaps we lose all earthly feeling and will forget all attachment to this world. Medtner emphasizes this with the piano providing loud, thick chords twice a bar, while the vocal line plays off these aggressive downbeats. The voice moves into a chromatically descending lament figure in m. 68 when saying that the world will now be foreign. The next piano interlude, beginning in m. 71, is 12 measures long and continues with the dotted quintuplet rhythm on E flat interspersed with changing harmonies underneath. It is interesting and important to note that while the volume diminishes and the piano settles into the low register, Medtner makes it very clear not to slow down by indicating “sempre con moto” multiple times. He writes this three times in the span of six bars; he wants the energy to push us into a swell of rapid alternating notes between the hands in m. 76. Only after this does the dotted rhythm cease and we are allowed to ritenuto, which seems to represent the idea of all earthly feeling dying away. The relentless E flat is our connection with reality on earth, and it sinks lower and lower into the piano before disappearing altogether in m. 76, where a wash of sound carries us into something new. 35 In m. 80, Medtner subtly introduces the opening rhythmic figure (groups of 5 slurred over the barline), and then begins a slow, massive 22 measure buildup to the climax on m. 96. This section highlights the genius of Medtner’s thematic and rhythmic craftmanship. Pushkin’s next stanza asks, “But what if we become something more? What if we become something more glorious and beautiful than we can imagine?” This is the image that Medtner is chasing. He starts it off reminiscent of the beginning, however – like the previous iterations of the spirits – it has now evolved into something new. The voice is singing in duples, and the left hand of the piano contains two quarter note triplets per measure while the right hand maintains the quintuplet rhythmic pattern from the beginning. The 5 against 3 voices in the piano are playing the same Figure 15. Mm. 71-77 of Elegy 36 melody, with it being augmented in the left hand. This creates a feeling of continuous overlapping waves with a texture that is very delicate yet builds towards something rich and expansive. The rhythmic structure in this section is too complex for most to comprehend without the score, but this does not make the listener feel lost or unsettled. Medtner expertly conveys the idea of becoming something greater than we are, something removed from reality as we know it here on earth. Figure 16. Mm. 78-83 of Elegy 37 Figure 17. Mm. 84-89 of Elegy The vocal line is identical to the beginning from m. 84 to m. 90, where it unexpectedly repeats a 4th higher and reaches the climax at m. 96 before chromatically descending. In m. 102 the 16th notes cease in the piano, and we are left with a simple 2 against 3 structure in which the right hand of the piano is rhythmically aligned with the vocal line for the first time in the song. Here the poem is describing all the earthly feelings that will be forgotten after death, ending with one final heroic buildup exclaiming how the pains of love will also be forgotten. It is interesting to note the way that Medtner choose to set this, as this could easily be viewed through the lens of 38 nostalgia, regret, suffering, or angst. However, for him this is a feeling of joy, release and ecstasy. The last page of the song is an extended piano solo, not uncommon for Medtner’s art songs. He goes through two waves of harmonic progressions, coming back to G major both times to wind down the excitement. A figure nearly identical to m. 80 returns, except this time instead of building up, it continues to dissipate into the sonority of G major. Like the spirits, it becomes increasingly ethereal and fleeting, while rising and finishing in the heavens. Medtner makes sure to note that the pedal should continue to be held for long after the last note, letting the sound truly slip away from this realm. Figure 18. Mm. 102-110 of Elegy 39 Figure 19. Mm. 111-127 of Elegy 40 “The Cart of Life” Op. 45, No. 2, Pushkin Although at times the load is heavy, ever the coach is on the go; without a halt it hastens forward, enmeshed in Time’s eternal flow. At early dawn we urge the driver to spur the horses, fast and free; with ardor fired, we scorn to loiter, and shout: “The whip for them, all three!” But when ‘tis noon, harassed and shaken, our fiery spirits grow more cool; we fear the curves and dread the ditches, and call: “Go easy there, you fool!” Yet all the while the coach rolls onward, and when our journey’s end is nigh, we sit and doze, contented waiting, but faster yet the horses fly! In “The Cart of Life,” Pushkin metaphorically likens a coach ride to our journey through life. This poem is an example of Pushkin’s ability to shift incongruously between the obscene and the sublime.61 The poem is usually censored in Russian reprints, and when translated into other languages the profanity is removed along with most of the slang and colloquialisms. For this reason, it can be difficult to capture the essence of the poem as Pushkin intended. Like with the rest of Op. 45 I am using Alfred Swan’s English translations, which uses the censored version that Medtner set. I will discuss the main difference as it comes up. Despite all this, to me this is the most straightforward poem of the Op. 45 set, and from his setting it seems Medtner had a similar thought. While it does address the profundity of our 61 Foreman, A. Z. Pushkin: “The Wagon of Life.” Poems found in translation. 2013. 41 relentless journey through life, it communicates very directly with the reader. While it is certainly not strophic, it is about as close as Medtner came to strophic writing. Throughout the song the piano depicts the cart ride, pushing on relentlessly using syncopations and metrical dissonance as bumps in the road. At the beginning he marks “always at tempo and very rhythmic,” which is very unusual for Medtner as he often writes many adjustments and changes in tempo. Apart from the very end, there are no expressive markings that he also commonly used. The brief two bar piano introduction sets the scene in a 3/2 meter, with the first beat establishing the tonic and the following two beats gaining harmonic momentum into the downbeat of the next bar. This is also the only song of the set where Medtner doesn’t ask for pedal, and instead uses lots of staccatos, accents, and tenutos to get the precise articulation he is looking for. The first syncopation in the vocal line is on the word “burden” in the first half of m. 4, highlighting the difficult path for the cart. The piano underneath also has offbeat 16th notes, sounding like a hiccup. In the next bar when describing how the cart still easily moves on, we continue through more syncopations in the piano and pick up momentum into the downbeat through a chromatically descending bass line. This is a common theme throughout this song; the vocal line and piano build up to a cadence, and a short, one bar rhythmic piano interlude brings the tension back down. 42 The vocal line in m. 7 begins the same way as in m. 3 but diverges in m. 8 on the melisma on the word “time” by rising upwards, syncopating a beat earlier than before, and tying Figure 20. Mm. 1-6 of The Cart of Life, Op. 45, No. 2 43 over the strong beats until the downbeat of the next bar. Medtner is emphasizing that time is driving this coach, and he continues to move on regardless of what goes on under or around him. The rest of the poem is written in the first person, but Pushkin is referring to all of humanity and its shared journey rather than an individual. Mankind is eager to get on with their journey and doesn’t want to waste any time. In m. 13, instead of the one bar piano interlude of rhythmic eighth note octaves, Medtner writes a rhythmic 16th note descending flourish. From this point onwards 16th notes become much more prevalent, underscoring the relentlessness and inevitability of the cart. Measure 15 translates to “We shout: ‘Go on all three!’” (addressing the horses), however Pushkin’s original translates quite directly to “We cry: move it ‘motherfucker!’,” and then later softened slightly to “We yell, ‘Get going, for fuck’s sake!’” One of the reasons for Pushkin’s vulgarity is to juxtapose this line with the word “лень” in m. 14. This word is very difficult to translate to English. In his Onegin commentary, Vlatamir Nabokov wrote: Nega, with its emphasis on otiose euphoria and associations with softness, luxuriousness, tenderness is not exactly synonymous with sladostrastie "sweet passion" or volupté "volupty" where the erotic element predominates. In using nega, Pushkin and his constellation Figure 21. Mm. 7-8 of The Cart of Life 44 were trying to render the French poetical formulas paresse voluptueuse, mollesse, molles délices, etc. which the English Arcadians had already turned into "soft delights."62 This may seem like more information than necessary for performing this song, but it is important in highlighting the nuance and complexity of Pushkin’s poetry that an English translation doesn’t give us. There is a deliberate reason for Pushkin’s uses of crude language and vulgarity. Despite using the censored version, Medtner acknowledges the intention in the second beat of m. 14 by writing an upwards rising chromatic line on “лень,” whereas before he had just 62 Alexander Pushkin. Eugene Onegin. Translated by Evgeny Nabokov. (New Jersey: Princeton University Press, 1990), 87. Figure 22. Mm. 13-16 of The Cart of Life 45 used repeated notes. He also marks “risoluto” and a crescendo to an upwards leap on the vulgar exclamation on the second beat of m. 15, before coming to a forte cadence. The poem shifts to mid day, and the music makes its first noticeable change in tone. Medtner marks “tenebroso” (“darkly”) while reminding us to not lose tempo, and the left hand of the piano plays a melody resembling the opening vocal line while the right hand has an ascending chromatic 16th note figure. It still feels quite rhythmic, but it has lost a little bit of its bite. This agrees with the vocal line in m. 17: “… we fear the curves and dread the ditches.” The rising chromatics give the music a threatening feel and imply a sense of foreboding. In the beginning of the 2nd beat in m. 22 the passengers of the cart shout to the coachmaster (Time): “Take it easy, fool!” The offbeat syncopations in the piano part under this exclamation drives us forward over the rough cart path into the dynamic climax of the piece at m. 23. This is the only fortissimo in the song, with “strepitoso” marked shortly after. The bumpy cart ride gives way into evening still travelling at the same pace, but now much smoother and more subdued. Figure 23. Mm. 17-18 of The Cart of Life 46 Cascading harmonies ease the tension before the vocal line enters in m. 29 with the figure from m. 3, except this time the note values are doubled for the first two bars. This portrays the more relaxed pace of evening and weariness of the travellers who have perhaps by now accepted their fate: “…we are accustomed to it.” At m. 33 the left and right hands of the piano play in alternating 16th notes and chords which contributes to a feeling of continuous motion without rest, before the opening piano motive returns once more along with the augmented vocal line: “we sit and doze…” This time the following melisma is also augmented in m. 37 and m. 38 on the word “stay” over the alternating 16th notes in the piano, as if searching for a place for rest. Figure 24. Mm. 22-24 of The Cart of Life 47 The time signature changes to a highly unusual 3/1 in m. 39 and the vocal line continues to drag out and wind down as the murmuring in the piano descends lower and lower in register. On the last vocal note there begins a chromatic sequence of 16th notes that are rhythmically juxtaposed against the slower quarters and half notes of the bass register before whisking away into nothing. Compare the next two figures with the melody from m. 3 (Figure 20). They show how Medtner slows down the vocal line while keeping the pulse in the piano the same. Figure 25. Mm. 29-32 of the Cart of Life 48 Like “Elegy,” Op. 45, No.1, the piano postlude removes us from this earth as it sinks lower and lower into a murmur on the piano. The final two chords are reminiscent of Schubert’s Erlking – “war tot” – and it is difficult to imagine this was not intentional as it is in the same key and registration and has the same thematic meaning. Those travelling on the cart of life have Figure 26. Mm. 35-39 of The Cart of Life 49 passed on, as do all who live in this world. In the beginning of our life, we are eager and impatient, and are always looking forward to the next thing. There comes a point where life begins to pass us by, and we feel that we are travelling too fast to accomplish all the things we want to do. Near the end of our life there is often an acceptance, an understanding that our journey is coming to an end as we drift off and leave this life. This is the Cart of Life. Figure 27. The end of The Cart of Life Figure 28. The end of Erlkonig, D. 238, by Franz Schubert 50 “Night Song” Op. 45, No. 3, Tyutchev Around the globe the mighty seas extend, so thus is life engulfed in seas of dreaming. The night comes on, imagination teeming, the flooding tides of life ascend. Night calls us forth, with voice insistent urging, the magic bark is waiting at the shore; on somber waves, with swelling tide up-surging, the great unknown our dreams explore. The vast abyss, the firmament unbounded, with myriad stars reflected in its face, looks up to where we float, our bark surrounded by boundless void of flaming space. This poem by Tyutchev is the most descriptive and metaphorical of the set, describing our nightly dreams as a vast expansive ocean. Because of the abstract nature of the poetry, there is at times a large discrepancy between the original and the English poetic translation. Therefore, I created and refer to a word-by-word translation in my analysis, which differs slightly from Alfred Swan’s translation. Medtner sets it in the unusual key of C sharp major. In the piano introduction, Medtner sets the right-hand melody in duples over a quasi-waltz pattern of triplets in the left hand. There is an expansiveness that is meant to parallel the poem’s subject matter, but at the end of the introduction an agitation and unsettled feeling creeps in. 51 The voice enters and takes over the duple melody that was in the piano introduction, while the piano plays pulsating triplet chords underneath. This results in the ideal affect for the opening line which describes this ocean of dreams enveloping all earthly life. Figure 29. Mm. 1-8 of Night Song, Op. 45, No. 3 Figure 30. Mm. 9-11 of Night Song 52 In the next line in m. 14 the poem describes the “resounding waves” of the ocean while the piano introduces 16th notes, and Medtner marks “piu mosso” followed shortly after by “agitato.” These 16th notes are one of the many ways in this song that Medtner achieves the feeling of waves in the piano, which increases the urgency in the music to mirror the poem. Throughout this song I highlight the different techniques that Medtner uses to create a feeling of waves. Figure 31. Mm. 14-17 of Night Song 53 Medtner then slows down into the opening “largamente” tempo as night’s voice “urges” and “calls us forth” in mm. 19 and 20, and sets a yearning melody doubled in the piano to depict this, along with a marking of “languido.” Now that we have given in to night’s call, we start off on our journey with a marking of “piu mosso” in m. 21. The piano part is in straight 16th notes giving the waves a different feeling than before, propelling us forward. Gone are the eight notes holding us back. We reach the line: “The tide rises and quickly carries us into the immeasurability of dark waves,” which Medtner depicts with a “sempre piu agitato (accelerando e crescendo),” followed by “agitato,” and then again at the end with “sempre piu mosso.” Medtner sets the climax of this Figure 32. Mm. 18-20 of Night Song Figure 33. Mm. 21-22 of Night Song 54 section at the “immeasurability of dark waves” beginning in the pickup to m. 27. The waves in the piano have evolved into a thundering roar, with a chromatically descending vocal line above a sequence of clashing 7th chords. Like in “The Cart of Life” we are not in control of our journey, however instead of the pulsing rhythmic regularity of the cart there is a wild unpredictability and danger to these waves. There is a brief pause before Medtner sets an upward rising cry to a G sharp in the vocal line, which is held for 9 measures. There are no words in this part, Medtner is once again using vocalization to convey a specific type of emotion, perhaps wonderment or terror. The piano part has a quasi-cadenza underneath with repeating one-measure figures that rise upwards, while continuing to accelerate. Figure 34. Mm. 25-30 of Night Song 55 In the following piano interlude Medtner imparts the feeling of overlapping waves with the two hands in different rhythms. In m. 37 he specifically mentions that the pianist should accelerate to three times the speed as compared to the previous section, meaning that an entire bar in the new tempo is equal to a quarter note from the previous tempo. He then has the left-hand play in quarters, creating a hemiola. The voice unexpectedly joins with the theme from the very beginning of the song. In m. 47 we return to the original tempo and Medtner marks that the dotted half note now equals the quarter note. When the tempo changes back, the previous quarter notes have the same pulse as the triplet eighth notes in the new tempo, resulting in no perceptible change in meter or tempo in the vocal line. We were swept up in our journey, and we feel our momentum surge us forward even though we are no faster than the opening vocal line. Figure 35. Mm. 31-34 of Night Song 56 Figure 36. Mm. 35-48 of Night Song 57 The next three bars are musically the same as the opening phrase, save for a couple of small differences in the vocal line to account for differences in the poetry. The music deviates at the words “…mysteriously from the depths” beginning in m. 49. We move through an upwards chromatic sequence before arriving at a deceptive cadence in B minor in m. 53. The rolling arpeggios in the piano depict much deeper and waves than before, like one might see in the open ocean. They get more agitated as Medtner marks “poco a poco appassionato.” This begins the drive to the final climax, which arrives in an expansive blaze of glory. As we push forward, the vocal line rides over top of the turmoil in the piano. On the word “abyss” in m. 59 the piano line has descending arpeggios of chromatic and dissonant harmonies, before arriving in m. 63 with a much more definite and straightforward harmonic structure. The text Figure 37. Mm. 52-56 of Night Song 58 reads “from all sides surrounded” (referring to the blazing abyss), and this is when Medtner finally allows us to broaden with an “allargando.” The arpeggios have ceased, for we are no longer in or on water. We have moved on to something/somewhere far greater, in the distant realms of our imagination. The rhythmic dissonance of triplet chords against duples returns in m. 60 and propels us to what we expect to be a final C sharp major chord in m. 62. However, Medtner instead arrives at an A in the vocal line over a C sharp augmented chord, which resolves to C sharp major on beat 2 before an unexpected dominant of D on beat 3 takes us into the downbeat, and the harmonic progression continues. The tumultuous piano postlude brings the final line of poetry to Figure 38. Mm. 59-60 of Night Song 59 life by surrounding us in waves as harmonies pass by at increasing speed and finishes in a fiery series of thundering octaves that bring us to a glorious and unmistakable C sharp major conclusion. Figure 39. Mm. 63-69 of Night Song 60 “Our Age” Op. 45, No. 4, Tyutchev ‘Tis not our flesh nowdays that is weak; the soul is soft, man desperately yearning. He craves the light and for the light would seek, but finding it, rejects it undiscerning His lack of faith has scorched and dried his soul; unending woe he bears in desolation. He senses doom with faith the longed-for goal, for which he will not pray in supplication. And never will he say, in prayers and tears, no matter how he mourns outside the portal: “I do believe, O help my faith in Thee to open wide the gate to life immortal! O let me in!” This poem by Tyutchev titled “Our Age” is about how man rejects faith, even when he needs it most. Medtner’s dramatic setting brings an immediacy to the text and highlights the desperation of mankind. The singer begins humming over a chorale-like series of chords in the piano. As mentioned previously, Medtner’s use of vocalise in his songs was always a deliberate attempt to convey the text and intention of the poetry, and here Medtner uses it to emphasize the fact that mankind is silent and won’t utter the words that they need to be saved. Figure 40. Mm. 1-7 of Our Age, Op. 45, No. 4 61 The majority of the song has a 2 against 3 rhythm in the piano, with the voice also in duples. The first line is sung as if a declaration, ending with “…desperately yearning” in mm. 27 and 28. The short piano at m. 29 interlude softens the intensity, and we can feel a sense of yearning for something as the pitch rises but doesn’t find stable ground before falling back down. The piano drops down at the beginning of the next sentence but the 2 against 3 rhythm builds the tension back up. We end up at an E major chord (the unexpected tonic major) on the word “light” in m. 36, before moving past it and descending into a longer piano interlude. Medtner illustrates the text perfectly with this line by moving through harmonies rapidly before unexpectedly arriving at E major, which is the light we have been seeking. However, in m. 40 we move past it and descend into a muddle of half-diminished 7th chords with the melody being Figure 41. Mm. 23-34 of Our Age 62 passed off between the voices, representing mankind rejecting the “light” of a stable harmonic foundation. The next verse of poetry portrays the despair and desolation of the soul without the faith man needs. Once again, the piano starts quietly and slowly builds up throughout, still using the 2 against 3 rhythm. However, this time in m. 48 the duplets in the right hand feel displaced and are often missing the downbeat, while the left hand also misses some of the triplets that are on the beat. This leads to an ungrounded and rhythmically unsettled feeling, as we aren’t quite sure where the beat is or where we are going. Medtner is showing us that something is missing, something we need to feel grounded. Figure 42. Mm. 35 to 45 of Our Age 63 At the end of this line, Medtner reaches a dynamic and rhythmically uncertain climax in m. 59, and the line “…for which he will not pray in supplication” comes across almost bitterly. Perhaps here Medtner is letting his own personal feelings come through. The piano drops down again in intensity before the next verse, and this time the left-hand harmonies cover two bars, instead of the one, or even half a bar in the earlier sections. Figure 43. Mm. 47 to 56 of Our Age Figure 44. Mm. 57-61 of Our Age 64 Beginning in m. 67 there is a continual ascending feeling in the duple chords in the right hand, as if trying to reach up to the “portal” (referring to heavens gates). Despite often focusing on connecting the music and text with a largescale and broad approach, Medtner also uses some subtle word painting: on the word “prayers” beginning in m. 69, the melody outlines a consonant G major chord, and right in on the word “tears” beginning on m. 72, he uses a diminished 7th interval. From the last line of this poetry, one can assume that Tyutchev intended to paint a picture of despair at the stubbornness and ignorance of man, and not one of hope. There are no happy endings here. However, I don’t believe Medtner felt the same way, or at least he decided not to portray it that way. There is a distinct shift in the feel of the music beginning with man pleading “…I do believe…” in m. 83. The rhythm and texture stay the same, but the modulating chromatic harmonies are gone. We begin building over a left-hand ostinato that broadens and Figure 45. Mm. 67-74 of Our Age 65 builds into something grand and wonderous, and in m. 87 for the first time in the whole song the piano starts to double the voice. Perhaps mankind is beginning to find what they have been searching for. However, we take an unexpected turn back into E minor in m. 90 before the voice cuts out and the piano once more feels off centered by half a beat as it barrels forward, longing and yearning for something that it can’t quite grasp. Figure 46. Mm. 84-89 of Our Age Figure 47. Mm. 90-94 of Our Age 66 The repeated iv7 to I chord progression from mm. 99 to 102 becomes more insistent, taking on the image of one insistently beating on the gates, before dramatically giving way to the opening E minor chorale theme in the piano. This time however, instead of humming, the voice sings a fortissimo “O let me in!” What was once mute before has found its voice. For the poet Tyutchev, it seems that man’s stubbornness and pride keep him from speaking these words. However, as Medtner winds down the song he ends with an unexpectedly hopeful E major chord, perhaps signifying his belief that even in our final moments it is never too late to turn to God. Figure 48. Mm. 99-102 of Our Age 67 Figure 49. Mm. 103-116 of Our Age 68 Conclusion Mark Andre Hamelin said, “I think one of the reasons that Medtner hasn’t had a chance is that his music needs very, very committed performances. If you play his works passively, the juice is not going to come out.”63 In order to have a committed performance one must be able to connect with the intentions of the composer and express what they were trying to express, otherwise one will be at odds with the music. Exploring Medtner’s understanding of the poetry he set, his use of dissonance and rhythmic complexity, and other nuances and details are integral to a committed performance. This thesis is meant to aid performers in intimately connecting to Medtner’s art songs, leading to comprehensive performances. Sometimes when one reads musical analysis, one may wonder, “Did the composer really think that, or is this an over-analysis of every little detail and imbuing things that aren’t actually there?” This is a fair thought to have and is sometimes the case. However, with Medtner, the danger of over-analysis is much less relevant. The amount of detail he put in his scores, the seriousness with which he took his craft, and the way he defended it so vigorously when it came under attack tells me that I am just scratching the surface of what Medtner intended. Rather than starting from the music, my aim is to approach his songs using the poetry as the origin, since that was Medtner’s origin. Any other method will not be as comprehensive. Once the singer and the pianist tackle and understand the details of the poetry together, the complexities melt away and they are left with a whole, rather than fragments. 63 Marc-Andre Hamelin, “Nikolai Medtner: Chetyre Skazki, Op. 26, Nos. 1 and 2; Dve Skazki, Op. 20, No. 1” Program notes for Dasol Kim, January 26th, 2020, Lincoln Hall, Portland. 69 The best way to get Medtner’s songs recognized and performed as part of the art song canon, aside from playing them, is to discuss and write about them. For numerous other composers, there are many books that analyze their songs in detail, no matter how simple they may be. How can we expect Medtner to compete with that? There is very little in the way of research and analysis in support of his songs, and it is his songs that needs it most. My hope is that Medtner will be recognized for the superb composer that he was. I believe this will be beneficial to future pianists and singers alike as a guide for approaching these songs. His music demands careful attention and thought, but gives great rewards to those who invest in it. 70 Bibliography Alexander, Arthur. “Nicholas Medtner: An Appreciation.” Tempo no. 22 (1951): 3–27. www.jstor.org/stable/943070 Boyd, Malcom, “Medtner and the Muse.” The Musical Times 121, no. 1643 (Jan. 1980): 22-25. https://www.jstor.org/stable/963190 Boyd, Malcolm. "The Songs of Nicolas Medtner." Music & Letters 46, no. 1 (1965): 16-22. http://www.jstor.org/stable/731919 Drinker, Henry S. English Texts for the songs of Nicholas Medtner. New York: Drinker, 1946. Foreman, A. Z. 2013. “Pushkin: The Wagon of Life.” Poems found in translation. http://poemsintranslation.blogspot.com/2013/07/pushkin-wagon-of-life-from-russian.html Hamelin, Marc-Andre. “Nikolai Medtner: Chetyre Skazki, Op. 26, Nos. 1 and 2; Dve Skazki, Op. 20, No. 1.” Program notes for Dasol Kim, January 26th, 2020, Lincoln Hall, Portland. https://static1.squarespace.com/static/512e3a17e4b0ce2f8a7dbf1b/t/60ff0744cbcfb15bdfbcd10e/1627326283091/Dasol+Kim+Program.pdf Holt, Richard. Nicolas Medtner: A Tribute to His Art and Personality. London: Dennis Dobson, 1955. Kalendarev, Natalya. “Medtner; His Beliefs, Influences and Work.” Doctoral diss., University of Washington, 2005. Kelly, Tenence. “The Songs of Nikolai Medtner.” Doctoral diss., University of Maryland, 1988 Liebeskind, Daniel J. "In Support of Nikolai Medtner: An Examination of Five of his Art Songs." Doctoral diss., Louisiana State University, 2017. https://digitalcommons.lsu.edu/gradschool_dissertations/4368 71 Martyn, Barrie. Nicholas Medtner: His Life and Music. London: Routledge, 1996. Medtner, Nikolai. The Muse and the Fashion: Being a Defense of the Foundations of the Art of Music. Translated by Alfred J. Swan. Haverford: Haverford College Bookstore, 1951 Milne, Hamish. “Medtner and the Muse.” Inaugural Lecture to the University of London, 2003, University of London. Lecture. Newman, Ernest. “Medtner.” The Musical Times 56, no. 863 (Jan. 1, 1915): 9-11. http://www.jstor.org/stable/909070 Pushkin, Alexander. Eugene Onegin. Translated by Evgeny Nabokov. New Jersey: Princeton University Press, 1990. Riana, Vermaak. “The Muse and the Fashion: A comparative Study of Goethe Settings by Medtner and Schubert.” Doctoral diss., University of Alberta, 2007. Rimm, Robert. “Medtner and Rachmaninov: Romantic Compatriots.” In Composer Pianists: Hamelin and the Eight. Portland: Amadeus Press, 2002. Rudell, Denise. “The Influence of Romantic Poetry on The Career And Music Of Nicholas Medtner.” Doctoral diss., University of South Carolina, 2016. https://scholarcommons.sc.edu/etd/3814 Sabaneev, Leonid. Modern Russian Composers. Freeport, N.Y.: Books for Libraries Press, 1967. Swan, Nicholas. English Texts for the Songs of Nicholas Medtner. Haverford: Haverford College Bookstore, 1951. Wachtel, Michael. The Cambridge Introduction to Russian Poetry. Cambridge: Cambridge University Press, 2004.
Thesis/Dissertation
eng
Music - Piano
Vancouver : University of British Columbia Library
Attribution-NonCommercial-NoDerivatives 4.0 International
Graduate
Anderson, Mark, 1963-
Hermiston, Nancy
The art songs of Nikolai Medtner
Text
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