Side-note on Style
Our local Maricopa Music Circle is now planning its Winter Recital. One of the pieces violinist Zhenenyeva Ehrbright and I plan to perform is a Nocturne by Medtner. Meeting his Three Nocturnes was a total treat for me – he is the real deal.
Pianists are the ones who may know Nicolay Medtner the best. His many solo Sonatas and the Concerti are legendary for pianists who care to go just one step past the tried and true. (This was his own instrument, after all, and he writes for it so the music will always sound and also feel right under the hand.) But he’s in the shadows to the public at large, bearing the ‘stigma’ of forever being thought unfashionable. (A bit like Dukas – also an educator as well as composer, and tireless editor of his own music.)
He’s a transitional figure in Russian music (dying in England in the 1950s – !), who sounds at times hints at the harmonic formulations of Scriabin or Rachmaninoff, with touches of Mussorgsky and Tchaikovsky. But the music has soul, and an abundance of elegance and thought in the crafting, so that its shapes beautifully fulfill the length of their statement – they never natter, prolong, or bore. That’s an accomplishment.
I’m positive we pay too much attention to the “fashionable-ness” of any artwork. – If a piece or a picture is quite au courant, that seems to go a long way in how we evaluate it. Being on a current wavelength can in the moment make up for a work’s actually being thin, or rather uninspired, or just plain poor.
But the test of time is significant. Magnificent art is, in part, art that is durable. It speaks meaningfully to different audiences over various eras. The further away from the composer’s lifetime we are, the truer the test of the music: It then becomes possible to consider the work primarily on its own terms, on its individual premise, divorced from any fashion of the moment.