Lately I have been enjoying some chamber music. Commuting to school or work in Santa Barbara rarely takes longer than 15 minutes, which is the perfect amount of time to listen to a favorite movement from an old standby or incrementally explore a new find.
Most recently the Piano Quintet in C Major of Nikolai Medtner has become something of an obsession. Even as I write this post there are fragments of melody spinning around in my head. I have been working my way through various piano quintets (for those unfamiliar, an ensemble usually involving piano + string quartet (2 violins, viola, and cello)). Perhaps in a later post I will share some thoughts on works by Schumann, Schubert, Shostakovich (hmm... I seem to be on a [sh] kick), Stanford, and Franck.
The Medtner stands out to me from these other examples because of his bold use of textures and colors. He has some very nice melodies (again, they are earworming my brain pretty strong right now), and I'm aware of some canonic or contrapuntal techniques, but the real interest lies in his textures, and especially in how he juxtaposes different sections.
Take a listen to the first minute of movement 1 below:
From the very first moments, the deep, arpeggiating piano punctuated by pizzicato strings has a striking effect. The oscillating harmony over a drone during this section has a modal quality that would make me want to use words like "epic" or "exotic" if my musicologist oath didn't prevent me. And just about when you get used to the sound, something different pops up: a descending figure in the piano, floating Zeus-like down on a cloudy bed of wavering strings. (To be fair, it is perhaps less Zeus-like than I thought a minute ago... If pressed, I think I'd change that to an Iris-like descent, the Greek rainbow goddess. Yeah, that fits. Nailed it! #hermeneutics)
After that interesting introduction (which comes back later, like at 6:44 and after, giving Iris a much more important role in the entire piece) the first real melody is passed around between some strings, building, subsiding, doing what a late-Romantic piece of music ought to. Then around 0:44 there is a sudden shift in harmony and the wavering strings come back in a moment that sounds like a fragment of a film score. The instruments seem unperturbed by this gravitational shift, and the piano takes up the opening melody.
Keep listening to that first movement and notice the constant shifts, especially those where the piano or strings or both lapse into shimmering filagree.
I want to highlight one more moment where the cool and calm of the piece is disrupted by a moment of utter perturbation and how the instruments find their way out of the problem. Start around 4:30 where an ecstatic and energetic chorale puts the piece in the height of self-possession. The melody starts to evaporate, flickering out with a tremolo until you are left in a rather uncomfortable silence at 4:57. The strings try to feel their way in the aural dark by striking some pizzicato matches. (It worked before in the introduction!) But this effort only rouses the piano, which strikes out in brutal gestures from the low register! The strings, giddy with fear, echo back the piano's declamation. It's hard to imagine how the music will recover from this derailment.
And then, BAM! a piercing shaft of light at 5:30! It's a brilliant moment of ornamental energy, completely shifting the harmony, reigniting the instrumentalists' focus, and returning to them their sense of unity as each take their place and set out anew. From there its pretty smooth sailing through glorious melodies until the pizzicato-punctuated ending.
Very nice piece. I especially love "Musica Viva's" rendition here. Check out the other two movements when you have the time. Or take a 25 minute commute somewhere (down to Ventura to visit either of their two Target locations, perhaps?) and hear all three.