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Boris Berezovsky|Nikolaï Medtner : Contes & Poèmes

Nikolaï Medtner : Contes & Poèmes

Boris Berezovsky - Yana Ivanilova - Vassily Savenko

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Russian composer and pianist Nikolay Medtner was of German background, was fluent in both Russian and German, and combined aspects of each musical tradition in music that was, by the standards of the early twentieth century, conservative, but without ever resorting to comfortable simplicities. Of Prokofiev, who helped him out on occasion, he said, "It is impossible for me to accept his music as art, or even as talent." The contemporary who admired him most was the supreme late Russian Romantic, Sergey Rachmaninov, and his pianism was nearly on a par with that of that towering figure. The curious billing on the album, with the name of pianist Boris Berezovsky in large print flanked by the smaller names of the singers, is fully justified by the major role played by the piano even in the vocal works recorded here. The Germanic side of Medtner's musical personality manifests itself in contrapuntal density, and the piano goes beyond accompaniment, even beyond equal partnership with the singer. These songs, mostly in Russian with a few in German, offer a good introduction to his style. The singers here, who are even pictured in an unusual soft focus, in the booklet photos, keep the volume down and the focus on the thick currents of Berezovsky's playing. Interspersed among the songs are piano pieces called Skazki, which literally means "tales," although the music is evocative rather than specifically programmatic (except in the Lisztia Campanella [Bells] from the Two Stories, Op. 20, track 25). Several are formidably difficult technically, but Berezovsky brings to them not only confidence but also flair. Medtner's music bristles with complexities that have denied him wide popularity, but people who get a grip on him tend to turn into confirmed fans. Both the mixture of pieces and the perforamances here are suited to the job of making new converts. All song texts, whatever their original languages, appear in German, English, French, and Russian, but the booklet notes lack the last of these.
© TiVo

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Nikolaï Medtner : Contes & Poèmes

Boris Berezovsky

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1
Mélodie n°2 en mi mineur : Ya perejil svoï jelan’ia… (A. Pouchkine)
Vassily Savenko
00:02:04

Vassily Savenko, basse - Boris Berezovsky, piano

2
Conte n°2 en mi mineur
Boris Berezovsky
00:02:13

Boris Berezovsky, piano

3
Mélodie n°4 en mi bémol majeur : Kon’ (A. Pouchkine)
Vassily Savenko
00:02:14

Vassily Savenko, basse - Boris Berezovsky, piano

4
Conte russe. Conte n°1 en fa mineur
Boris Berezovsky
00:06:23

Boris Berezovsky, piano

5
Poème n°2 en fa dièse mineur : Chto ty klonich nad vodami (F. Tioutchev)
Yana Ivanilova
00:01:12

Yana Ivanilova, soprano - Boris Berezovsky, piano

6
Mélodie n°2 en sol mineur : Voron
Yana Ivanilova
00:02:07

Yana Ivanilova, soprano - Boris Berezovsky, piano

7
Poème n°5 en mi bémol majeur : Vesenneïe uskopoïénié (J.L. Uhland / F. Tioutchev)
Vassily Savenko
00:02:06

Vassily Savenko, basse - Boris Berezovsky, piano

8
Conte n°2 en mi mineur : La Marche du Paladin
Boris Berezovsky
00:03:36

Boris Berezovsky, piano

9
Conte n°1 en mi mineur : Chanson d’Ophélie
Boris Berezovsky
00:03:41

Boris Berezovsky, piano

10
Conte n°4 en do dièse mineur
Boris Berezovsky
00:03:13

Boris Berezovsky, piano

11
Conte n°2 en sol mineur : Conte de la Danse
Boris Berezovsky
00:02:50

Boris Berezovsky, piano

12
Mélodie n°3 en fa dièse mineur : Elfengesang
Yana Ivanilova
00:01:35

Yana Ivanilova, soprano - Boris Berezovsky, piano

13
Mélodie n°1 en si bémol mineur : Lieb’ Liebchen…
Vassily Savenko
00:00:55

Vassily Savenko, basse - Boris Berezovsky, piano

14
Mélodie n°5 en mi bémol majeur : Liebliches Kind…
Vassily Savenko
00:02:00

Vassily Savenko, basse - Boris Berezovsky, piano

15
Poème n°1 en mi bémol majeur : Den i notch (F. Tioutchev)
Yana Ivanilova
00:02:13

Yana Ivanilova, soprano - Boris Berezovsky, piano

16
Mélodie n°1 en fa mineur : U vrat obiteli sviatoï… (M. Lermontov)
Vassily Savenko
00:02:40

Vassily Savenko, basse - Boris Berezovsky, piano

17
Poème n°4 en fa mineur : Soumerki (F. Tioutchev)
Yana Ivanilova
00:02:49

Yana Ivanilova, soprano - Boris Berezovsky, piano

18
Poème n°7 en sol bémol majeur : Chopot, robkoïé dykhan’ié (A. Fet)
Vassily Savenko
00:01:43

Vassily Savenko, basse - Boris Berezovsky, piano

19
Mélodie n°2 en mi mineur : Tsvetok
Yana Ivanilova
00:02:40

Yana Ivanilova, soprano - Boris Berezovsky, piano

20
Poème n°4 en fa mineur : Davno l' pod volchebnye zvouki… (A. Fet)
Yana Ivanilova
00:02:44

Yana Ivanilova, soprano - Boris Berezovsky, piano

21
Conte n°2 en mi bémol majeur
Boris Berezovsky
00:01:20

Boris Berezovsky, piano

22
Poème n°1 en mi bémol mineur : Bessonnitsa (F. Tioutchev)
Yana Ivanilova
00:05:09

Yana Ivanilova, soprano - Boris Berezovsky, piano

23
Mélodie n°7 en do mineur : Zaklinanié (A. Pouchkine)
Vassily Savenko
00:02:55

Vassily Savenko, basse - Boris Berezovsky, piano

24
Mélodie n°1 en fa mineur : Zimni vetcher (A. Pouchkine)
Vassily Savenko
00:03:27

Vassily Savenko, basse - Boris Berezovsky, piano

25
Conte n°2 en si mineur : Campanella
Boris Berezovsky
00:03:12

Boris Berezovsky, piano

Approfondimenti

Russian composer and pianist Nikolay Medtner was of German background, was fluent in both Russian and German, and combined aspects of each musical tradition in music that was, by the standards of the early twentieth century, conservative, but without ever resorting to comfortable simplicities. Of Prokofiev, who helped him out on occasion, he said, "It is impossible for me to accept his music as art, or even as talent." The contemporary who admired him most was the supreme late Russian Romantic, Sergey Rachmaninov, and his pianism was nearly on a par with that of that towering figure. The curious billing on the album, with the name of pianist Boris Berezovsky in large print flanked by the smaller names of the singers, is fully justified by the major role played by the piano even in the vocal works recorded here. The Germanic side of Medtner's musical personality manifests itself in contrapuntal density, and the piano goes beyond accompaniment, even beyond equal partnership with the singer. These songs, mostly in Russian with a few in German, offer a good introduction to his style. The singers here, who are even pictured in an unusual soft focus, in the booklet photos, keep the volume down and the focus on the thick currents of Berezovsky's playing. Interspersed among the songs are piano pieces called Skazki, which literally means "tales," although the music is evocative rather than specifically programmatic (except in the Lisztia Campanella [Bells] from the Two Stories, Op. 20, track 25). Several are formidably difficult technically, but Berezovsky brings to them not only confidence but also flair. Medtner's music bristles with complexities that have denied him wide popularity, but people who get a grip on him tend to turn into confirmed fans. Both the mixture of pieces and the perforamances here are suited to the job of making new converts. All song texts, whatever their original languages, appear in German, English, French, and Russian, but the booklet notes lack the last of these.
© TiVo

Dettagli della registrazione originale : Enregistrement réalisé en décembre 2007 au Studio Flagey à Bruxelles

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