Composer

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Nikolay Medtner

Genre

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Keyboard

Style

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Sonata

Average_duration

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15:06

Nikolay Medtner's Sonata-Reminiscenza for piano in A minor, Op. 38/1, was composed in 1918 and premiered in Moscow in the same year. The sonata is comprised of three movements and has a total duration of approximately 25 minutes. The first movement, marked "Con espressione," begins with a melancholic and introspective theme in the left hand, which is then taken up by the right hand in a more virtuosic and passionate manner. The movement is characterized by its use of chromaticism and frequent modulations, which create a sense of restlessness and unease. The middle section of the movement features a more lyrical and tender theme, which is then developed and transformed in various ways before the return of the opening material. The second movement, marked "Interludium: Allegro," is a scherzo-like piece that provides a contrast to the introspective mood of the first movement. The movement is characterized by its playful and whimsical character, with rapid figurations and sudden shifts in dynamics. The middle section of the movement features a more lyrical and expressive theme, which is then developed and transformed in various ways before the return of the opening material. The final movement, marked "Finale: Allegro molto," is a virtuosic and energetic piece that brings the sonata to a thrilling conclusion. The movement is characterized by its use of rapid arpeggios and cascading runs, which create a sense of momentum and excitement. The middle section of the movement features a more lyrical and expressive theme, which is then developed and transformed in various ways before the return of the opening material. Overall, Medtner's Sonata-Reminiscenza is a deeply expressive and introspective work that showcases the composer's unique style and approach to piano writing. The sonata is characterized by its use of chromaticism, frequent modulations, and lyrical themes, which are developed and transformed in various ways throughout the work.

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