This is the first recording on commercial CD of the Latvian
Jānis Mediņš’ cycle of 24 short and succinct Preludes.
He has winning ways, as these estimable, dramatic, poetic and
touching pieces, written across four decades, go to prove.
Mediņš came of a very musical family. His brothers Jāzeps (1877-1947) and Jēkabs(1885-1971) were also composers. He studied
the violin, cello and piano in what was later termed the First
Riga Musical Institute. Much of his adult life was spent in
Sweden where he majored on chamber music. There are however
quite a few other works. If you are feeling adventurous after
this CD try the Piano Concerto (1932) and Violin Sonata No.
2 on YouTube.
The romantic tenor of Mediņš’ music is never in doubt in
these Preludes. Think Rachmaninov with a folk accent and with
the occasional foray into the complexities of Chopin and Medtner.
There are some similarities also with the Heino Eller’s piano
music as recorded by Sten Lassmann across two volumes by Toccata
(review)
and by Vardo Rumessen on Pro Piano (review).
These Dainas merit being counted in the same company as the
preludes by York Bowen (Chandos played by Joop Celis) and the
Skazki of Medtner (Hamish Milne on Hyperion CDA67491/2).
The Daina is a Latvian folk form. You can hear that rustic skirl
in the euphuistic and muscular bell tones of No. 4. Contrast
that with the Chopin-like feminine grace of No. 6 and the increasingly
swirling passion of No. 10. The latter recalls the sound signature
of John Ireland. The crepuscular No. 11 has a murmurous and
lullingly dreamy character; likewise No. 14 with its fragile
harmonies let loose on a world touched lightly with MacDowell’s
salon sentiment. No. 12 euphorically asserts its confidence.
There are strong DNA traces of Rachmaninov here – the exultant
peaks of the Piano Concertos 2 and 3. No. 15 starts simply but
rapidly and naturally evolves into something complex and equivocal.
No. 18 is something of a brown study –Bachian in its character,
though struck through with tragedy. Move on then to No. 19 with
its fast cascading coruscation of notes. Not for the first time
we encounter a deep Housman-style pool with the observer drawn
into its inky emotional maelstrom (No. 21). No. 22 with its
gawky corpse-bride, stalking angularity sounds like an escapee
from Tim Burton. No. 23 takes us back close to the world of
No. 14 with a slowly welling and almost Graingerian sentimentality.
The last Daina is rapturously swirled and belled out.
Jonathan Powell who provides the usual exemplary encyclopaedic
notes for Toccata (9pp, English only) is familiar with the obscure
Russian and Baltic repertoire. He has been an active advocate
at the piano of Blumenfeld, Feinberg and Goldenweiser. Goldenweiser
he has recorded for Toccata.
We should now watch the skies for Toccata’s collection of the
piano music of Konstantin Eiges (1875-1950) - a friend of both
Rachmaninov and Medtner. After that perhaps Martin Anderson
can be persuaded to tackle the solo piano music of Derbyshire
Rachmaninov enthusiast Roger Sacheverell Coke.
For the present, admirers of Rachmaninov, Medtner and Bortkiewicz
can revel in this estimable, dramatic, grandly poetic, touching
and never garrulous music.
Rob Barnett
Full Track-List
1 Daina No. 1 3:56
2 Daina No. 2 3:05
3 Daina No. 3 1:41
4 Daina No. 4 2:36
5 Daina No. 5 2:13
6 Daina No. 6 2:38
7 Daina No. 7 4:39
8 Daina No. 8 2:50
9 Daina No. 9 4:23
10 Daina No. 10 3:47
11 Daina No. 11 2:20
12 Daina No. 12 2:39
13 Daina No. 13 3:30
14 Daina No. 14 2:45
15 Daina No. 15 2:10
16 Daina No. 16 2:50
17 Daina No. 17 3:59
18 Daina No. 18 3:20
19 Daina No. 19 2:07
20 Daina No. 20 3:03
21 Daina No. 21 2:34
22 Daina No. 22 2:35
23 Daina No. 23 3:50
24 Daina No. 24 2:57
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Jonathan Powell (piano)