L. Mark Anderson

Nikolai Medtner (1880-1951), a Russian composer, is deserving of greater recognition for his music, particularly his art songs. Unfortunately, his songs have been critically neglected in the art song repertoire, both in terms of performance and scholarly research. This can be attributed to various factors, such as his uncompromising musical beliefs, high philosophical ideals, and the inherent complexity of his compositions, both in interpretation and musical demands.The purpose of this doctoral thesis is to provide performers with a gateway to approach Medtner's art songs, specifically focusing on his Op. 9 No. 1 and all four songs of Op. 45. To accomplish this, a comprehensive understanding of the composer is necessary, including his musical philosophy, beliefs, motivations, and personal relationships. Medtner's lifelong affinity for poetry serves as a starting point, which involves delving into his upbringing and interactions with others to elucidate his strong musical philosophy.The investigation then turns to Medtner's treatise, titled "The Muse and the Fashion," which provides insights into his controversial thoughts and motivations concerning music and his compositional process. By comprehending his firm musical philosophy and ideology, the subsequent analysis gains context and informs the exploration that follows. The study of these songs begins by examining the poetry and exploring how Medtner imbued meaning into his music based on his interpretation of the poems. Finally, the analysis narrows down to Op. 9 No. 1 and all four songs of Op. 45. The inclusion of the Op. 45 songs is significant, as they showcase Medtner's frequent utilization of innovative techniques with complex poetry. Conversely, Op. 9 No. 1 exemplifies his profound emotional connection with the poetry.Overall, this doctoral thesis seeks to shed light on Nikolai Medtner's underappreciated art songs and aims to provide performers with valuable insights and guidance in their interpretation and presentation of his works.

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First published in 1922 by Carl Fischer Music in New York, Alberto Jonas’ monumental seven-volume Master School of Modern Piano Playing and Virtuosity isthe most comprehensive early twentieth-century treatise on piano playing. The present study provides a survey of the rise of the piano’s popularity, evolution of piano construction, and development of piano playing technique during the nineteenth century, as well as comparative studies of preparatory exercises found in commonly used volumes during Jonas’ lifetime, namely Franz Liszt’s Technical Studies (1873), Carl Tausig’s Daily Studies (1873), and Rafael Joseffy’s School of Advanced Piano Playing (1910). This thesis illustrates how the Master School’s scope and content surpassed those found in these pre-existing works. In comparison to the aforementioned works, the distinctive qualities of the Master School include its wider range of technical exercises; its inclusion of novel skills previously unexplored in the piano repertoire; its wealth of preparatory exercises for specific repertoire, accompanied by citations of specific examples that can be employed to practice specific technique; and its inclusion of essays on more refined aspects of piano playing such as pedaling, phrasing, and rhythm. This study posits that the Master School filled the need for a single comprehensive treatise on piano playing in the early twentieth century.

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