Medtner's Skazka in f minor Op.26 #3 (on my recital in three days) and Mendelssohn's Song Without Words Op.30 #3 in E major "Consolation" recorded for one of my students who's playing it. Who assigned those titles anyway, many of them are quite dumb. When I last played this I was 13 or 14. Looked through the whole Lieder Ohne Worte, many of them are quite good and somewhat neglected; perhaps I'll record some others once the semester's over.
The Medtner has some sloppy moments notably the LH B7 arpeggios and the concluding "cadenza" but I think this captured the spirit of the piece. Hope you enjoy it.
Idylle will be coming very soon...
Woohoo! Mo' Medtner! I've been working on this piece too (lovely) and since you mention it's about to be performed, I'll give relatively detailed comments.
The exposition is very nicely set out. (Suggestion: try pedaling it just about twice as often as you do. I've been doing this and find it better suits the harmonic rhythm.) After it's done, I hear a noticeable tempo shift. Is that in the score and I don't remember it? Or maybe I'm not hearing it right. Either way, it's a bit unnerving to hear. Same with the staccato on the RH chords in the "bridge". But really the most important spot to concentrate on is the denouement of the harmonically unmoored arpeggios right before the theme returns -- it's the climax of the piece and should be dwelled on, slower and more forcefully, with a slight ritard just before breaking off abruptly (all IMO, of course). I really
like how you take your sweet time before setting your hands back on the keys for the recap. The "cadenza" could use a little more boom in the sustained low F, but more important, more emphasis on the LH part, and don't get too fast too soon.
This sounds like a ridiculous amount of niggling for such a small piece, and a lot of it is merely my own interpretation, and the rest you probably already know about, so don't take it all too seriously. But maybe there's something helpful in there. I plan to record this one soon, too, so you can have your say about it.
BTW, the recap is shocking writing. The piece is in F minor but the recap starts in F# minor? And doesn't sound weird doing so?!? And then wends its way back home without sounding weird either?!?!? I love pointing this out to my musical friends and watching their jaws/eyes/brains-oozing-out-of-their-ears.