After the 1917 Revolution, not only writers, artists, philosophers, and theatre practitioners emigrated from Russia, but also internationally renowned musicians. Among them were Sergei Rachmaninoff, Igor Stravinsky, and Nikolai Medtner.
Nikolai Medtner spent 16 years in England from 1935 to 1951, where his life ultimately came to an end. Before deciding to settle permanently in London, the composer spent four years in France—a period marked by profound happiness and close companionship with Sergei Vasilyevich Rachmaninoff, whom he held dear to his heart. Rachmaninoff frequently requested that Medtner inform his daughters of his desire to spend the summer months together as families in various regions of France. Summer residences were rented in close proximity, allowing for daily interactions.
Unfortunately, during their time in France, the Medtners fell victim to theft, leading Medtner to the realisation that the country would not become his safe haven, despite the goodwill of several musicians, such as the organist and composer Marcel Dupré, whose daughter, Marguerite, studied with Medtner for an extended period. Medtner, fortunately, never learned of another misfortune—Rachmaninoff had arranged a second U.S. tour for his friend, but the impresario misappropriated the entire fee, which had been intended to sustain Medtner and his wife for two to three years in Europe. Rachmaninoff himself covered the financial loss. Medtner dedicated his Second Piano Concerto to Rachmaninoff.
The British capital was not merely another geographical waypoint in Nikolai Medtner’s journey; during his years of enforced exile, London became his true refuge. While touring across Europe, Medtner always took great pleasure in visiting the city and was consistently moved by the sincerity and warmth of its audiences. Unlike his earlier years of displacement, his final fifteen years in England were not only prolonged but also marked by a sense of permanence.
When he was compelled to leave the Soviet Union, Medtner had not anticipated that he would soon part with his homeland forever. Like many émigrés of his time, he initially believed he was merely waiting out a period of political turmoil while preserving his ability to compose and perform. Regular performances with substantial programs were essential to him. He disliked concert programs composed solely of previously performed works, even those beloved by audiences, preferring instead to present fresh and varied repertoire.
In 1930–1931, before his permanent relocation to London, Nikolai Medtner performed in the city, focusing not only—or even primarily—on his own compositions but rather on works from the Classical and Romantic eras. His programs invariably included Beethoven. For instance, at his first concert in London, held at Aeolian Hall on February 19, 1936, he performed Beethoven’s 32 Variations and Appassionata, alongside Chopin’s Fantasy and five études, as well as Liszt’s Forgotten Waltz, Dance of the Gnomes, and Will-o’-the-Wisp.
Medtner’s chamber music, however, particularly captivated European audiences. Its growing popularity was largely initiated by Tatiana Makushina. Enthralled by Medtner’s vocal compositions, she sought to invite him to London for a joint concert. Though not personally acquainted with the composer, she wrote to him and received a graciously appreciative response:
[…] I thank you for your kind regard for my muse […] I would be pleased to come […] provided that I would not have to take any part in the organisation of the concert or its expenses, which I include my travel and accommodation costs [4, 553].
The conditions were favorable, and the artistic collaboration between the singer and the composer played a crucial role in Medtner’s deeper acquaintance with London. The city immediately resonated with him, and both he and his wife felt a sincere sense of interest from the English public in their arrival. On February 16, 1928, for instance, Medtner was received at the prestigious Royal Academy of Music, one of the oldest clubs in London.
At their very first meeting, Makushina provided a vivid verbal portrait of the composer:
It was impossible not to recognise Medtner, even in a crowd. His expressive, emotional face stood out among thousands of others. He wore a winter coat with a fur collar, galoshes, and carried an umbrella in his hand. His wife led him by the arm while simultaneously wrapping a scarf around his neck, ensuring that he would not catch a cold [3, 161].
Makushina had mastered the new interpretative skills she acquired through her artistic collaboration with Medtner. Reflecting on this experience, she wrote:
I could write endlessly about how much Medtner enriched my understanding of the highest form of interpretation. I felt how this new approach to art refined and expanded my experience, deepening my comprehension of the poet-composer as a unified whole. For this rare gift, I am forever grateful to Medtner […] I also recall another memorable encounter associated with him. For some reason, Rachmaninoff, a great friend of Medtner and an admirer of his music, was never able to attend our concerts in London. It always happened that he was on tour in America at the same time. However, during one of his visits to London, he expressed a desire to hear Medtner’s songs performed by me. At that time, Medtner was not in the city. Collingwood agreed to accompany me. The audience consisted of Rachmaninoff and Alfred Swan (both accompanied by their wives), Anna Collingwood, and my husband. I vividly remember the attentive and warmly appreciative expression on Rachmaninoff’s face. I sang twelve songs for him, but he kept requesting more and more. I cannot describe the emotion I felt while singing Medtner’s songs for Rachmaninoff, who so deeply loved both Medtner and his music [3, 163].
Another singer, , who also left written recollections, was introduced to Medtner’s vocal works in England at a very different time—during the Second World War.
The composer demanded exceptional expressiveness from singers, particularly in phrasing and imagery; the word constantly on his lips was espressivo. He was meticulous about conveying every nuance indicated in the text. Medtner’s distinctive approach to highlighting the vocal melody through a richly evocative accompaniment greatly aided singers in their interpretation.
One performer reflected on this unique quality:
Medtner’s song compositions encompass a wide range of aspects: contemplation, romance, irony, elegance, simplicity, and depth—all of these characteristic features are reflected in his numerous songs. What is particularly remarkable about them is the significant role assigned to the piano accompaniment. The full beauty of these accompaniments is revealed to the singer only through careful study. I strove to merge completely with many of Medtner’s songs. Now, I feel that they hold a special place in Russian vocal literature, for their profound substance, romantic intensity, and poetic subtlety are truly unparalleled [5, 197].
Nikolai Medtner first met Elisabeth Schwarzkopf in May 1950. Two days of direct artistic collaboration with the composer left a profound impression on her. She later recalled:
Quite unexpectedly, I was honored with an invitation to Professor Medtner’s home to record some of his songs with him. I was approached for this opportunity because my rare ability to sight-sing was well known in London. In any case, my husband, Walter Legge, set me a rather challenging task—to record Medtner’s songs set to German texts with the composer himself in just two days. The exceptional kindness and patience with which Nikolai Medtner sought to help me immerse myself in his music moved me to tears [2, 7].
Tatiana Makushina and Oda Slobodskaya performed Medtner’s songs with English translations provided in the concert programs. These translations helped audiences appreciate how Medtner’s music was intrinsically connected to the poetry that had inspired it.
Over the years, London became an essential venue for premieres—Medtner always considered it inappropriate to simply repeat previously performed and successful works. His fifteen years in the city offered the exiled composer the joy of reconnecting more closely with some of his old, trusted friends, particularly the Swan and Laliberté families, while also gaining new admirers. London was also the site of the final meeting between the Medtner brothers before Emil’s passing in 1936.
The gravity of Medtner’s denied return to his homeland cannot be overstated. Yet, it was in London that he finally experienced a level of artistic reverence and devotion that had been absent since his departure from Moscow. Admirers of his work sought him out from various countries, and many musicians in London eagerly pursued an acquaintance with him. Some remained permanently connected—either to Medtner’s music or to the composer himself. Though he lost contact with family members in Moscow and colleagues from the Moscow Conservatory, Medtner formed new friendships during his years in London.
One of the most significant relationships was with the family of the distinguished pianist Edna Iles. The friendship and daily care extended by her parents, along with the shelter they provided, made life in exile far more comfortable for the aging composer and his wife. Edna Iles dedicated nearly her entire performing career and scholarly pursuits to her mentor. As a private student of Medtner, she meticulously recorded his numerous comments during lessons. These invaluable, timeworn pages, annotated with excerpts in English, have now been donated in their entirety to the London Library, with the condition that the collection remain intact.
Edna Iles, like Hamish Milne, performed Medtner’s complete piano works. He dedicated his Russian Round Dance for two pianos to her. Beyond her performances, Iles mentored younger pianists interested in Medtner’s music, accompanied him to rehearsals, and even taught him English. Her published memoirs stand as a testament to her deep admiration and affection for the great Russian composer-pianist [1].
Bibliography:
[1] Iles, Edna. 1981. Nikolai Karlovich Medtner – Friend and Teacher. In Nikolai Karlovich Metner: Memories. Articles. Materials, 165-175. Moscow: Sovietsky Kompozer.
[2] Consistorum, Natalia. 2004. Nikolai Karlovich Medtner. Portrait of the Composer. Berlin: Henschel.
[3] Makushina, Tatiana. 1981. Reminiscences of Concerts with N.K. Medtner. In Nikolai Karlovich Metner: Memories. Articles. Materials, 160-165. Moscow: Sovietsky Kompozer.
[4] Medtner, Nikolai. 1973. Letters. Edited by Zaruhi Apetyan. Moscow: Sovietsky Kompozer.
[5] Slobodskaya, Oda. 1981. I performed Medtner’s Songs With His Participation. In Nikolai Karlovich Metner: Memories. Articles. Materials, 196-198. Moscow: Sovietsky Kompozer.
