 Le pianiste italien Mattia Ometto, élève d’Aldo Ciccolini et d’Earl Wild est je crois le premier à enregistrer l’intégrale des Mélodies oubliées de Nikolaï Medtner, l’opus 40 étant généralement délaissé. Composé de trois volumes ces œuvres à l’écriture aussi complexe que précise englobent dix-neuf pièces d’une grande diversité, certaines étant relativement brèves alors que d’autres sont d’une plus grande envergure comme la célèbre Sonate Reminiscenza. Même Medtner qui a enregistré une grande partie de son œuvre à la fin de sa vie ne s’y est pas risqué. Mattia Ometto est aussi impressionnant par sa virtuosité raffinée, mais non ostentatoire, que par sa profonde musicalité qui met en valeur le langage complexe et si caractéristique de Medtner (issu certainement de sa double culture russe et germanique). Ometto restitue à chaque pièce son atmosphère propre, baignant souvent dans un climat mélancolique et inquiet, où les méditations angoissées du compositeur à quelques mois de son exil transparaissent. Rachmaninov ne cessera jamais de clamer le génie de son ami Medtner et à nous inciter à (re)découvrir son œuvre. Cet enregistrement en est une excellente occasion. (Jean-Noël Regnier) The first single-volume collection of landmark and little-known pieces of Russian late-Romantic pianism, including the magnificent Sonata tragica, in a new recording by an Italian pianist with a fast-growing international reputation. Medtner was in the habit of jotting themes, motifs and ideas down in notebooks, calling these fragments soggetti (an Italian term normally associated with a fugue melody). The opus numbers 38, 39 and 40 derive from these snippets, committed to paper over the years and then forgotten until they returned to mind, ultimately taking on a shape of their own in the form of three cycles. Op. 38 opens with one of the least ‘forgotten’ works of them all, the Sonata Reminiscenza, which links episodes of elegant dances with languorous interludes and sometimes frantic outbursts. The spirit of the sonata falls over several other pieces in Op 38 such as the Canzona fluviala, Canzona serenata and the remarkable Danza rustica, which translates popular dance idioms such as the habanera into a smoothly polished salon piece, making it one of the most bizarre and fascinating pieces in the whole collection. Although the Op.39 set is less overtly sophisticated, it nevertheless offers some of the most inspired moments of the three cycles. The opening Meditazione presents roving keyboard reflections on timbre and colour, leading to a central section reminiscent of Liszt and even Scriabin in meditative mood. A pensive Romanza returns to one of the Meditazione’s themes, before an evocation of spring (Primavera) evokes Schumann in one of his sunny moods. The following Canzona matinata contains one of the loveliest melodies Medtner ever wrote, prefacing what has become his single best-known work, the Sonata Tragica. The pianist Mattia Ometto was introduced to the exotic and enchanting world of Medtner by his friend and mentor, the late Earl Wild, and the album is dedicated to Wild’s memory.
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