Though in the past the piano music of the early twentieth century Russian composer Nikolai Medtner had been largely forgotten, there has been a recent trend among some U. S. pianists to bring his pieces into the popular canon. Contemporary pianists have particularly focused on his works known as the Skazki, or â€œFairy Tales,â€ of which Medtner wrote several sets. Medtnerâ€™s fairytales are of the programmatic genre; they invoke connections outside of the music itself. While Medtnerâ€™s pieces have received attention due to their musical qualities, there has not been much research regarding their place as a musical form of adaptation. Medtnerâ€™s pieces have yet to be considered in the literary field of Adaptation Theory. In my project, I intend to expand the realm of Adaptation Theory by asking, â€œAre Medtnerâ€™s Fairy Tales adaptations?â€ and â€œHow do the Fairy Tales interact with their original texts?â€. With my specific focus being directed to his Op. 14 no. 1, â€œOpheliaâ€™s Song,â€ and Op. 35 no. 4, â€œKing Lear,â€ I apply two different methods to answer the questions. First, I examine Medtnerâ€™s work through Linda Hutcheonâ€™s book, A Theory of Adaptation. Secondly, I use a combination of Intentionalism and New Criticism to determine what kind of adaptation the compositions are.
First Advisor Department
Second Advisor Department
Music Performance Studies
Wodarski, Alicia, "Nikolai Medtner's Fairy Tales as Shakespearean Adaptation" (2013). Honors Projects. 4.