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Daniil Trifonov: The Carnegie Hall Recital 2012 (Vinyl 180g)

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2 LP 

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Deutsche Grammophon

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26 Μαρτίου 2024

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Frédéric François Chopin:Preludes (24), Op. 28
Franz Liszt:Piano Sonata in B minor, S178
Nikolai Medtner:Fairy Tale in E Flat major Op. 26 No. 2
Alexander Nikolayevich Scriabin:Piano Sonata No. 2 in G sharp minor, Op. 19 'Sonata Fantasy'

Καλλιτέχνες

Daniil Trifonov (Piano)

The live album from charismatic Russian pianist Daniil Trifonov’s debut recital at Carnegie Hall in February, 2013.

“I never heard anything like that.” Martha Argerich

Talent competitions are unpredictable. That is precisely why we follow them with excitement. They hold our interest, even when judges and media bosses manipulate them. Because there is still the possibility – however small it may be – that a genius suddenly appears out of nowhere, leaves the competitors behind and wins.

However, this was not quite the case at the 2011 International Tchaikovsky Competition in Moscow. From the very beginning, every conceivable dodge determined the state event until conductor Valery Gergiev and Richard Rodzinski, the former president of the Van Cliburn Foundation, brought order. Their recipe was to make every phase of the competition available online via streaming, worldwide. Viewers were supposed to make their judgments at the same time as the judges. And already in the first round, which we followed in this way, it was clear to us that there was only one possible winner in the piano division.

The 20-year-old Daniil Trifonov showed the artistic skills and authority of an experienced master. The competition turned into a kind of enthronement: Trifonov received not only the first prize and the gold medal, but also the audience award and the prize for the best performance of a Mozart concerto – moreover, the admiration of Gergiev, who demanded that he conduct the artist’s first live recording. If ever there was a triumphant winner, it was Trifonov.

Nine months earlier, Trifonov had finished third at the Chopin Competition in Warsaw; just a few weeks earlier, he had won the Arthur Rubinstein Competition in Tel Aviv. He was well on his way to an international career. But what we saw and heard in Moscow was piano playing that put him in a class by himself, at a distance from any other living pianist. What he is doing is hard to describe. Martha Argerich speaks of a “demonic element” that is transformed by incomparable delicacy. I observed an unearthly detachment, accompanied by a barely believable symbiosis with his listeners.

A few weeks after the competition, the lights went out in a new concert hall in Guildford. Trifonov was on stage with the London Symphony Orchestra. The conductor lowered his arms, listening only to the soloist, and the orchestra finished the piece. Then, in deepest darkness, Trifonov played solo works by Chopin. He created a magical relationship with the audience that no one will ever forget.

What impressed me most was his ability to create connecting lines and find coherence in seemingly disparate pieces. While many play Chopin’s etudes as a series of five-finger exercises, Trifonov finds a coherent line, tells a story, presents us with a series of difficult characters and tense situations. When I heard him play the Op. 10 Etudes at London’s Wigmore Hall, I knew: this was the pianist I wanted to hear for the rest of my life. Who is Daniil Trifonov? The only child of two professional musicians who met while studying in the central Russian city of Nizhny Novgorod (formerly Gorky). Daniil picked up a pencil as a five-year-old and began composing. He was probably just imitating his father, who wrote masses for the Russian Orthodox Church, but tests showed that he had absolute pitch, and he was sent to the best piano teacher in the region.

At the age of eight, he was already playing a concerto with orchestra. His family moved him to Moscow so he could study at the Gnessin School of Music with Tatiana Zelikman, a rigorous teacher whose pianistic roots went back to Heinrich Neuhaus, the teacher of Richter, Gilels and the other Russian luminaries.

After nine years, Zelikman sent him to Cleveland, where he would complete his studies with Sergei Babayan, another third-generation Neuhaus student. Consistency, tradition and authenticity were key words in Trifonov’s education. In Cleveland, he really pushed himself and worked hard. Babayan told him that no pianist had ever won the Tchaikovsky Competition with a concerto by Chopin. After Trifonov won, he didn’t immediately plunge into concert life, but returned to his teacher to learn new pieces. “Learning must never stop,” he says.

Only once was his development interrupted: At 13, on his way to lessons with Zelikman, he slipped on the ice and broke his arm, leaving him unable to play the piano for three weeks. The accident was arguably a huge trauma, but it also provided clarity. Trifonov spoke about that involuntary break with Elijah Ho of the San Francisco Examiner: “It was absolute agony for me,” he reported. “It wasn’t even about technique or anything like that at the time, but I realized how important music was to me. It was just awful and stressful not being able to play . . .”

Since childhood, Daniil Trifonov had been torn between composing and playing, and this was perhaps the moment when he realized that playing the piano is the most important form of personal expression for him. Nevertheless, he continues to compose, taking composition classes at the Cleveland Institute of Music and working on his own pieces whenever time permits. In a telephone conversation from Tel Aviv, where he often returns at the general request of the public, he told me that he was working on a piano concerto. He never lets a day go by without sitting down at the piano.

But besides that, there are many other things he is working on. Maurice Ravel’s Miroirs, those shimmering mirages of unattainable beauty, and Schoenberg’s Three Piano Pieces, Op. 11, the cornerstones of musical expressionism. He heard the Schoenberg work in a DG recording by Maurizio Pollini and was entranced. His mind works in an undogmatic, open-minded way, his fingers have their own pace. He performed Rachmaninoff’s D minor Concerto last season and will soon follow it with the C minor Concerto. In his first recital for Deutsche Grammophon, recorded live at Carnegie Hall, he plays Liszt’s massive Sonata in B minor and Chopin’s Préludes, Op. 28, but the centerpiece of the album is music by Scriabin: the Sonata No. 2 in G-sharp minor, also known as the “Sonata-Fantaisie.” Scriabin was a specialty of the long-suffering Neuhaus, whom his wife left for Scriabin’s student Boris Pasternak. When Pasternak died, Neuhaus’s student Svjatoslav Richter played Scriabin all night on a pianino next to the corpse. The linear tradition of Russian music represents a basic principle by which Trifonov is completely imbued.

Success has not gone to his head. Reserved, polite, and always ready to smile, Daniil Trifonov may never be the life of a party or a great entertainer like Arthur Rubinstein, for example. What he brings to the piano is his personality, a sensational technique, and a sense of destiny. Watch him, and you will see that he was born to play the piano. Listen to him, and be amazed. © Norman Lebrecht, July 2013

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