Daniil Trifonov played 5 Concerts at Musikverein on Bösendorfer 280VC


"Overwhelming sound-intoxication" and "Daniil Trifonov as virtuoso soloist" headline the Viennese newspapers


In January, Daniil Trifonov performed five times at the Musikverein on Bösendorfer 280VC and created particular attention to critics of the Viennese newspapers.

"Overwhelming sound-intoxication" headlines the Wiener Zeitung and continues: "Soloist Daniil Trifonov, currently acclaimed like no other representative of the young generation of pianists, played on the Bösendorfer his rhythmic and percussive strengths with sleepwalking security." Die Presse reports: “In association with the conductor Alain Altinoglu the pianist [Trifonov] offered a Rachmaninov-reading that probably surprised many listeners ... dry, crystal clear and without thunderous virtuoso gesture Trifonov worked out every detail of the solo part, always mindful of the sonic integration into the big picture. Rachmaninoff has never been heard like this before ... sharp-cut sounds characterized by a multitude of color mixtures ... This requires dexterity of the highest category, which is entirely at the service of screening harmonious and motivic structures - Trifonov performed it in technical perfection on the Bösendorfer".

 

Concerto for Piano and Orchestra No. 4 in G minor, Op. 40 - Rachmaninoff sketched the fourth and final piano concerto in Moscow in 1917, worked on it in the US, completing it in 1927. To this day this concert is in the shadow of the first three piano concertos. For some it appeared and still appears not modern enough, for others it is too modern. Also the clearly hearable jazz influences in the second movement leave one divided. A revision in 1941 helped the work, but it could not reach the popularity of the three previous concerts. Viewed soberly, the reason for it is a stereotyped thinking. Rachmaninoff was considered the last romantic, and they had it hard in the thirties. If, in a new work the details did not correspond to the stereotypes of the followers and were not perceived by his opponents, the composer sat between chairs.

The technical demands on the soloist are enormous in these concerts, the instrumentation is brilliant and the compositional work is neither stagnant nor retrospective, as has often been claimed, but highly innovative. These progressive tendencies, especially in the Fourth Piano Concerto, are to be found in the eternal movements in the colorfulness of the voices of a highly complicated orchestral movement, which is in constant competition with the finger-breaking virtuosity of the solo part. Maybe it was (and is) too difficult to perform this Fourth Piano Concerto well, maybe that is why it is in the shadow of the others and why not many pianists have it in their repertoire. Even before the premiere, the pianist Joseph Hofmann warned. It seemed to him "quite complicated to perform the work together with the orchestra, mainly because of the constantly changing rhythms". (Prof. Dr.Dr.h.c. Otto Biba, Archive Director of the Gesellschaft der Musikfreunde)

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Concert program and cover February issue of the “Musikverein Magazine” Society of Friends of Music in Vienna

The fifth concert: Lost becomes Music - Trios by Rachmaninoff and Shostakovich

Daniil Trifonov, Artist in Residence at the Gesellschaft der Musikfreunde in Vienna, devotes works by Shostakovich and Rachmaninov to the chamber music cycle. Together with Sergei Dogadin (violin) and Narek Hakhnazaryan (violoncello) he plays trios, in which lamentations do not get lost in pain.

Rachmaninoff and Shostakovich, respectively Trio number two: Both works, bundled by Trifonov and his friends to a program, are not only "lamentation", but "memorial death": "paradigmatic case of cultural memory", which currently moves us emotionally due to the publications of Aleida and Jan Assmann, winner of the Peace Prize of the German Book Trade 2018. The opus of twenty-year-old Rachmaninoff, who transfers his love for Tchaikovsky in 1893 in a monumental "trio élégiaque" to music, is indeed marked by the shock of the death of the master who had influenced him so much. Encore: Rachmaninoff Vocalise, op. 34/14, edited by Daniil Trifonov.

"With two fabulous partners, the violinist Sergei Dogadin and the cellist Narek Hakhnazaryan, he [Trifonov] achieved accordance with the interpretation in interplay and harmony, as one only rarely can experience. The three phrased and sensed together, as if they had been playing together for decades. Trifonov dominated with chords cast in lead. He was constantly striving for nuances, eliciting the sharply prepared Bösendorfer a sheer infinite vocabulary of shades" raves the newspaper Die Presse. The newspaper Wiener Zeitung writes about Rachmaninov's trio élégiaque: "A pleasant sound of violin and cello, to that a lot of treble glitter and thunder octaves from the concert grand piano ... Waxy modeling his [Trifonov's] own flow of notes in prestissimo is something that hardly anyone else can. This talent benefits above all the middle movement, in which the triplets pearl like soda bubbles;”


The February issue of the “Musikverein Magazine” Society of Friends of Music in Vienna shows Daniil Trifonov on the cover and dedicates the first five pages to this extraordinary artist, saying: "A pianist for the rest of our lives". This is how the English music critic Norman Lebrecht described an artist who is less than 28 years old and one of the most sought after in the world: Daniil Trifonov.”

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