CD and Other Review

Review: Rachmaninov Variations (Daniil Trifonov)

First, it’s exciting to hear the great Philadelphia Orchestra in such fine form. It augurs well for Yannick Nézet-Séguin’s tenure. And second, Daniil Trifonov seems headed towards the “for once the hype is real” stratosphere on the strength of his first studio recording for DG. This ‘concept’ album showcases Rachmaninov works for variations, one orchestral, two for keyboard only, in which the young pianist pays homage to his musical idol. The Rhapsody on a Theme of Paganini is truly sensational. This recording was made exactly 80 years after the legendary recording with the composer himself and Stokowski conducting this same orchestra. The pizzicati double bases in Variation 7 are beautifully captured but, for me, the most magical moments are Variations 11 and 12 where Trifonov’s aristocratic poise reminded me of Michelangeli (in very different repertoire) without the latter’s cold perfection. The Chopin Variations (based on the C Minor Prelude) are rarely performed and not even Trifonov’s brilliance and insight can prevent them from outstaying their welcome. The Corelli Variations are another matter. The high points here are Variation 15, (Lullaby) which Trifonov manages to suffuse with an air… Continue reading Get unlimited digital access from $4 per month Subscribe Already…

January 14, 2016
CD and Other Review

Review: Liszt, Scriabin, Chopin, Medtner: Piano works (Trifonov)

Unlike some of today’s prodigies, Rusian pianist Daniil Trifonov (b. 1992) shows every sign of artistic maturity in this live recital, given at New York’s Carnegie Hall in February 2013, where he made his American debut in 2009, aged 18. Two years ago he recorded a Chopin disc for Decca, but this live recital truly puts him on the world stage and signifies a distinguished career ahead. Trifonov’s program comprises the Liszt B Minor Sonata, Scriabin’s Second Piano Sonata, Chopin’s 24 Preludes Op 28 and a short piece by Medtner. The contents of that program suggest his great Soviet predecessor, Sviatoslav Richter. Trifonov does not approach Richter in sheer power and concentration – who ever could? – yet he has more to offer than merely spectacular technique. Subtle and affecting at the soft end of the dynamic spectrum, Trifonov also understands “the demonic element” (as his champion Martha Argerich put it). His Liszt Sonata is truly grounded. Last year I was impressed by Khatia Buniatshvili’s recording, which fizzed with edgy energy, but Trifonov’s less volatile but no less expressive approach properly anchors the work. His lyrical gift is evident in the way he coaxes the chorale theme out of the depths…

February 27, 2014