Tchaikovsky's portrayal of star-crossed lovers Romeo and Juliet has become an iconic theme immediately conjuring feelings of love and romance. Daniil Trifonov continues the lineage of Russian composers, performing his Piano Concerto in E flat minor concert venues across the globe to critical acclaim. The Los Angeles Times says, "Everywhere Trifonov goes, the story is pretty much the same with audiences and critics, he's a sensation". Felix Mendelssohn's Third Symphony in A minor is the last symphony the composer completed. Mendelssohn's letters show that his first inspiration for the Symphony came in 1829, during his first visit to England. The distinguished conductor Giancarlo Guerrero, a native of Costa Rica, conducts Detroit Symphony Orchestra.
Friday, November 10
Los Angeles: 09:45 AM
Detroit, New York, Toronto: 10:45 AM
London: 03:45 PM
Paris, Brussels, Berlin, Madrid, Rome: 04:45 PM
Kiev, Jerusalem, Athens: 05:45 PM
Moscow: 06:45 PM
Saturday, November 11
Beijing: 12:45 AM
Tokyo: 01:45 AM
Find in my time zone
Live on Livestream
Pyotr Ilyich Tchaikovsky (1840-1893)
♪ Romeo and Juliet, Fantasy-Overture (1880)
Daniil Trifonov (b. 1991)
♪ Piano Concerto in E flat minor (2013-2014)
i. Andante – Allegro ma non troppo – Andante – Più mosso – Tranquillo – Allegro – Presto – Maestoso – Allegro
ii. Andante – Agitato
iii. Allegro Vivace
Daniil Trifonov, piano
Felix Mendelssohn Bartholdy (1809-1847)
♪ Symphony No.3 in A minor "Scottish", Op.56 (1829-1842)
i. Andante con moto – Allegro un poco agitato
ii. Vivace non troppo
iv. Allegro vivacissimo – Allegro maestoso assai
Detroit Symphony Orchestra
Conductor: Giancarlo Guerrero
Live from Orchestra Hall, Max M. Fisher Music Center, Detroit
Friday, November 10, 2017, 10:45 AM EST (UTC-5) / Friday, November 10, 2017, 05:45 PM EET (UTC+2)
Live on Livestream
Russian pianist Daniil Trifonov has made a spectacular ascent in the world of classical music as a solo artist, a champion of the concerto repertoire, a collaborator at the keyboard in chamber music and song, and a composer. Combining consummate technique with rare sensitivity and depth, his performances are a perpetual source of awe. "He has everything and more... tenderness and also the demonic element. I never heard anything like that", marveled pianist Martha Argerich, while the Times (UK) has named Trifonov "without question the most astounding pianist of our age".
Focusing on Chopin in the 2017-2018 season, he releases Chopin Evocations, his fourth album as an exclusive Deutsche Grammophon artist, which includes both works by Chopin himself and, marking Trifonov's first foray into a new repertoire, works of 20th-century composers who were greatly influenced by the Polish master, including Samuel Barber, Federico Mompou and others.
Trifonov gives over 20 recitals on the same theme across the U.S., Europe and Asia this season, including one in Carnegie Hall as part of a seven-concert, season-long Perspectives series which he curates. Three of the seven concerts are devoted to Chopin and his influence: the solo recital and two all-Chopin programs with cellist Gautier Capuçon and the Kremerata Baltica chamber orchestra. Further concerts in the series include collaborations with baritone Matthias Goerne and Trifonov's teacher and mentor Sergei Babayan, the latter capping a U.S. tour that includes the world premiere of a Carnegie-commissioned work for two pianos by Mauro Lanza; a performance of his own piano concerto with longtime collaborator Valery Gergiev leading the Mariinsky Orchestra, again culminating a U.S. tour; and finally a solo recital in Zankel Hall that includes a seminal piece from each decade of the 20th century. Trifonov curates a similar series of recitals and orchestral appearances this season at the Vienna Konzerthaus, where he gives five performances, and in San Francisco, concluding with a season-closing Rachmaninov performance with the San Francisco Symphony and Michael Tilson-Thomas.
Trifonov's season contains much else as well. He tours Asia in the fall with a combination of recitals and orchestral performances, and goes on European tours with violinist Gidon Kremer and Kremerata Baltica, the London Philharmonic, the Royal Concertgebouw Orchestra, and the Teatro alla Scala Orchestra. Other orchestral appearances include Strauss' Burleske with the Spanish National Orchestra and Bavarian Radio Symphony Orchestra; the Schumann Concerto with Lisbon's Gulbenkian Orchestra and the Berlin Philharmonic; Prokofiev with the Mariinsky Orchestra led by Gergiev, and the Cleveland Orchestra led by Michael Tilson Thomas; Scriabin's Piano Concerto with the Seattle Symphony and Ludovic Morlot; a performance of his own piano concerto with the Detroit Symphony; and further Rachmaninov performances with Gergiev and the Munich Philharmonic, the Toronto Symphony led by Peter Oundjian, and the Philadelphia Orchestra under the baton of Yannick Nézet-Séguin.
The 2016-2017 season brought the release of Transcendental, a double album that represented Trifonov's third title as an exclusive Deutsche Grammophon artist and the first time Liszt's complete concert etudes had been recorded for the label in full. In concert, the pianist – winner of Gramophone's 2016 Artist of the Year award – played Tchaikovsky's First Piano Concerto under Riccardo Muti in the historic gala finale of the Chicago Symphony's 125th anniversary celebrations. Having scored his second Grammy Award nomination with Rachmaninov Variations, he performed Rachmaninov for his debut with the Berlin Philharmonic under Sir Simon Rattle at the orchestra's famous New Year's Eve concert, aired live in cinemas throughout Europe. Also with Rachmaninov, he made debuts with the Melbourne and Sydney Symphonies, returned to the Los Angeles Philharmonic under Gustavo Dudamel and the Royal Liverpool Philharmonic, and headlined the Munich Philharmonic's "Rachmaninov Cycle" tour with Gergiev. Mozart was the vehicle for his reengagements with the New York Philharmonic, Cleveland Orchestra, and Philadelphia Orchestra, as well as for dates with the Staatskapelle Dresden at home and at the Salzburg Festival and London's BBC Proms. He rejoined the Staatskapelle for Ravel, besides playing Beethoven with Zurich's Tonhalle Orchestra; Prokofiev with the Rotterdam Philharmonic; Chopin on tour with the Mahler Chamber Orchestra; and Schumann with the Houston Symphony, Royal Stockholm Philharmonic, and on tour with Riccardo Chailly and the Teatro alla Scala Orchestra. With a new recital program of Schumann, Shostakovich, and Stravinsky, Trifonov made recital debuts at London's Barbican and Melbourne's Recital Centre; appeared in Berlin, Vienna, Florence, Madrid, Oslo, Moscow, and other European hotspots; and returned to Philadelphia, Baltimore, and – for the fourth consecutive year – the mainstage of New York's Carnegie Hall. He also returned to the Tanglewood, Verbier, Baden-Baden, and Salzburg Festivals.
Other highlights of recent seasons include complete Rachmaninov concerto cycles at the New York Philharmonic's Rachmaninov Festival and with London's Philharmonia Orchestra; debuts with the Chicago Symphony, Boston Symphony, Cleveland Orchestra, Philadelphia Orchestra, Montreal Symphony, Rome's Orchestra dell'Accademia Nazionale di Santa Cecilia, London's Royal Philharmonic and BBC Proms, the Berlin Staatskapelle, and the Royal Stockholm Philharmonic, where he headlined the prestigious Nobel Prize Concert; and an Asian tour with the Czech Philharmonic. Since making solo recital debuts at Carnegie Hall, London's Wigmore Hall, Vienna's Musikverein, Japan's Suntory Hall, and the Salle Pleyel in Paris in 2012-2013, Trifonov has given solo recitals at venues including the Kennedy Center in Washington D.C., Boston's Celebrity Series, London's Royal Festival and Queen Elizabeth halls, Amsterdam's Concertgebouw (Master Piano Series), Berlin's Philharmonie (the Kammermusiksaal), Munich's Herkulessaal, Bavaria's Schloss Elmau, Zurich's Tonhalle, the Lucerne Piano Festival, the Palais des Beaux-Arts in Brussels, the Théâtre des Champs Élysées and Auditorium du Louvre in Paris, Barcelona's Palau de la Musica, Tokyo's Opera City, and the Seoul Arts Center.
The 2013-2014 season saw the release of Trifonov: The Carnegie Recital, the pianist's first recording as an exclusive Deutsche Grammophon artist; captured live at his sold-out 2013 Carnegie Hall recital debut, the album scored both an ECHO Klassik Award and a Grammy nomination. Besides the similarly Grammy-nominated Rachmaninov Variations, recorded with the Philadelphia Orchestra and Yannick Nézet-Séguin, his discography also features a Chopin album for Decca and a recording of Tchaikovsky's First Piano Concerto with Gergiev and the Mariinsky Orchestra on the ensemble's own label.
It was during the 2010-2011 season that Trifonov won medals at three of the music world's most prestigious competitions, taking Third Prize in Warsaw's Chopin Competition, First Prize in Tel Aviv's Rubinstein Competition, and both First Prize and Grand Prix – an additional honor bestowed on the best overall competitor in any category – in Moscow's Tchaikovsky Competition. In 2013 he was also awarded the prestigious Franco Abbiati Prize for Best Instrumental Soloist by Italy's foremost music critics.
Born in Nizhny Novgorod in 1991, Trifonov began his musical training at the age of five, and went on to attend Moscow's Gnessin School of Music as a student of Tatiana Zelikman, before pursuing his piano studies with Sergei Babayan at the Cleveland Institute of Music. He has also studied composition, and continues to write for piano, chamber ensemble, and orchestra. When he premiered his own piano concerto in 2013, the Cleveland Plain Dealer marveled: "Even having seen it, one cannot quite believe it. Such is the artistry of pianist-composer Daniil Trifonov".
|Photo by Kurt Heinecke|
Giancarlo Guerrero was born in Managua, Nicaragua, on March 14, 1969. Raised in Costa Rica, he played in the Costa Rica Youth Symphony and in his teens became a percussionist with the Costa Rican National Symphony Orchestra. Guerrero earned a bachelor's degree at Baylor University in percussion, though he also studied conducting there with Michael Haithcock and Stephen Heyde. Guerrero then studied conducting at Northwestern University, where he was awarded a master's degree. His teachers there included Victor Yampolsky.
By the 1990s Guerrero was active as a conductor and his first professional post was as music director of the San Cristobal, Venezuela-based Tachira Symphony Orchestra. From 1999-2004 he was associate conductor of the Minnesota Orchestra. His debut subscription concert there in March 2000 made a splash with the world premiere of Corigliano's Phantasmagoria on themes from the Ghosts of Versailles.
From 2002-2008 Guerrero served as music director of the Oregon-based Eugene Symphony Orchestra. In 2004 he was given the Helen M. Thompson Award by the American Symphony Orchestra League, an honor presented to outstanding young conductors. 2005 saw two important debuts for Guerrero: at the Casals Festival with Yo-Yo Ma and the Puerto Rico Symphony Orchestra, and at the Teatro Colon in Buenos Aires with the Filarmónica de Buenos Aires.
Guerrero had return engagements at the Casals Festival in 2006 (in Verdi's Requiem) and 2007. In 2008 he garnered much acclaim for his presentation of Golijov's opera Ainadamar at the Adelaide Festival, which was an Australian premiere. In the 2008-2009 season Guerrero served as music director designate of the Nashville Symphony Orchestra. After assuming music directorship in 2009 Guerrero scored numerous successes in the post, most conspicuously for his 2009 Naxos disc of Michael Daugherty's Metropolis Symphony, which won three Grammy awards in 2011: Best Orchestra Performance, Best Classical Composition, and Best Engineered Classical Album. From 2011 Guerrero has served as guest conductor of the Cleveland Orchestra at its Miami residency. In 2012 Guerrero won a second Grammy, for Best Classical Instrumental Solo, for his Naxos disc of Schwantner's Concerto for percussion.
Source: Robert Cummings (allmusic.com)
"Romeo and Juliet, Fantasy-Overture" by Pyotr Ilyich Tchaikovsky, continues to be much loved as a concert piece. Further, its central love theme is frequently quoted today in romantic scenes for film and television. The work was premiered in Moscow on March 4 (March 16, New Style), 1870, and twice revised, reaching its final form in 1880 (third version first performed 1886).
The idea for a piece using the story of William Shakespeare's Romeo and Juliet was suggested by Tchaikovsky's older, more-experienced colleague, the composer Mily Balakirev, who proposed the subject matter, possible themes, and a general outline for the work. Balakirev was somewhat critical of the results – as Tchaikovsky had in places followed his own instincts rather than Balakirev's suggestions – yet he expressed cautious approval of the piece as a whole.
Rather than portraying the play's events in the order in which they occur, Tchaikovsky presents a variety of characters and moods whose melodies offer effective musical contrast. The work opens with a serene clarinet-and-bassoon melody that represents the lovers' ally, the sombre and reflective Friar Laurence. The music then shifts to suggest violence, with a chaotic theme for the feuding Montague and Capulet families. Soon Tchaikovsky introduces a new melody: the soaring love theme of Romeo and Juliet themselves. As the piece progresses, love and violence share the stage with a sense of growing urgency until the love theme is reprised in a minor key, suggesting their tragic deaths. The work concludes with a hint of Friar Laurences melancholy theme (in the play he arrives on the scene too late to prevent the two suicides).
Source: Betsy Schwarm, 2016 (britannica.com)
Felix Mendelssohn's Symphony No.3 in A minor, Op.56, is the last symphony the composer completed. Mendelssohn's letters show that his first inspiration for the Symphony came in 1829, during his first visit to England. After some sketching, Mendelssohn set aside the piece until 1841, when disappointments in his life placed him in a mood similar to that he experienced in England 12 years earlier. The early conception and sketching may account for the squarness of some of the themes. The piece was completed on January 20, 1842; it was first performed on March 3, same year, in Leipzig, and was published in 1843. After a successful performance of the Symphony in England in 1842, Mendelssohn received permission to dedicate it to Queen Victoria.
Each movement is to move immediately to the next without pause, setting it apart from Mendelssohn's other symphonies. To the tempo markings of each movement Mendelssohn adds directions reflecting the character of the music, which conveys Mendelssohn's impressions of the Scottish landscape.
Opening with a restrained, Haydn-esque slow introduction, the first movement moves suddenly to an Allegro un poco agitato tempo with a main theme that is treated with variation technique. The orchestration is among Mendelssohn's most dense; curious and exhilarating modulations open both the development section and coda. The development section is concise and effective. When the main theme returns in the recapitulation and the introduction returns in the coda, the themes are underpinned with a counter-theme in the cellos. The coda also contains the famous chromatic "wave", played by the strings.
The cheerful Scherzo, marked Vivace non troppo, is derived from Scottish folk music, which is a surprise, since in 1829 Mendelssohn complained that such sounds gave him "a toothache". It stands in stark contrast to the thick first movement and is in sonata form. The movement fades and dissolves to prepare for the ensuing Adagio.
Resignation reigns in the third movement, an Adagio cantabile in A major. A clear reference to Beethoven appears in the low strings, which play a motive resembling the theme of the Allegretto of Beethoven's Seventh Symphony. Reminiscences of Beethoven's Op.74 String Quartet also appear. Beautifully orchestrated, the movement is in two major sections separated by returning material.
Folk melodies appear again in the Finale, an unusually powerful and militant movement for Mendelssohn. A leaping, aggressive theme in the violins begins the movement, appropriate for Mendelssohn's direction, Allegro guerriero (Fast and warlike). Fragmentation technique propels the development section as themes are layered and treated contrapuntally. After the recapitulation we do not hear a coda with thematic references to the exposition. Instead, Mendelssohn shifts to a Maestoso coda, in which we hear new material and the theme from the introduction, which is again taken through variations and now conveys an air of triumph after the "battle". The Symphony closes in A major.
Source: John Palmer (allmusic.com)
|Daniil Trifonov (Photo by Dario Acosta)|
Wolfgang Amadeus Mozart: Piano Concerto No.23 in A major – Daniil Trifonov, Israel Camerata Jerusalem, Avner Biron
Live on Livestream: All Past Events