Russian concert pianist and composer Daniil Trifonov plays Frédéric Chopin's Piano Concerto No.2 in F minor, Op.21, and Piano Concerto No.1 in E minor, Op.11. Mahler Chamber Orchestra conducted by Mikhail Pletnev. Recorded at the Konzerthaus Dortmund, on April 30, 2017.
The Piano Concerto No.2 in F minor of Polish composer Frédéric Chopin was actually composed before his Piano Concerto No.1 in E minor. The F minor was begun in autumn 1829 and premiered on March, 3, 1830, while the E minor was begun shortly after the premiere of the F minor. The F minor is a less popular and more derivative work than the E minor; there is the sense that Chopin, having heard the F minor, decided to move beyond his models.
The opening Maestoso movement of the F minor is clearly modeled on the concertos of Mozart's pupil, Hummel. The central Larghetto is based almost literally on the Piano Concerto in G minor composed in 1820 by Ignaz Moscheles and the closing Allegro vivace is the most original movement of the three, a stylized Polish folk song. Within the movements, all the standard concerto principles are obeyed: an orchestra exposition of the main themes before a piano exposition of the same material, the usual contrast between the tonic minor and the relative major for the principal and subordinate themes, a lyrical slow movement in the relative minor, and a rondo-form finale in the tonic major.
While Chopin's piano writing is idiomatic and highly personal – the lyrical melodies and their ornamentations could have been composed by no one else – his orchestral writing is at best competent. This, however, is less a fault than a decision: Chopin, the greatest composer for the piano of his age, would never let anything obscure the brilliance of his piano writing.
Source: James Leonard (allmusic.com)
Famously, Chopin's Second Piano Concerto was written before the First. No.1 in E minor Op.11 is so designated simply because it was the first of the two to be published (1833). It is easy to think of these works as standing in isolation, without contemporary equivalents. However, thanks to the availability of recordings, the listening public can now more easily appreciate that the concertos of Hummel, Field, Weber and Moscheles in particular – and to a lesser extent Kalkbrenner, Herz and Ries – provided models for Chopin's. Indeed, some of the thematic materials of Hummel's A minor Concerto are strikingly similar to those of the E minor Concerto.
Op.11 has a lengthy orchestral exposition (twice as long as that of Op.21) marked Allegro maestoso. The touching second subject is archetypal Chopin and its first appearance a moment of exquisite beauty. The second movement, labelled Romanza, consists of a yearning nocturne-like theme in E major contrasted with a second subject in B major. He was still working on the Concerto when he wrote a letter dated 15 May 1830 in which he described his thoughts about this movement. It is one of the rare occasions that he made any allusion to the programme behind the music: "It is not meant to be loud, it's more of a romance, quiet, melancholy; it should give the impression of gazing tenderly at a place which brings to mind a thousand dear memories. It is a sort of meditation in beautiful spring weather, but by moonlight. That is why I have muted the accompaniment". The final movement (Vivace) is a lively rondo with some resemblance to the krakowiak, a popular Polish folk dance. Despite the Concerto's key signature, it is, like the Romanza, written in the key of E major. Chopin was the soloist in the first performance, heard privately on 22 September 1830, and again in the work's public premiere in Warsaw Town Hall on 11 October. It was the last concert he gave before leaving Poland for good.
Source: Jeremy Nicholas, 2008 (hyperion-records.co.uk)
Frédéric Chopin (1810-1849)
♪ Piano Concerto No.2 in F minor, Op.21 (1829-1830) [00:52]*
iii. Allegro vivace
♪ Piano Concerto No.1 in E minor, Op.11 (1830) [37:41]
i. Allegro maestoso
iii. Rondo: Vivace
♪ Fantaisie-Impromptu in C sharp minor, Op. posth. 66 (1834) [1:22:17]
Robert Schumann (1810-1856)
♪ Carnaval Op.9, No.12 "Chopin" (1834-1835) [1:28.58]
Daniil Trifonov, piano
Mahler Chamber Orchestra
Conductor: Mikhail Pletnev
Konzerthaus Dortmund, April 30, 2017
* Start time of each work
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".
Wolfgang Amadeus Mozart: Piano Concerto No.23 in A major – Daniil Trifonov, Israel Camerata Jerusalem, Avner Biron