When Daniil Trifonov took the stage on the Baker-Baum Live performance Corridor on Thursday evening, it wasn’t straightforward. He should have squeezed by way of fairly a number of live performance attendees – fortunate folks put there to suit the dimensions and urge for food of an viewers nearly actually overflowing with excited anticipation.
Every thing concerning the Russian-born pianist sounds nice. His awards and accolades, the breadth of his repertoire, his explosive enjoying – all this has elicited breathless superlatives from novices and specialists alike. His program, a part of the La Jolla Music Society’s spectacular piano collection, was deservedly large, over two hours of a few of the most difficult music in literature, just about all carried out with profound artistry. and superb approach.
The calls for of Tchaikovsky’s “Kids’s Album” are as expressive as they’re technical. Tchaikovsky is a storyteller always, and every of those little vignettes – all 24 – tells a unique second of childhood expertise. Trifonov imbued them with a finely crafted affective identification. He found hidden layers of that means, as within the melody of an in any other case innocuous waltz following the dying of a favourite doll, which he performed with a stumbling and muffled, nearly muffled proper hand. His management over tempo and rhythm is exceptional, and regardless of the variety of chapters in Tchaikovsky’s narrative, there was unwavering focus and a spotlight to element.
Schumann’s 1839 “Fantasy” is, in itself, monumental, confronting the performer with a wild panorama of concepts – a few of them nearly violent of their expression – and heavy technical calls for. Trifonov was thrilling right here, exploring Schumann’s ranges of psychological states by way of his personal extremes of dynamics, tempo and bodily engagement.
Trifonov has the power to manage piano resonance and colour in a method paying homage to each Horowitz and Pogorelich, the latter of whom made an essential recording of Ravel’s “Gaspard de la nuit” within the Eighties. of Ravel’s masterpiece, which renders three musical scenes from poems by Aloysius Bertrand, concentrated above all on the virtuoso facet of the work. The third motion, ‘Scarbo’, depicts a dancing diabolical goblin, and is well-known to be some of the tough items within the repertoire, a reality to which Trifonov responded with a wonderfully diabolical tempo, traversing the textures of Ravel with an abandon that generally traded precision for adrenaline, however whose incandescent power was simple.
The one piece by which Trifonov’s method – wealthy in resonance, pedal-heavy and atmospheric – appeared misplaced was Mozart’s “Fantasia” in C minor, KV 475. This music was written actually earlier than the Trifonov’s piano performs and the way in which he performed it had been invented. Sadly, essential traces slipped beneath the floor and the sentence syntax was typically crushed below the in any other case spectacular bravery approach.
His aggressive, color-driven model discovered a greater accomplice in Scriabin’s “Piano Sonata No. 5.” Scriabin’s music, like that of so many others within the early twentieth century, is a swirling mass of influences and has aesthetic cognates within the visible arts of the time: simply as proto-abstraction burned illustration within the artwork of Kandinsky and others, the grip of practical concord has additionally loosened its grip on the music of a brand new period, as non secular influences and new instructions in psychology pave the way in which for concepts , bravely trendy sights and sounds. Scriabin was each a thinker and a composer, and his 10 piano sonatas present his evolution from a faithful scholar of Chopin’s music to a luminous visionary of recent colours and harmonies. Right here, Trifonov was actually in his virtuoso factor: creating sonic nebulae of pedaling pitch clusters one second and thundering scalar races the subsequent, as he pivoted simply and intentionally between the hardly audible and the apocalyptic.
In a hanging change of tone, his encore was the chorale from Bach’s cantata “Herz und Mund und Tat und Leben”, higher often known as “Jesu, Pleasure of Man’s Needing”, in Dame’s beloved transcription Myra Hess. Carried out with solemnity and Trifonov’s uncanny present for shaping piano tone, it served as a candy blessing to a delighted and grateful viewers.
Schulze is a contract author.