Russian concert pianist and composer Daniil Trifonov plays Wolfgang Amadeus Mozart's Piano Concerto No.23 in A major, K.488, at the 13th Arthur Rubinstein Piano Master Competition in Tel Aviv. Israel Camerata Orchestra conducted by Avner Biron. Trifonov won the First Prize.
Ο Ρώσος πιανίστας Ντανιίλ Τριφόνοφ, ένα από τα ανερχόμενα αστέρια της κλασικής μουσικής σκηνής, 26 χρόνων σήμερα και νικητής ήδη σε πολλούς διεθνείς διαγωνισμούς πιάνου, ερμηνεύει με μοναδικό τρόπο το Κοντσέρτο αρ. 23 σε Λα μείζονα του Βόλφγκανγκ Αμαντέους Μότσαρτ, συμμετέχοντας στον 13ο Διεθνή Διαγωνισμό Arthur Rubinstein Piano Master στο Τελ Αβίβ το 2011, από τον οποίο έφυγε με το Πρώτο Βραβείο. Την ορχήστρα Israel Camerata Jerusalem διευθύνει ο ιδρυτής και μόνιμος μουσικός διευθυντής της Ορχήστρας, Avner Biron.
«Εκτιμώ τα νέα ταλέντα και σ' αυτό βοήθησαν πολύ τα ετήσια φεστιβάλ και οι διεθνείς διαγωνισμοί, στις επιτροπές των οποίων συχνά με καλούν. Θα μπορούσα να σας μιλήσω για έναν καταπληκτικό πιανίστα, τεράστιο ταλέντο. Λέγεται Ντανιίλ Τριφόνοφ και είναι από τη Ρωσία!» (Μάρτα Άργκεριχ, από συνέντευξή της στον Αντώνη Μποσκοΐτη το 2015).
Wolfgang Amadeus Mozart (1756-1791)
♪ Piano Concerto No.23 in A major, K.488 (1784-1786)
iii. Allegro assai
Daniil Trifonov, piano
Israel Camerata Jerusalem
Conductor: Avner Biron
Tel Aviv, 2011
First publication: July 24, 2015 – Last update: November 27, 2016
Mozart completed the Piano Concerto No.23 in A major on March 2, 1786, and most likely played the first performance a few days later in Vienna. For the coronation, in 1781, of Austrian Emperor Joseph II and attendant celebrations, Prince-Archbishop Hieronymous Colloredo of Salzburg moved his entire court to Vienna. He summoned his most famous musical employee, the younger Mozart, who'd been savoring the success of Idomeneo in Munich, an opera specially commissioned by the Elector of Bavaria. The reluctant Wolfgang Amadé, by then thoroughly detesting his pfennig-pinching employer, arrived in the Hapsburg capital on March 16. By June 8, he had managed to get dismissed from Colloredo's service (with a boot in the backside), leaving him free to conquer Vienna, which he did with the new Emperor's erratic help. For the next four years, he reigned as Vienna's favorite composer of instrumental music. While he rode the crest, his music was both anticipated and appreciated. In response to public demand between 1782 and 1786, he wrote 14 glorious piano concertos – Nos. 11 through 24 – most of them for his own use. No.23 was intended for the Lenten series of 1786, along with Nos. 22 and 24, the last ones before Figaro. While the dates of these concerts have been lost, we know that the A major was an immediate success, and has remained popular ever since, as much for wistfulness as for melodies verging on sublimity. In the company of a flute, two bassoons, two horns, and strings, a pair of clarinets lend the music a moody character.
The Allegro first movement, with double exposition, goes by the rules of structure for the most part, although there is an incursion of drama in the development section (Cuthbert Girdlestone wrote that "Mozart's daimon... suddenly surges up from the depth") plus a through-written cadenza, rare in his mature concertos.
Rather than an Andante, the slow movement is the only Adagio in all of Mozart's concertos, with melancholy taking center stage that heretofore had hovered in the wings. Startlingly and somberly the key is F sharp minor (A major's harmonic alter-ego), not really leavened by a sweet subject in A major for flute and clarinet that forms the middle part of an ABA structure, despite elements of sonata form.
After two introverted movements, the second one confined to a sickroom, the rondo-finale rallies ebulliently – an Allegro assai among the most buoyant in Mozart's concerto canon, with key-changes and even high comedy that find the patient recovered and happy, as are all of us are who have been worried till now about his health.
Source: Roger Dettmer (allmusic.com)
|Daniil Trifonov, in Busko-Zdrój, July 2012|
In February 2013, Deutsche Grammophon announced the signing of an exclusive recording agreement with Daniil Trifonov. His debut recital for the yellow label, recorded live at Carnegie Hall, combines Liszt's formidable Sonata in B minor, Scriabin's Sonata No.2 in G sharp minor, Op.19, the "Sonata-Fantasy", and Chopin's 24 Preludes Op.28. Future plans include concerto albums and further recital recordings. "The moment I signed to Deutsche Grammophon is, of course, perhaps the most significant event in my life to date", he recalls. "It's the greatest honour to record my first CD for the label, especially in such a great hall as Carnegie Hall."
Since winning the Tchaikovsky Competition, Trifonov has travelled the world as recitalist and concerto soloist. His list of credits include debut recitals at Carnegie Hall, Wigmore Hall, the Berlin Philharmonie, London's Queen Elizabeth Hall, the Auditorium du Louvre in Paris, Tokyo's Opera City, the Zurich Tonhalle and a host of other leading venues. He has also appeared with the Vienna Philharmonic, the London Symphony Orchestra, the New York Philharmonic Orchestra, the Philharmonia, the Mariinsky Orchestra, the Boston Symphony Orchestra, the Chicago Symphony Orchestra, the Israel Philharmonic Orchestra, the Orchestre Philharmonique de Radio France, the Royal Philharmonic Orchestra and the Cleveland Orchestra. Forthcoming debuts include concerto performances with the Los Angeles Philharmonic Orchestra, the Philadelphia Orchestra, the San Francisco Symphony and the Moscow Philharmonic.
For all the demands of his busy performance schedule, Trifonov still finds time to study with Sergei Babayan and take composition lessons at the Cleveland Institute of Music. "I'm looking forward to future projects with Deutsche Grammophon", he says. Exploring the vast piano literature, he adds, is the work of a lifetime. "In the coming years I hope to learn as many new pieces as possible and also leave time for composition, as composing partly influences piano playing."
Daniil Trifonov was born in Nizhny Novgorod on 5 March 1991. The old system of Soviet communism and the once mighty Union of Soviet Socialist Republics had been dissolved by the time Daniil's parents, both of them professional musicians, celebrated their son's first birthday. For all the social and economic upheavals of the time, the Trifonovs recognised their son's prodigious musical talents and supported his formal training. "I started playing piano when I was five and was also composing and always playing some concerts", Daniil recalls. He gave his first performance with orchestra at the age of eight, an occasion etched in the soloist's memory by the loss of one of his baby teeth midway through the concert. "It was quite an experience! But the first understanding of how important piano playing is for me came when I broke my left arm at the age of 13. I was going to a piano lesson. It was winter and very slippery, so I fell down and broke my arm and could not play normally for more than three weeks."
Physical injury focused young Daniil's mind on what making music meant to him. It also heightened his emotional connection to the piano and its repertoire. Scriabin's impassioned music – mystical, transcendent and technically demanding – became a near-obsession of Trifonov's early teens. The composer's harmonic language and vibrant tone colours touched the aspiring performer's soul and inspired him to enter Moscow's Fourth International Scriabin Competition, where the 17-year-old secured fifth prize. Inspiration also flowed from Trifonov's study of historic recordings of great pianists, which he borrowed from his teacher Tatiana Zelikman at Moscow's famous Gnessin School of Music. "When I was studying with Tatiana Zelikman in Moscow she had a great collection of old recordings and a lot of LPs, so I was fed by those recordings." Trifonov absorbed lasting lessons from the recorded legacy of Rachmaninov, Cortot, Horowitz, Friedman, Sofronitsky and other representatives of a golden age of pianism. "Among pianists who inspire me nowadays are Martha Argerich, Grigory Sokolov and Radu Lupu", he adds.
Daniil Trifonov himself became an inspiration in the summer of 2011. He began by winning the 13th Arthur Rubinstein International Piano Master Competition in Tel-Aviv before returning home to secure first prize, the Gold Medal, and Grand Prix at the XIV International Tchaikovsky Competition. Trifonov also won the Audience Award and the Award for the best performance of a Mozart concerto. His work was already known to influential critics and concert promoters thanks to his appearance a year earlier at the prestigious International Chopin Piano Competition in Warsaw. The media's broad and deep response to his Moscow victory guaranteed that the whole world knew about the 20-year-old Russian. "Mr Trifonov has scintillating technique and a virtuosic flair", noted the New York Times. "He is also a thoughtful artist... [who] can play with soft-spoken delicacy, not what you associate with competition conquerors." At the beginning of 2012, cultural commentator Norman Lebrecht heralded the young man's meteoric progress and neatly described him as "A pianist for the rest of our lives".
|Avner Biron (Photo by Galit Deutsch)|
The orchestra performs more than 100 concerts a year in Israel and abroad. Its activities include subscribers' series, festivals, special concerts and unique educational projects all over the country.
The Camerata's repertoire ranges from the Baroque to contemporary music. In addition to the traditional repertoire the Camerata is involved in performances of unknown and newly discovered music of different periods as well as performing premiers of contemporary works, Israeli music and works written especially for Avner Biron and the Camerata.
The Camerata has been invited for many concert tours around the world. The orchestra has successfully performed in Europe, the USA and the Far East at the most importnat venues in Amsterdam, Berlin, Leipzig, Munich, Bonn, Paris, New York, Washington, Los Angles, Chicago, Alaska, Beijing, Shanghai among others.
The performances and recordings of the Camerata conducted by Avner Biron has been highly praised by both music critics and audiences alike.
Wolfgang Amadeus Mozart: Piano Concerto No.23 in A major, ii. Adagio – Hélène Grimaud, Radoslaw Szulc