Daniil Trifonov Review:
Chopin Evocations

ClassicalFor Work

Daniil Trifonov Review:<br> Chopin Evocations 2

Daniil Trifonov (dan-EEL TREE-fon-ov) is a Russian pianist that is making a spectacular sound 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. Trifonov’s playing is a combination of consummate technique and intense sensitivity. Focusing on Chopin in the 2017-18 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. Just listen to the power, accuracy and emotion that he gets out of “Chopin: Variations On “La ci darem la mano,” Op. 2- Variation 5.” He is a stunning performer and that’s the short of it!

Positives: The solo and duet selections are outstanding quality. The Chopin Rondo for Two Pianos, with the equally great Sergei Babayan, is splendid.

Negatives: The concertos, re-orchestrated by Mikhail Pletnev, who conducts, are not fully successful. The new orchestrations are not better than the originals. Compared to Trifonov’s dynamic playing the re-orchestrations of the concertos garner less enthusiasm.

Bottom Line: Trifonov’s playing is absolutely captivating. His phrasing is full of poetry; rendered with unmistakable virtuosity. In the concertos, Chopin’s ardor is lined with both sensuality and the self-consciousness of lost innocence. These are mesmerizing performances, although predominately reflective ones, best appreciated during quiet times.

Positives:

The solo and duet selections are outstanding quality. The Chopin Rondo for Two Pianos, with the equally great Sergei Babayan, is splendid.

Negatives:

The concertos, re-orchestrated by Mikhail Pletnev, who conducts, are not fully successful. The new orchestrations are not better than the originals. Compared to Trifonov’s dynamic playing the re-orchestrations of the concertos garner less enthusiasm.

Bottom Line:

Trifonov’s playing is absolutely captivating. His phrasing is full of poetry; rendered with unmistakable virtuosity. In the concertos, Chopin's ardor is lined with both sensuality and the self-consciousness of lost innocence. These are mesmerizing performances, although predominately reflective ones, best appreciated during quiet times.

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