'Last night I listened to him again on YouTube – he has everything
and more. What he does with his hands is technically incredible. It’s also
his touch – he has tenderness and also the demonic element. I never heard
anything like that.' These are the words of Martha Argerich no less,
and I have to say I couldn’t agree more. Since viewing the compelling
documentary by Christopher Nupen on TV a couple of weeks ago I, too, have
been watching the YouTube clips, and am astonished by what I have seen and
heard. The Chopin Piano Concerto no. 1 in E minor, for instance, with the
Israel Philharmonic Orchestra, conducted by Asher Fisch, at the Arthur
Rubinstein Piano Master Competition (May 2011, Tel Aviv), stands out as one
of the most captivating performances I have ever come across. Let’s hope
Trifonov takes the Concerto into the studio in the not too distant
future.
However, returning to the task in hand, DG have recently released this
twofer of albums, previously issued separately, one of a recital from
Carnegie Hall in February 2013, and the other of Chopin selections from two
concerts in Italy, which took place in 2010. Between these in 2011, Trifonov
won the prestigious Tchaikovsky Competition in Moscow.
For the Carnegie Recital, Trifonov offers a programme of composers he
clearly has a great affinity with. In the Scriabin Sonata which opens the
concert, the young Russian immerses himself immediately in the mystic
composer’s sound-world, conjuring up an impressionistic canvas of a myriad
shadings. The playing has beguiling luminosity, and the contrast between
volatility and calmness are unquestionably realized. The second movement is
fleet of foot and mercurial, and the delicate, diaphanous pianissimos are
breathtaking.
For any successful performance of Liszt’s Piano Sonata in B minor, the
performer has to have a grasp of the work’s cyclical structure, keep it as a
single cohesive unit and integrate the sonata’s diverse episodes into one
over-arching sonata-form movement. If this integrated narrative is not
achieved, it can fall flat on its face. What distinguishes this performance
for me is the artistic maturity on display in one so young. Trifonov has a
complete understanding of the structure and architecture of the music. His
is a dazzling technique, utilizing a wide dynamic range. Whilst there is
fire and passion, on the other side of the coin there is eloquent lyricism
and a wealth of poetic insights.
It is amazing that in the space of a month, I have encountered two of the
finest traversals of the Chopin Preludes I have ever heard. I have recently
reviewed Grigory Sokolov’s on his debut DG album. Here we have another
stunning debut set of the cycle, again from the ‘Yellow Label’. Trifonov
showcases the diverse range of these twenty-four gems. He doesn’t approach
them as mere superficial miniatures, but as individual pieces, which Chopin
calculated to perfection. Quite remarkable is the pianist’s attention to
detail and the delicacy and refinement in his playing. I was struck by the
imagination and fantasy he brings to each of the pieces. No. 5 has delicacy,
rhythmic exactitude and peerless finger-work. No. 6 is probing, with an
exquisitely phrased left-hand melody. The pristine, seamless pearl-like runs
of Nos. 10 and 16 will be the envy of many pianists. The dark undercurrents
of No. 14 contrast with the tenderness and lyricism of the outer sections of No. 15
‘Raindrop’.
Medtner’s Fairy Tale op.26 No.2 provides a scintillating encore. Applause
is retained for the Chopin Preludes and encore only; otherwise the audience
remains quiet throughout.
The second CD is devoted solely to the music of Frédéric Chopin and
consists of selections taken from two live recitals the pianist gave in
Italy in 2010. What we have on display is not just dazzling virtuosity, but
a searching penetration of the music. It is this combination of poetry,
imagination, subtlety, nuance and inspiration which makes Trifonov stand
head and shoulders above many of his young colleagues. He seems just made
for Chopin’s music.
In the three Mazurkas the pianist’s approach is one of intimacy. He
employs subtle rubato and lilting rhythms and achieves a wide-ranging
spectrum of tonal colour. Phrasing and dynamics are well-chosen.
In the Third Sonata, the longest work on the disc, Trifonov plays to the
manner born. The majestic opening of the first movement is dramatic and
arresting. The glorious second subject is ravishingly played. The Scherzo is
dazzling and the Largo is introspective and heartfelt. The finale is a
virtuosic tour-de-force.
This release has been a revelation, and leaves me wanting more. As well as
nominating this as a ‘Recording of the Month’ it will also rank for me as
one of the highlights of 2015. I can only echo the words of The Times’
critic, who said of Trifonov that ‘he has the world at his feet’.
Stephen Greenbank
Track-Listing
CD 1 [78:48]
The Carnegie Recital
Alexander SCRIABIN (1872-1915)
Piano Sonata No. 2 op. 19; "Sonata Fantasy" [10:30]
Franz LISZT (1811-1886)
Piano Sonata in B
minor [29:48]
Frédéric CHOPIN (1810-1849)
24 Préludes op. 28 [37:05]
Nikolai MEDTNER (1880-1951)
Four Fairy Tales op.26 No.2 [1:25]
rec. live, 5 February 2013, Stern Auditorium/Perelman Stage at Carnegie
Hall, New York
CD 2 [66:27]
Trifonov Plays Chopin
Frédéric CHOPIN (1810-1849)
Rondo "a la Mazur" in F major op.5 [8:17]
Grande Valse Brillante in E flat major op.18 [4:08]
Etude in F major op. 10 no. 8 [2:13]
Andante Spianato et Grande Polonaise Brillante op.22 [12:06]
Mazurka no.33 in B major op. 56 no.1 [4:24]
Mazurka no.34 in C major op. 56 no.2 [1:42]
Mazurka no.35 in C minor op. 56 no.3 [6:30]
Sonata no. 3 in B minor op.58 [27:03]
rec. live, May 2010, Venezia, Teatro la Fenice
November 2010, Fazioli Hall, Sacile
