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Daniil Trifonov – Chopin Evocations

On the 168th anniversary of Chopin’s death, we celebrate Trifonov’s brilliant new recording.
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Image © Dario Acosta / Deutsche Grammophon

Frédéric Chopin’s enigmatic music is intimate and fragile, rich in meaning though equivocal. For most of his life he was a Polish refugee living in Paris. Many of his loyal supporters were fellow exiles left similarly yearning for their homeland. Life was a perpetual struggle for this hypersensitive, nervous aesthete. He was reclusive and rarely performed. The 168th anniversary of Chopin’s death falls today.

In a year of fine solo piano recordings, Chopin Evocations by Daniil Trifonov may be at risk of being just another. It would seem that the contemporary world has a remarkably strong field of concert pianists of every age group performing and recording. But here there is evidence of a particularly fine achievement that seeks to evoke the spirit of Chopin with integrity.

This Russian concert pianist impressed audiences in Sydney and Melbourne earlier this year in both concerto performances and in recitals. Trifonov is not yet 30 and I sense that he is still testing his wings towards becoming a premiere artist in the years ahead. His latest recording on Deutsche Grammophon released earlier this month is a collection of works by Chopin, and by others whose work resonates with this composer’s particular and individual Romantic voice. Principally it includes performances of both of Chopin’s Piano Concertos in new orchestrations by Mikhail Pletnev, who conducts the Mahler Chamber Orchestra for this recording. The recordings were made in Bad Kissingen, Hamburg-Harburg and Dortmund in July 2016 and April and May this year.

In contrast to the major piano concertos of the Romanic tradition that provide a strong dialogue between soloist and orchestra, Chopin’s two piano concertos are rather compositions written for piano with orchestral support. The composer was awkward writing for orchestra and it is argued that his original orchestrations for both concertos are perfunctory. This argument is strengthened by the fact that he soon realised that everything he wanted and needed in sound was provided by the Pleyel keyboard before him and he gave up writing for orchestra altogether.

Pletnev’s conception for both works is as large chamber compositions where the relationship between orchestra and soloist is intertwined. On this recording the producer has recorded everyone with an equal balance, further supporting this artistic conception. The performances of both concertos are superb throughout as the soloist demonstrates a clear affinity with this complex style. Every nostalgic hint of Poland is clearly referenced. Trifonov’s dexterity and technique is dazzlingly impressive, his touch and gracious voicing faultless.

The other ‘evocations’ provided include Chopin’s youthful and cheeky Op 2, Variations on Là ci darem la mano from Mozart’s Don Giovanni, originally written as a work for piano and orchestra and here heard by piano alone in a brilliant rendering. It was Robert Schumann who commented after hearing these variations performed, ‘Hats off gentlemen! A genius!’ and it is Schumann’s nocturne-like Chopin from Carnaval, Op 9 that follows.

Grieg’s tiny Study Homage à Chopin, Op 73 No 5 pre-empts more complex harmonic language in Samuel Barber’s haunting Nocturne, Op 33, an interesting and engaging work written as a homage to John Field. Tchaikovsky’s lyrical Un poco di Chopin, Op post 73 is next, before a brilliant performance by Chopin’s Rondo for two pianos, Op post 73, where Trifonov is joined by his Armenian teacher and mentor Sergei Babayan. This performance is a highlight of the recording.

Spanish composer Federico Mompou’s Variations on a Theme of Chopin, which started off as a work for cello and piano, is based on Chopin’s famous Prelude in A minor, Op 28 No 7 and the Impromptu No 4 in C Sharp minor Fantasie-Impromptu, Op 66. It explores jazz, other 20th century harmonies, and variation technique, with Chopin’s lilting themes as its thread. Pleasingly, it is in these carefully crafted works that Chopin’s cause is not emulated nor imitated but advanced into a new age and context. Trifonov’s performance is thrilling. The recording ends with an exquisite performance of Chopin’s Impromptu No 4, a fine resonance to the Mompou.

I cannot fault this recording except that I know the artist will mature further into greater brilliance.

Very highly recommended

4 ½ stars out of 5

Daniil Trifonov – Chopin Evocations
Daniil Trifonov, piano
Sergei Babayan, piano
Mahler Chamber Orchestra
Mikhail Pletnev, conductor
Deutsche Grammophon
0289 479 7518 2
Released 6 October 2017

David Barmby
About the Author
David Barmby is former head of artistic planning of Musica Viva Australia, director of music at St James' Anglican Church, King Street, artistic administrator of Bach 2000 (Melbourne Festival), the Australian National Academy of Music and Melbourne Recital Centre.