Daniil Trifonov may be the most self-effacing pianist on the planet. The thunderous applause had barely died down before he delved into the first work, as if unaware of the enthusiastic, near-capacity audience. And at the end, he offered no encores, though surely most of the crowd would have gladly remained until well into the evening. But perhaps no frills were needed to augment playing of such arresting power in a recital that marked Trifonov’s first appearance as the Chicago Symphony’s artist-in-residence. Throughout the season, this residency will also entail a chamber music performance, a concerto appearance with the CSO, and various masterclasses and other events throughout the Chicago community.
Given how central Tchaikovsky’s First Piano Concerto is to the piano repertoire, it’s a bit surprising the rest of the composer’s considerable body of work for the instrument doesn’t get more attention. Trifonov pointedly bookended his program with music by Tchaikovsky, beginning with the Piano Sonata no. 2 in C sharp minor, a work that dates from the composer’s student days. Muscular chords made for a commanding beginning, with the pianist boldly projecting a vast dynamic range. More flowing material seemed to bear the influence of Schumann, and Trifonov easily surmounted the technical challenges of the sometimes pianistically awkward writing.
The Andante that followed made for a gentle interlude, and Tchaikovsky was apparently satisfied enough with the Scherzo movement that he repurposed a theme from it for his First Symphony. The finale was virtuosic though a bit verbose; in spite of Trifonov’s advocacy, the youthful work wasn’t strong enough to make the most favorable impression, but a welcome opportunity nonetheless to hear a neglected piece.
A thoughtfully-curated selection of six Chopin waltzes completed the first half. Trifonov further proved himself a top-rate Chopin interpreter, giving these waltzes stylish readings that captured both their charm and melancholy. The E major waltz (op. posth.) opened in wonderful elegance; minor key examples in F minor (op. 70 no. 2) and A minor (op. 34 no. 2) were deeply expressive as encouraged by a carefully-judged rubato. The Minute waltz was given with featherlight touch, barely rising above piano, and the offering closed with the posthumous E minor waltz, showing in no uncertain terms the dramatic potential of the form.
Just last month, Trifonov released an album entitled My American Story, a wide-ranging selection of American piano music. Samuel Barber’s Piano Sonata in E flat minor didn’t make it onto the disc, but including it in recital served as something of a pendant to the recording. Bold, arresting beginnings were given with aggressive energy, a coloristic soundscape of piquant harmonies and spiky dissonances. With coruscating virtuosity, Trifonov built to a bracing climax. In the mercurial second movement, the pianist emphasized the rhythmic nuances. Flanked by music of motion, the penultimate Adagio mesto was a moment of glacial stillness. And there’s hardly a more dazzling finale than this sonata’s fugue. Intricate and with exacting clarity, it drew the work to a close with volcanic force.
Following the American intermezzo, Trifonov returned full-circle to Tchaikovsky, this time a work from the mature composer at the height of his powers and reputation. This was a suite from The Sleeping Beauty, presented in a transcription by Mikhail Pletnev. The Prologue opened with vigor, and Trifonov colorfully captured the orchestral score from the keyboard. Various vignettes through the 11-movement suite exuded a fairy tale charm (Puss in Boots, Little Red Riding Hood, among others). An Adagio near the end was of rapturous poetry and the finale was given with élan and a resounding close.
