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  • Carnegie Hall Presents
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CARNEGIE HALL PRESENTS

Matthias Goerne, Baritone
Daniil Trifonov, Piano

Tuesday, February 6, 2018 8 PM Stern Auditorium / Perelman Stage
URL Copied
Matthias Goerne by Marco Borggeve, Daniil Trifonov by Dario Acosta / DG
Love lost, a poet’s dreams, and disillusionment are some of the themes in this recital that pairs baritone Matthias Goerne and pianist Daniil Trifonov. Schumann’s intense Dichterliebe reflects the anguish of his separation from his beloved Clara, Berg contemplates mortality, while late songs of Wolf treat Michelangelo’s verse. When Goerne and Trifonov performed this program at Wigmore Hall in 2016, The Arts Desk wrote, “As a feat of musicianship it was outrageous—a recital with symphonic weight but the intimacy of a chamber concert.”

Perspectives: Daniil Trifonov

Performers

Matthias Goerne, Baritone
Daniil Trifonov, Piano

Program

BERG Four Songs, Op. 2
SCHUMANN Dichterliebe
WOLF Three Poems of Michelangelo
SHOSTAKOVICH Selections from Suite, Op. 145
·· Dante
·· Death
·· Night
BRAHMS Vier ernste Gesänge, Op. 121
Daniil Trifonov introduces his 2017–2018 Perspectives series

Perspectives: Daniil Trifonov

At a Glance

The title of this evening’s program could easily be taken from the title of the work it closes with: ernste Gesänge (Serious Songs). A program that meditates on disillusionment with life, the desire for escape, and the ultimate escape in death, three of its sections feature end-of-career works: Hugo Wolf’s Drei Gedichte von Michelangelo (Three Poems of Michelangelo); selections from Dmitri Shostakovich’s Suite, Op. 145; and Johannes Brahms’s Vier ernste Gesänge. Although Alban Berg was at the beginning his career when he composed his Four Songs, Op. 2, he was already caught up in the Romantic obsession with death, and the young poet-protagonist in Robert Schumann’s Dichterliebe, Op. 48, becomes deeply disillusioned by failed love. This selection of profoundly important examples of German lieder—as well as a Russian-language vocal masterpiece by a composer more well-known for his instrumental works—culminates in a great summation and reconciliation of the program’s themes with Brahms’s last published work.

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