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  • Carnegie Hall Presents
  • ZH Zankel Hall
  • SA/PS Stern Auditorium / Perelman Stage
  • REW Resnick Education Wing
  • WRH Weill Recital Hall

Daniil Trifonov, Piano

Friday, May 4, 2018 7:30 PM Zankel Hall
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Daniil Trifonov by Dario Acosta / DG
Post- and neo-Romanticism, serialism, and minimalism are but a few musical styles that flourished in the 20th century and paved the way for the sounds of today. Daniil Trifonov, in what promises to be one of the most eclectic and exciting recitals of the season, performs a seminal work from each decade of the 20th century. Berg’s restless harmonies, Messiaen’s kaleidoscopic colors, Adams’s undulating rhythmic pulse, and more are explored by the fascinating and virtuosic young pianist.

Part of: Perspectives: Daniil Trifonov and Keyboard Virtuosos III: Keynotes


Daniil Trifonov, Piano


BERG Piano Sonata, Op. 1
PROKOFIEV Sarcasms, Op. 17
BARTÓK Out of Doors
COPLAND Piano Variations, 1930
MESSIAEN "Le Baiser de l'Enfant-Jésus" from Vingt regards sur l'Enfant-Jésus
LIGETI Selections from Musica ricercata
·· Sostenuto
·· Mesto, rigido e cerimoniale
·· Allegro con spirito
·· Tempo di valse (poco vivace - "à l'orgue de Barbarie")
JOHN ADAMS China Gates
CORIGLIANO Fantasia on an Ostinato
THOMAS ADÈS Traced Overhead

Mix and Mingle

Join us immediately after this concert at Zankel Hall’s Parterre Bar for a 45-minute mix and mingle.
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Daniil Trifonov introduces his 2017–2018 Perspectives series

Perspectives: Daniil Trifonov

At a Glance

Music history is conventionally divided into broadly defined eras that encompass one or more centuries. But in music, as in other aspects of modern life, the pace of change accelerated so rapidly during the 20th century that a shorter-term focus may be more meaningful. While all such divisions are largely arbitrary, there is much to be gleaned from the comparative listening encouraged by this evening’s program, which juxtaposes 10 works for piano representative of each decade between 1900 and 2000.

Given the vast repertory to choose from, Daniil Trifonov’s flyover of the 20th century is inevitably highly selective. Each work reflects a unique time, place, and artistic sensibility, with an emphasis on the avant-garde. Yet these obvious differences belie the underlying commonalities that link composers and works across the decades. Like Berg, the most Romantic of the early 20th-century Viennese modernists, Copland used elements of 12-tone technique without jettisoning traditional tonality. Prokofiev’s percussive ostinato rhythms find a distant echo in John Corigliano’s modernist take on a repeating rhythmic motto from Beethoven’s Seventh Symphony. The words Ligeti used to describe his work—“static, self-contained music without either development or traditional rhythmic configurations”—apply equally to John Adams’s dreamy, post-minimalist soundscape. A similar religious impulse animates both Messiaen’s paean to the infant Jesus and Thomas Adès’s musical evocation of an ascent to heaven.

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