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Carnegie Hall Presents

Daniil Trifonov, Piano

Thursday, March 3, 2022 8 PM Stern Auditorium / Perelman Stage

This event has been rescheduled from November 17, 2021. Tickets for the original date will still be honored.

Daniil Trifonov by Dario Acosta
Daniil Trifonov’s spectacular 2013 recital debut introduced Carnegie Hall audiences to a deep-thinking musical intellectual who weds an insatiable sense of adventure to breathtaking virtuosity. He showcases his pianistic muscle, articulation, warmth, and wit in Prokofiev’s acerbic Sarcasms and Debussy’s mercurial Pour le piano. Stamina and expressivity—Trifonov hallmarks—are essential in the Szymanowski and Brahms sonatas that round out the program. Szymanowski’s single-movement work mesmerizes with harmonic daring, while Brahms’s youthful, symphonically scaled sonata soars with beautiful melodies. 

Part of: Keyboard Virtuosos I


Daniil Trifonov, Piano


SZYMANOWSKI Piano Sonata No. 3, Op. 36

DEBUSSY Pour le piano


BRAHMS Piano Sonata No. 3 in F Minor, Op. 5

Event Duration

The printed program will last approximately 90 minutes with no intermission.

Listen to Selected Works

At a Glance

SZYMANOWSKI  Piano Sonata No. 3, Op. 36

Szymanowski’s Third Sonata of 1917, a formidably virtuosic work poised on the cusp between tonality and atonality, testifies to the Polish composer’s stylistic adventurousness as well his prowess as a concert pianist. He dedicated the sonata to the great Russian pianist and conductor Alexander Siloti, whose plans to lead premieres of Szymanowski’s First Violin Concerto and Third Symphony in St. Petersburg were thwarted by the Russian Revolution.


DEBUSSY  Pour le piano

In the three short pieces that this exquisite mini-suite comprises, Debussy paid homage to the 18th-century masters he professed to emulate. Although critics associated him with painters like Manet and Whistler, he maintained that his music depicted not superficial impressions but essential “realities.” Musicians alone, he declared, enjoyed “the privilege of being able to convey all the poetry of the night and the day,” whereas painters could “recapture only one of her aspects at a time.”



Reviewers often used words like steely, volcanic, and tempestuous to describe Prokofiev’s piano playing, but he also showed a softer, more poetic side in both his performances and his compositions. This suite of miniature character pieces dates from his student years in St. Petersburg, and resembles his contemporaneous Second Piano Sonata in its extreme contrasts of style, mood, texture, and tonality.


BRAHMS  Piano Sonata No. 3 in F Minor, Op. 5

Written when the composer was only 20, the third and last of Brahms’s solo piano sonatas is characterized by a compelling blend of muscular majesty and tender lyricism. Although Brahms was no match for Chopin in terms of keyboard technique, his performances of his early sonatas mesmerized Robert Schumann, who referred to them as “veiled symphonies.”

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