Daniil Trifonov, Piano
Part of: Carnegie Hall Live on WQXR
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Performers
Daniil Trifonov, Piano
Program
RAMEAU Suite in A Minor from Nouvelles suites de pièces de clavecin
MOZART Piano Sonata in F Major, K. 332
FELIX MENDELSSOHN Variations sérieuses
BEETHOVEN Piano Sonata No. 29 in B-flat Major, Op. 106, "Hammerklavier"
Encores:
GREEN "I Cover the Waterfront" (after Tatum)
SCRIABIN Andante from Piano Sonata No. 3, Op. 23
MOMPOU Excerpts from Variations on a Theme of Chopin
Event Duration
The printed program will last approximately two hours, including one 20-minute intermission.
At a Glance
RAMEAU Suite in A Minor from Nouvelles suites de pièces de clavecin
Rameau’s harpsichord music illustrates the winning combination of elegance and élan that characterizes the French Baroque style. The A-Minor Suite comprises seven dances and character pieces, including a brilliant Gavotte with multiple variations that has long been a staple of the harpsichord and piano repertory.
MOZART Piano Sonata in F Major, K. 332
A first-rate pianist, Mozart devoted much of the last decade of his life to composing music for the instrument, including the majority of his 27 concertos and half of his 18 solo sonatas. The F-Major Sonata—which centers one of Mozart’s most luminously lyrical slow movements—exhibits a carefully calibrated balance between simplicity and virtuosity.
FELIX MENDELSSOHN Variations sérieuses, Op. 54
Mendelssohn hesitated before accepting a commission for an homage to Beethoven in 1841, but his fear that his music wouldn’t measure up to Beethoven’s was unfounded: The Variations sérieuses are widely considered a masterpiece on the order of the Diabelli Variations.
BEETHOVEN Piano Sonata No. 29 in B-flat Major, Op. 106, “Hammerklavier”
This monumental—and notoriously difficult—sonata marked a watershed in Beethoven’s artistic development. With its soaring rhetoric and penetrating introspection, the “Hammerklavier” anticipates the musical language of the composer’s so-called late period. The centerpiece of the work is an intensely ruminative Adagio sostenuto, which German critic Paul Bekker famously called “the apotheosis of pain, of that deep sorrow for which there is no remedy, and which finds expression not in passionate outpourings, but in the immeasurable stillness of utter woe.”