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Track Listing:

1
Scriabin: Piano Sonata #2 In G# Minor, Op.19/Andante
 
2
Scriabin: Piano Sonata #2 In G# Minor, Op.19/Presto
 
3
Liszt: Piano Sonata In B Minor, p.178/Lento assai
 
4
Liszt: Piano Sonata In B Minor, p.178/Andante sostenuto
 
5
Liszt: Piano Sonata In B Minor, p.178/Energico Allegro
 
6
Chopin: 24 Preludes, Op.28/#1 In C Major
 
7
Chopin: 24 Preludes, Op.28/#2 In A Minor
 
8
Chopin: 24 Preludes, Op.28/#3 In G Major
 
9
Chopin: 24 Preludes, Op.28/#4 In E Minor
 
10
Chopin: 24 Preludes, Op.28/#5 In D Major
 
11
Chopin: 24 Preludes, Op.28/#6 In B Minor
 
12
Chopin: 24 Preludes, Op.28/#7 In A Major
 
13
Chopin: 24 Preludes, Op.28/#8 In F Sharp Minor
 
14
Chopin: 24 Preludes, Op.28/#9 In E Major
 
15
Chopin: 24 Preludes, Op.28/#10 In C Sharp Minor
 
16
Chopin: 24 Preludes, Op.28/#11 In B Major
 
17
Chopin: 24 Preludes, Op.28/#12 In G Sharp Minor
 
18
Chopin: 24 Preludes, Op.28/#13 In F Sharp Major
 
19
Chopin: 24 Preludes, Op.28/#14 In E Flat Minor
 
20
Chopin: 24 Preludes, Op.28/#15 In D Flat Major
 
21
Chopin: 24 Preludes, Op.28/#16 In B Flat Minor
 
22
Chopin: 24 Preludes, Op.28/#17 In A Flat Major
 
23
Chopin: 24 Preludes, Op.28/#18 In F Minor
 
24
Chopin: 24 Preludes, Op.28/#19 In E Flat Major
 
25
Chopin: 24 Preludes, Op.28/#20 In C Minor
 
26
Chopin: 24 Preludes, Op.28/#21 In B Flat Major
 
27
Chopin: 24 Preludes, Op.28/#22 In G Minor
 
28
Chopin: 24 Preludes, Op.28/#23 In F Major
 
29
Chopin: 24 Preludes, Op.28/#24 In D Minor
 
30
Medtner: from 4 Fairy Tales (Skazki), Op.26/#2 In E Flat Major
 

Daniil Trifonov :

The Carnegie Recital


Daniil Trifonov's
DG Debut
Releases January 28

For Daniil Trifonov, January 28 marks the U.S. release of Trifonov: The Carnegie Recital, his debut album as an exclusive Deutsche Grammophon recording artist. Last February – the day before his sold-out main-stage Carnegie Hall recital debut –the young Russian pianist signed with the illustrious label, and the first release of their new partnership is a live recording of that performance. Capturing his accounts of Liszt's formidable B-minor Sonata, Scriabin's "Sonata-Fantasy" in G-sharp minor, Chopin's 24 Preludes, and, as an encore, the second of Medtner's Four Fairy Tales, the new disc has already scored a multitude of rave reviews in Europe; Germany's Bayerischer Rundfunk spoke for many in observing: "At 21, Daniil Trifonov has already cultivated a pianistic freedom that…will probably remain out of most pianists' reach all their lives." The U.S. release is timed to coincide with Trifonov's return to Carnegie Hall on February 6, when he will play Schumann's Symphonic Etudes alongside works by Ravel, Debussy, and Stravinsky. The same program serves as the vehicle for his Symphony Center recital debut, presented by the Chicago Symphony, three days later (Feb 9).

Trifonov: The Carnegie Recital has already been released in Europe, where it prompted a deluge of positive press. The Irish Times hailed Trifonov as "a player of formidable technique and imagination," while France's Les Echos welcomed him as "the miracle we have been talking about," whose "impressive maturity ensures that his playing is without showy or easy tricks." In a five-star review, the UK's Telegraph declared:

"The playing testifies to a maturity of technique and vision remarkable in a musician who was only 21 at the time. … It is not merely the power and dexterity of Trifonov's playing that make such an arresting impression, though the torrents of octaves in both the right hand and the left towards the end of the Liszt are astonishing in their brilliance, boldness, and bravura. Rather, the key thing here is that Trifonov can harness his digital strength, stamina, and skill to a highly developed sense of the music's expressive substance."

According to veteran British critic Julian Haylock, in the Liszt, "Trifonov fearlessly probes the music's wild imaginings, creating a compelling emotional narrative," with playing that "combin[es] the crystal technical clarity and superhuman reflexes of Krystian Zimerman with the incendiary spontaneity of Martha Argerich" (Sinfini Music, UK). In the "Sonata-Fantasy," the Telegraph admired the way Trifonov "absorbed the significance of nuances and graduations of dynamics and pacing to find the very nub of Scriabin's distinctive world of sound." Les Echos found that his rendition of Chopin's preludes offered a "stunning mosaic of colors and feelings…more reminiscent of an old master than a young artist." And, as the Telegraph concluded, his "encore of a Medtner Fairy Tale cap[ped] a captivating recital brimful of character." Audio and video extracts from Trifonov: The Carnegie Recital are provided at the album's mini-site: album.deutschegrammophon.com/trifonov-carnegie-recital/home.

It is not only in recital and on disc that Trifonov, winner of the Tchaikovsky and Rubinstein competitions, maintains a strong U.S. presence this season: following his first appearances with all the "Big Five" orchestras in 2012-13, he is currently undertaking no fewer than six U.S. orchestral debuts. These include performances of Rachmaninoff's Rhapsody on a Theme of Paganini – a Trifonov specialty – with the San Francisco Symphony under Osmo Vänskä (Jan 30–Feb 1), and with the Detroit Symphony (Feb 13-15), the Houston Symphony (Feb 28–March 2), and the National Symphony under Rafael Frühbeck de Burgos at the Kennedy Center in Washington, DC (March 13-15). It was on hearing Trifonov's account of the Rhapsody that the San Diego Union-Tribune observed: "It was as if he was plugged into Rachmaninoff's psyche. … His flawless technique was astonishing, yet every note was tied to some musical impulse." 

Another of Rachmaninoff's orchestral masterpieces, the Second Piano Concerto, was featured in the pianist's recent first performances with the Los Angeles Philharmonic, at which he impressed the Los Angeles Times with his characteristic mix of "bombs-away fireworks and meticulous delicacy." For his Pittsburgh Symphony debut last month, Trifonov played another of his compatriot's concertos – Prokofiev's fiendishly difficult Second. In a glowing review, the Pittsburgh Post-Gazette avowed: