Transcendental - Daniil Trifonov Plays Franz Liszt (Etudes S. 139, S. 141, S. 144, S. 145) Daniil Trifonov

• 1 No.1 Preludio (Presto) 00:51
• 2 No.2 Molto vivace 02:06
• 3 No.3 Paysage (Poco adagio) 05:21
• 4 No.4 Mazeppa (Presto) 08:08
• 5 No.5 Feux follets (Allegretto) 03:27
• 6 No.6 Vision (Lento) 05:41
• 7 No.7 Eroica (Allegro) 04:38
• 8 No.8 Wilde Jagd (Presto furioso) 04:58
• 9 No.9 Ricordanza (Andantino) 11:07
• 10 No.10 Allegro agitato molto 04:26
• 11 No.11 Harmonies du soir (Andantino) 09:29
• 12 No.12 Chasse neige (Andante con moto) 05:56
• 13 No.1 Waldesrauschen 04:14
• 14 No.2 Gnomenreigen 02:54
• 15 No.1 In A Flat Il lamento (A capriccio - Allegro cantabile) 09:07
• 16 No.2 In F Minor La leggierezza (A capriccio - Quasi allegretto) 04:33
• 17 No.3 In D Flat Un sospiro (Allegro affettuoso) 05:19
• 18 No.1 In G Minor 05:13
• 19 No.2 In E Flat Major 05:28
• 20 No.3 In G Sharp Minor (La Campanella) 04:51
• 21 No.4 In E Major 01:53
• 22 No.5 In E Major 03:00
• 23 No.6 In A Minor 04:58
• Total Runtime 01:57:38

Info for Transcendental - Daniil Trifonov Plays Franz Liszt (Etudes S. 139, S. 141, S. 144, S. 145)

Transcendental is the new solo release by Piano Sensation Daniil Trifonov. His press reviews are consistently out of this world and The Times quote says it all: He is the finest young pianist of our age.

After his successful 'Rachmaninov Variations' last year, he has now created another statement to define his extraordinary and growing legacy. It is dedicated to the greatest pianist of his own century: Franz Liszt.

The repertoire is Liszt’s Complete Concert Etudes. These Etudes remain amongst the most challenging piano pieces ever composed – and are rarely recorded or performed. This is the first time that the Complete Liszt Etudes have been recorded as a whole for DG. And Daniil Trifonov is one of the few pianists to have recorded them all in one go – in an unbelievable five days.

Beyond his phenomenal technique, Daniil Trifonov is a distinctly Russian artist: an intense, soulful musician in the great Russian tradition whose presentation and repertoire set him apart from all other young piano stars of today.

„. . . dazzling . . . Trifonov responds to the music's extreme technical demands with, seemingly, huge resources still in reserve. Sonically, he's able to astonish: the ultra-tricky 'La Campanella' is delivered with a mesmerising blend of gorgeousness and needlepoint precision. His way with the 'Transcendental Studies' is strikingly introspective and memorable.“ (Malcolm Hayes, BBC Music Magazine)

. . . ['Transcendental'] is mightily impressive. In La 'Campanella' he unleashes a demonic right hand. In the so-called 'Octave' Etude he shows real wit. I especially like two of the Concert Etudes where, in 'La Leggierezza', he fully unleashes his formidable technique, while producing plenty of poetry in 'Un Sospiro.' (David Mellor, Daily Mail, London)

Daniil Trifonov, piano

Daniil Trifonov
Talent contests are unpredictable, that's why we watch them. Even the ones that are rigged by judges or manipulated by media owners manage to command our attention for the possibility, faint as it may be, that a genius will emerge from nowhere to assert an irrefutable superiority and claim the crown.

That's not quite how it panned out at the 2011 International Tchaikovsky Competition in Moscow. A state event bedevilled from the outset by every kind of chicanery was being cleaned up by the conductor Valery Gergiev and the retired Van Cliburn boss Richard Rodzinski. Their remedy was to stream every session online, worldwide, so the public could form a view at the same time as the judges. From the first round, as we tuned in, it became apparent that there was only going to be one piano winner.

Daniil Trifonov, 20 years old, displayed the artistry and authority of a seasoned master. Less a competition than a coronation, the Tchaikovsky awarded Trifonov not just the first prize and gold medal, but the audience award, a Mozart citation and the admiration of Gergiev, who demanded to conduct his first live recording. If ever there was a runaway winner, this was it.

Trifonov had come third nine months earlier in the Chopin competition in Warsaw and first, weeks before, in the Arthur Rubinstein in Tel Aviv. He was well on his way to an international career. But what we saw and heard in Moscow was a manner of playing that set him, by an invisible cordon, six inches apart from every other living pianist. To describe what he does is not easy. Martha Argerich speaks of a 'demonic element', modified by a unique tenderness. I observed an ethereal detachment, allied to an almost preternatural symbiosis with his audience.

Some weeks after the competition, the lights went out in a new concert hall in Guildford, where Trifonov was playing with the London Symphony Orchestra. The conductor dropped his arms and the orchestra, ears to the soloist, played through to the end. Then, in pitch darkness, Trifonov played solo Chopin, forging a transcendent connection with his audience that none will ever forget.

What has impressed me most is his ability to connect the dots and find coherence in apparently disparate pieces. Where many play the Chopin Etudes as a run of five-finger exercises, Trifonov finds narrative, tells a story, introduces us to a class of difficult characters and tense situations. Hearing him play the Opus 10 set at London's Wigmore Hall, I knew that this was a pianist I wanted to hear for the rest of my life.

Who is Daniil Trifonov? The only child of a pair of musicians who met as university students in the central Russian city of Nizhny Novgorod (formerly Gorky), he took up a pencil at five years old and started composing. This may have been in imitation of his father, who writes Masses for the Russian Orthodox church, but tests showed that the boy had perfect pitch and he was sent to the best piano teacher in the region.

Having played a concerto at the age of eight, he upped sticks with his family and moved to Moscow so that he could study at the Gnessin School with Tatiana Zelikman, a rigorist who traces her piano lineage to Heinrich Neuhaus, tutor of Richter, Gilels and the rest of the Russian legends.

After nine years, Zelikman sent him to Cleveland to finish his studies with Sergei Babayan, another third-generation Neuhaus pupil. Consistency, tradition and authenticity were the bywords of Trifonov's education. In Cleveland, he knuckled down and worked hard. Babayan told him no pianist had won the Tchaikovsky Competition playing a Chopin concerto. After the victory, instead of hitting the concert trail, Trifonov returned to his teacher to start work on new pieces. 'There is never a time when the teaching has to stop,' says Trifonov.

The only blip in his progress came when, at 13, he slipped on ice on the way to a Zelikman lesson and broke his arm, putting him out of piano action for three weeks. The accident, one suspects, was a huge trauma, but also an affirmation. Trifonov talked about the lay-off to Elijah Ho, of the San Francisco Examiner: 'It was absolute torture for me,’ he confessed. 'Basically, this wasn’t a moment about realizing technique or other things, but about how important music was to me. It was so uncomfortable and so stressful to not be able to play...'

Torn from infancy between composing and playing, this was perhaps the moment when Daniil Trifonov realised that playing mattered most to him in terms of self-expression. That said, he continues to compose, taking lessons at the Cleveland Institute of Music and working on his own scores whenever time permits. In a telephone conversation from Tel Aviv, where he returns often by popular request, he tells me that he is writing a piano concerto. He does not let a day pass without touching the piano.

But there's plenty else he's working on, besides. Maurice Ravel’s Miroirs, those shimmering illusions of unattainable beauty, and Arnold Schoenberg's Three Pieces, opus 11, the foundation stones of musical expressionism. He heard the Schoenberg on a Deutsche Grammophon recording by Maurizio Pollini and was smitten. His mind works in eclectic ways, his fingers at their own pace. He broached the Rachmaninov D minor Concerto last season and will follow up soon with the C minor, playing the tougher work first. For his recital debut on DG, recorded live at Carnegie Hall, he plays Liszt's massive B minor Sonata and Chopin's Preludes, opus 28.

But the core of the album is music by Scriabin: the Second Sonata in G sharp minor, also known as the 'Sonata-Fantasy'. Scriabin was a speciality of the tormented Neuhaus, whose wife left him for Boris Pasternak, a Scriabin pupil; when Pasternak died, Neuhaus’s pupil Sviatoslav Richter played Scriabin all night on an upright piano beside the body. The linearity of Russian music is imbued in Trifonov as a matter of first principles.

Success has not gone to his head. Shy, courteous, quick to smile, Daniil Trifonov may never be the life and soul of the party or a public entertainer in the Arthur Rubinstein mould. What he brings to the keyboard is himself, a sensational technique and a sense of destiny. Watch, and you will see that he was born to play. Listen, and be amazed.

Booklet for Transcendental - Daniil Trifonov Plays Franz Liszt (Etudes S. 139, S. 141, S. 144, S. 145)