2025.09.26 | Daniil Trifonov Program

2025-26 SEASON OPENER

Daniil Trifonov Friday, September 26, 2025 | 8PM

Soka Performing Arts Center at Soka University of America

Daniil Trifonov

PROGRAM TANEYEV Prelude and Fugue in G-sharp minor, Op. 29 Prelude, Andante Fugue, Allegro vivace e con fuoco

PROKOFIEV Mimoletnosti (“Visions Fugitives”), Op. 22 Lentamente Andante Allegretto Animato Molto giocoso Con eleganza Pittoresco (Arpa) Comodo Allegro tranquillo Ridicolosamente Con vivacita Assai moderato Allegretto Feroce Inquieto Dolente Poetico Con una dolce lentezza Presto agitatissimo e molto accentuato Lento irrealmente

Daniil Trifonov

PROGRAM MYASKOVSKY Sonata No. 2 in F-sharp minor, Op. 13

INTERMISSION

SCHUMANN Sonata No.1 in F-sharp minor, Op. 11 Sonata No.1 in F-sharp minor, Op. 11 (30 minutes) Introduzione: Un poco adagio – Allegro vivace Aria Scherzo: Allegrissimo – intermezzo: Lento Finale: Allegro, un poco maestoso

ABOUT THE PROGRAM Prelude and Fugue in G-sharp Minor, Opus 29 SERGE TANEYEV

Born November 25, 1856, Vladimir Died June 15, 1915, Dyudkovo Serge Taneyev began studying composition with Tchaikovsky when he was a teenager, and he went on to become Tchaikovsky’s most successful student and a close friend. Taneyev gave the Moscow premiere of Tchaikovsky’s First Piano Concerto in December 1875 when he was only 19 and succeeded Tchaikovsky as professor of composition at the Moscow Conservatory. As a teacher at the Conservatory, Taneyev had a number of distinguished students, but–alarmed by the Conservatory’s elitist standards and moved by the revolutionary sentiments in the air–Taneyev resigned from the faculty in 1905 and formed his own “People’s Conservatory” in Moscow that would offer instruction even to those unable to pay. He died from the pneumonia he contracted at the funeral of one of his best students, Alexander Scriabin.

Taneyev occupies a unique position among turn-of-the-century Russian composers in that he rejected all forms of nationalistic music, whether folktunes or dance rhythms, in favor of the classical forms of Western music. Taneyev was particularly interested in polyphony, and he made an intense study of the music of not just Bach, but of earlier masters like Palestrina, Lassus, and des Pres.

The best example of this passion in Taneyev’s own music is his Prelude

and Fugue in G-sharp Minor, Opus 29, composed in 1910, only five years before his death. This is not part of a set of preludes and fugues in all the keys in the manner of Bach’s Well-Tempered Clavier, but a stand-alone composition, and it appears to have been important to its creator–it is the only one of his works for solo piano that he assigned an opus number.

This is an extraordinarily difficult piece for the pianist, who must master its supple rhythms, powerful chordal writing, and chromatic harmonies–the piece may be in G-sharp minor, but the notion of a clear home key is often lost in this wide-ranging music. The Prelude gets off to a gentle start, and some sense of this music can be felt in Taneyev’s instructions to the pianist: cantabile, espressivo, dolce. Still, it drives to a massive climax marked Maestoso (“majestic”) and con forza before falling away to a most subdued conclusion. Out of that silence, the fugue explodes to life.

Taneyev’s marking is Allegro vivace e con fuoco, and he does indeed want the fugue played “with fire.” It is in the unusual metric marking 2/4 (12/16), and the pianist must keep the complex contrapuntal strands clear at a very rapid tempo. Again, Taneyev’s markings tell the tale: he wants this music played agitato, impetuoso, and marcatissimo. The music drives to another Maestoso climax, then rushes to a sudden, surprising conclusion.

Aware of this music’s difficulty, Taneyev arranged it for two pianos in 1914, but it

ABOUT THE PROGRAM remains difficult even for two performers. Mr. Trifonov opens this recital with the original version for just one pianist.

Visions fugitives, Opus 22 SERGE PROKOFIEV

Born April 23, 1891, Sontsovka Died March 5, 1953, Moscow Prokofiev composed this collection of twenty brief pieces for piano during the years 1915-17, just as the Russian Revolution exploded around him. These pieces were not composed in the sequence in which they were published, and listeners should not search for a progression or for any unifying element. Prokofiev’s title is the key to understanding this music, for these pieces truly are fleeting–or fugitive–visions: each of them is a tiny tone-impression, some lasting only a matter of seconds. Prokofiev took his title from a poem by the Russian Constantin Balmont:

early audiences by surprise. An exception to this is the next-to-last piece, marked Presto agitatissimo e molto accentuato. Written during the revolutionary struggles early in 1917, it was meant to depict–in just a few moments of violent sound–the fighting Prokofiev saw around him.

Piano Sonata No. 2 in F-sharp Minor, Opus 13 NIKOLAI MYASKOVSKY

Born April 20, 1881, Novogeorgiyevsk Died August 8, 1950, Moscow

In every fugitive vision I see worlds, Full of the changing play of rainbow hues.

Born into a military family, Nikolai Myaskovsky was expected to go into the army, and he did. But music was his true calling, and he recognized that early: while he was stationed in Moscow, the young officer found time to study harmony with Gliere, and he left the army as soon as he could. Myaskovsky entered the St. Petersburg Conservatory in 1906, at the advanced age of 25, and there he studied with Liadov and Rimsky-Korsakov and became a lifelong friend of Prokofiev (he would later become a good friend of Shostakovich).

The full quotation is important, for this music does change by the instant, very much like the shifting tints of a rainbow. Prokofiev varies the pieces–and the moods–sharply.

The lyric gives way to the fierce, which gives way to the sardonic, and so on. Particularly striking are the quiet pieces–this music came from a period in Prokofiev’s career when he delighted in outraging audiences, and the gentleness of the Visions fugitives caught

Myaskovsky was much respected as a teacher, and among his students were such composers as Khachaturian, Kabalevsky, and Shebalin. Though Myaskovsky appears to have been sincere in his support for the ideals of the revolution, life for a Soviet artist was never easy: Myaskovsky was one of those singled out for censure at the infamous Congress of Soviet Composers in 1948. At that time he was already suffering from the

ABOUT THE PROGRAM cancer that would kill him, and he did not respond to the government’s criticism.

There was a time when Myaskovsky was regarded, along with Prokofiev and Shostakovich, as one of the three greatest Soviet symphonists, but over the last half-century his music has almost disappeared from Western concert halls. The sheer quantity of Myaskovsky’s music can be intimidating: he composed 27 symphonies, 13 string quartets, 9 piano sonatas, and a number of orchestral and chamber scores. That music has certainly had its advocates: Mstislav Rostropovich championed Myaskovsky’s Cello Concerto, Glenn Gould admired his piano music, and both the Philadelphia Orchestra and Chicago Symphony recorded Myaskovsky’s excellent one-movement Symphony No. 21, composed in 1940. But today, seventy-five years after his death, Myaskovsky’s music is seldom heard in this country, and that makes a performance of the Piano Sonata No. 2 all the more welcome.

Myaskovsky wrote this sonata in 1912, the year after he graduated from the St. Petersburg Conservatory, and revised it in 1948, two years before his death. Like many of his works, the sonata–which spans about twenty minutes–is in one continuous movement, though that structure can divide into sections at different tempos. This is big-boned music, bold in attack and sonority: when Myaskovsky marks the slow introduction deciso (“decisive”), he means it. This music’s unstable

harmonic language often suggests the music of Scriabin, who was at this time composing his own cycle of piano sonatas.

The Lento introduction gives way to the main body of the sonata, which has the tempo marking Allegro affanato (“anxious, unsettled”). This Allegro is in a generalized sonataform structure, but this is shaped with much imagination. The opening subject is indeed unsettled, and its sonority can be powerful and heavy.

A measure of relief arrives with the second subject, but then comes a surprise: Myaskovsky introduces a third theme, and it is the Dies Irae, the ancient plainchant melody that so haunted Rachmaninoff.

Myaskovsky treats all these ideas in the extended development, but rather than concluding with the expected recapitulation, he builds a fugue on a variant of the Dies Irae theme, and this drives the sonata to its powerful conclusion.

Piano Sonata No. 1 in F-sharp Minor, Opus 11 ROBERT SCHUMANN

Born June 8, 1810, Zwickau Died July 29, 1856, Endenich Schumann’s First Piano Sonata took shape slowly during the period 1832-35, when the composer was in his early twenties and deeply in love with Clara Wieck, then in her mid-teens. Her father was so violently opposed to the match that he forbade Clara to see the young composer, and when Schumann published the sonata in 1836 he did so anonymously, inscribing it only “Dedicated to Clara from Florestan

ABOUT THE PROGRAM and Eusebius.” These were the two faces Schumann recognized in his own personality: Florestan was the impulsive, impetuous side; Eusebius the calm, reflective one.

Clara of course knew who had written the sonata and performed it in public to defy her father.

Perhaps because the Piano Sonata No. 1 took shape over a period of years, Schumann borrowed from several early works for his thematic material, but he combines this material skillfully. In fact, one of the most remarkable things about this sonata is its thematic unity. The first movement opens with a long introduction, and the Allegro vivace then begins with a quiet eight-note figure in the left hand. The composer of this figure, however, was not Schumann but the young Clara–it comes from her Characteristic Pieces, Opus 5–and Schumann uses it here as the accompaniment to his own main theme, heard immediately in the right hand. The ingenious combination of his own music with Clara’s was a clear message of love.

The right-hand theme had been composed several years earlier

by Schumann as his Fandango: fantaisie rhapsodique pour le pianoforte. A tender second subject leads to a long development, and the movement ends with a quiet restatement of Clara’s eight-note figure.

Schumann called the second movement Aria and based it on his song To Anna, written in 1828.

If the theme sounds familiar, it should: in one of the sonata’s most

striking touches, Schumann had foreshadowed this melody by using it in the introduction to the first movement. The third–a Scherzo e Intermezzo marked Allegrissimo– is mercurial, racing brilliantly through the range of the keyboard.

One expects the Intermezzo to be a quiet contrast, but again Schumann springs a surprise, for this section is even more vigorous than the scherzo. He marks it alla burla, ma pomposo: “jestingly, but pompous.” Before the return of the scherzo section, Schumann brings the Intermezzo to an inflated close, instructing the pianist to sound “quasi Oboe.” The Finale, marked Allegro un poco maestoso, contains some of the sonata’s most brilliant music. The main theme, of steady rhythmic pulse, is heard immediately and–despite some quiet interludes–dominates the long final movement.

Program notes by Eric Bromberger © 2025.

ABOUT THE ARTIST DANIIL TRIFONOV PIANO GRAMMY® Award-winning pianist Daniil Trifonov (dan-EEL TREEfon-ov) has made a spectacular ascent of the classical music world, as a solo artist, champion of the concerto repertoire, chamber and vocal collaborator, and composer.

Combining consummate technique with rare sensitivity and depth, his performances are a perpetual source of awe. “He has everything and more, … tenderness and also the demonic element.

I never heard anything like that,” marveled pianist Martha Argerich.

With Transcendental , the Liszt collection that marked his third title as an exclusive Deutsche Grammophon artist, Trifonov won the Grammy Award for Best Instrumental Solo Album of 2018.

Named Gramophone’s 2016 Artist of the Year and Musical America’s 2019 Artist of the Year, he was made a “Chevalier de l’Ordre des Arts et des Lettres” by the French government in 2021. As The Times of London notes, he is “without question the most astounding pianist of our age.” Trifonov’s 2025-26 season includes three performances at Carnegie Hall. He first reunites with German baritone Matthias Goerne for a performance of Schubert’s Die schöne Müllerin, as the culmination of their North American tour of Schubert’s great song cycles that also sees them perform Schwanengesang in Québec City and Boston, and Winterreise in Toronto, Washington, DC, and Dallas. After the North American performances, Trifonov and Goerne tour the cycles to

multiple German and Austrian cities, as well as to Paris in the spring.

In November, Trifonov returns to Carnegie Hall in the company of Cristian Macelaru and the Orchestre National de France for two great French piano concertos: Saint-Saëns’s Second and Ravel’s jazz-inflected Piano Concerto in G. Finally, in December, Trifonov’s third Carnegie Hall appearance of the season is a mainstage solo recital, with the same program performed throughout the season in both the U.S. and Europe. Other season highlights for Trifonov include a short duo tour in Sweden and Austria with violinist Nikolaj Szeps-Znaider; a reprise of Brahms’s Second Piano Concerto with the Cleveland Orchestra and Music Director Franz Welser-Möst, as well as three performances of the same work with the Orchestra dell’Accademia Nazionale di Santa Cecilia under the baton of Daniel Harding; and Beethoven’s Second Piano Concerto with both the Cincinnati Symphony led by Macelaru and the Chicago Symphony Orchestra – where Trifonov served as 202425 artist-in-residence – led by Esa-Pekka Salonen. Last season, besides the Chicago residency, Trifonov also undertook a seasonlong residency with the Czech Philharmonic, highlighted by multiple performances – including in Carnegie Hall – of Dvořák’s Piano Concerto with Semyon Bychkov. He opened the Leipzig Gewandhaus Orchestra’s season with Mozart’s 25th Piano Concerto under Andris Nelsons and returned to Leipzig at the end of the season for numerous performances in their Shostakovich

ABOUT THE ARTIST Festival. Other season highlights included Prokofiev with Esa-Pekka Salonen and the San Francisco Symphony; Dvořák on a European tour with Jakub Hrůša and the Bamberg Symphony; Ravel with Hamburg’s NDR Elbphilharmonie Orchestra and Alan Gilbert; and Schumann and Beethoven on tour in Europe with Rafael Payare and the Montreal Symphony. In recital, he performed solo and with violinist Leonidas Kavakos in Carnegie Hall and many other destinations, and he released the double album My American Story: North on Deutsche Grammophon in the fall, which included Mason Bates’s Piano Concerto – dedicated to Trifonov – captured live with Yannick Nézet-Séguin and the Philadelphia Orchestra. In fall 2022, Trifonov headlined the seasonopening galas of Washington’s National Symphony Orchestra and New York’s Carnegie Hall, where his Opening Night concert with the Philadelphia Orchestra marked the first of his four appearances at the venue in 2022-23. Other recent highlights include a multi-faceted, season-long tenure as 2019-20 Artist-in-Residence of the New York Philharmonic, featuring the New York premiere of his own Piano Quintet; a season-long Carnegie Hall “Perspectives” series; the world premiere performances of Bates’s Piano Concerto with ensembles including the cocommissioning Philadelphia Orchestra and San Francisco Symphony; playing Tchaikovsky’s First under Riccardo Muti in the historic gala finale of the Chicago

Symphony’s 125th-anniversary celebrations; launching the New York Philharmonic’ s 2018-19 season; headlining complete Rachmaninov concerto cycles at the New York Philharmonic’ s Rachmaninov Festival and with London’s Philharmonia Orchestra and the Munich Philharmonic; undertaking season-long residencies with the Berlin Philharmonic, Rotterdam Philharmonic, Radio France, and at Vienna’s Musikverein, where he appeared with the Vienna Philharmonic and gave the Austrian premiere of his own Piano Concerto; and headlining the Berlin Philharmonic’ s famous New Year’s Eve concert under Sir Simon Rattle.

Since making solo recital debuts at Carnegie Hall, London’s Wigmore Hall, Vienna’s Musikverein, Japan’s Suntory Hall, and Paris’s Salle Pleyel in 2012-13, Trifonov has given solo recitals at venues including the Kennedy Center in Washington DC; Boston’s Celebrity Series; London’s Barbican, Royal Festival, and Queen Elizabeth Halls; Amsterdam’s Concertgebouw (Master Piano Series); Berlin’s Philharmonie; Munich’s Herkulessaal; Bavaria’s Schloss Elmau; Zurich’s Tonhalle; the Lucerne Piano Festival; the Palais des Beaux-Arts in Brussels; the Théâtre des Champs Élysées and Auditorium du Louvre in Paris; Barcelona’s Palau de la Música; Tokyo’s Opera City; the Seoul Arts Center; and Melbourne’s Recital Centre. In fall of 2022, Deutsche Grammophon released a deluxe CD & Blu-Ray edition of the pianist’s best-selling 2021 album Bach: The Art of Life.

ABOUT THE ARTIST Featuring Bach’s masterpiece The Art of Fugue, as completed

by Trifonov himself, the recording scored the pianist his sixth Grammy nomination, while an accompanying music video was recognized with the 2022 Opus Klassik Public Award. Trifonov also received Opus Klassik’s 2021 Instrumentalist of the Year/Piano award for Silver Age, his album of Russian solo and orchestral piano music by Scriabin, Prokofiev, and Stravinsky. Released in fall 2020, this followed 2019’s Destination Rachmaninov: Arrival, for which the pianist received a 2021 Grammy nomination.

Presenting the composer’s First and Third Concertos, Arrival represents the third volume of the DG series Trifonov recorded with the Philadelphia Orchestra and Nézet-Séguin, following Destination Rachmaninov: Departure, named BBC Music’s 2019 Concerto Recording of the Year, and Rachmaninov: Variations, a 2015 Grammy nominee. DG has also issued Chopin Evocations, which pairs the composer’s works with those by the 20th-century composers he influenced, and Trifonov: The Carnegie Recital, the pianist’s first recording as an exclusive DG artist, which captured his sold-out 2013 Carnegie Hall recital debut live and secured him his first Grammy nomination.

It was during the 2010-11 season that Trifonov won medals at three of the music world’s most prestigious competitions, taking Third Prize in Warsaw’s Chopin Competition, First Prize in Tel Aviv’s Rubinstein Competition, and both First Prize

and Grand Prix – an additional honor bestowed on the best overall competitor in any category – in Moscow’s Tchaikovsky Competition. In 2013 he was awarded the prestigious Franco Abbiati Prize for Best Instrumental Soloist by Italy’s foremost music critics.

Born in Nizhny Novgorod in 1991, Trifonov began his musical training at the age of five, and went on to attend Moscow’s Gnessin School of Music as a student of Tatiana Zelikman, before pursuing his piano studies with Sergei Babayan at the Cleveland Institute of Music.

He has also studied composition, and continues to write for piano, chamber ensemble, and orchestra.

When he premiered his own Piano Concerto, the Cleveland Plain Dealer marveled: “Even having seen it, one cannot quite believe it. Such is the artistry of pianist-composer Daniil Trifonov.”

For more information, check out his website: daniiltrifonov.com Managed by Opus 3

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