Brahms, Piano Concerto No. 2 

Daniil Trifonov ‪@daniiltrifonov‬
Los Angeles Philharmonic ‪@laphil‬ / Susanna Mälkki -
Johannes Brahms: Piano Concerto No. 2 in B♭ major, Op. 83 (1881)
Walt Disney Concert Hall, Los Angeles, USA / Feb. 23-25, 2024
Broadcast on KUSC with Brian Lauritzen on May 12, 2024
www.kusc.org/s...
00:00 I. Allegro non troppo
19:26 II. Allegro appassionato
28:16 III. Andante
40:42 IV. Allegretto grazioso - Un poco più presto
49:41 Applause
50:40 [Encore with Robert deMaine] Chopin's Cello Sonata: III. Largo
54:51 Applause
Michael M. Landman-Karny's Review:
"Daniil Trifonov, a Russian pianist distinguished by his shoulder-length hair and beard, giving him the appearance of a mystical prophet, stands among the foremost pianists of our time. His performance of Brahms’s monumental concerto did not disappoint.
The first movement, Allegro non Troppo (Fast but not overly so) has a famously evocative opening, the principal horn (beautifully played by David Cooper) presented the first sounds of the movement’s main theme. Trifonov on the piano seamlessly picked up the musical conversation as a soloist, leading into extended, triumphant piano solos interchanged with the orchestra. What stood out was Trifonov’s ability to sustain the expansive lines of the movement, maintaining a coherent narrative amidst the complexity of Brahms’s musical ideas. The cadenza was a highlight, showcasing Trifonov’s virtuosity and emotional depth, while seamlessly integrating with the thematic material of the movement. Under Mälkki’s direction, the LA Phil harmonized dynamic shifts from the podium, meshing seamlessly with the nuanced exchange between pianist and orchestra.
The second movement is marked Allegro Appassionato (passionately brisk) and is a mostly tumultuous movement. Trifonov delved into the passionate and stormy character of the music with full force, his fingers traversing the keyboard with agility and precision. The contrasts between the tumultuous and more lyrical sections were handled with great finesse. Trifonov’s dynamic control was remarkable, moving from thunderous climaxes to moments of tender intimacy without losing the thread of the movement’s forward momentum. The orchestra beautifully harmonized with the piano creating a lush wall of sound.
The third movement, marked Andante (Slow), is where the heart of Brahms’ concerto lies. This movement stands out for its unique incorporation of an extensive cello solo within the framework of a piano concerto. Robert DeMaine, exquisite on Cello, played the theme for the first three minutes before the piano came in. Trifonov navigated the movement’s emotional landscapes with a moving sensitivity and depth. His touch on the piano was at once gentle and decisive, allowing the melody to unfold with a clarity and warmth that seemed to embrace the listener. The orchestra provided a lush, responsive backdrop to Trifonov’s playing. The strings were particularly notable for their velvety tone, weaving in and out of the piano’s narrative with grace and precision. The woodwinds added layers of texture and conversation, echoing the piano’s themes and expanding on them with their own voices.
The concerto culminated with the fourth movement, marked Allegretto grazioso (fairly fast, graciously), bursting forth with a spirited Hungarian folk-dance motif. The finale showcased Trifonov’s dazzling technical prowess, as the piano and orchestra engaged in a thrilling exchange of themes, culminating in a triumphant finale that had the audience jumping to their feet.
For his one encore, Trifonov played the Chopin Cello Sonata with Robert DeMaine on the cello. It was short but beautiful and left this reviewer wishing for more encores.
Unlike some of his contemporaries, such as Yuja Wang and Lang Lang, Trifonov isn’t heavily hyped by his publicity team. Trifonov’s effortless gimmick-free technique, however, solidifies his position as one of the greatest living pianists. The combination of Mälkki, Trifonov and the best-in-class Los Angeles Philharmonic made this a night to remember."
Lev Mamuya's Review:
"His playing in the second-movement scherzo, buttressed by cutting, responsive figures in the strings, was deeply satisfying, and his touch at the outset of the finale was dry but graceful - the interpretation tended toward singing, delicate, and contemplative."
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