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Classical - Released October 7, 2016 | Deutsche Grammophon (DG)

Hi-Res Booklet Distinctions 5 de Diapason - 4F de Télérama - Gramophone Award - Gramophone Record of the Month - Choc de Classica - Choc Classica de l'année
While Daniil Trifonov has established his reputation as a versatile pianist, demonstrating in his concerts and recordings an aptitude for the music of Frédéric Chopin, Pyotr Il'yich Tchaikovsky, and Sergey Rachmaninov, his talents for virtuosic brilliance and fantastic speed, as well as his deeply reflective character, seem ready-made for Franz Liszt's Transcendental Etudes, S. 139. This 2016 Deutsche Grammophon release shows Trifonov in his element, executing the most difficult passages with extraordinary flair, while reserving his lyricism and introspection for Liszt's poetic meditations. For a taste of Trifonov's brilliance, try track five of disc one, the famous Feux follets, which Trifonov plays with dazzling technique and a light touch. Also included in this double CD are Liszt's Two Concert Etudes, S. 145, the Three Concert Etudes, S. 144, and the Grandes Études de Paganini, S. 141, which make up the second CD. An example of Liszt's poetic side can be found in track five of disc two, Un Sospiro, in which sparkling arpeggios are merged with a long-breathed melody, characteristic of Liszt's passionate Romanticism. For a special treat, try the final track, Paganini Etude No. 6, which is a set of variations on Niccolò Paganini's most famous Caprice in A minor, which many composers have exploited. These recordings were made in September 2015 at the Siemensvilla in Berlin, and the acoustics of the concert room provide appropriate resonance for Trifonov's powerful playing, yet his softest notes are clearly audible in these superb recordings. © TiVo
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Classical - Released October 12, 2018 | Deutsche Grammophon (DG)

Hi-Res Booklet Distinctions Diapason d'or de l'année - Diapason d'or - Le Choix de France Musique - Choc de Classica
The Philadelphia Orchestra has been named "Gramophone's Orchestra of the Year 2020".
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Classical - Released October 21, 2013 | Deutsche Grammophon (DG)

Hi-Res Booklet Distinctions 4F de Télérama - 4 étoiles Classica - Hi-Res Audio
Daniil Trifonov's 2013 recital at Carnegie Hall is a clear demonstration of what this pianist does well, in works well-suited to his talents. Trifonov has a reputation for his dazzling technique, which he has shown to best advantage in performances of Romantic repertoire, and his live readings of Alexander Scriabin's Piano Sonata No. 2 in G sharp minor, "Sonata-Fantasy," Franz Liszt's Piano Sonata in B minor, and Frédèric Chopin's 24 Preludes, Op. 28, offer a well-rounded impression of his extraordinary abilities. The Scriabin opener gives Trifonov an opportunity to display his amazingly quick prestidigitation in the second movement, and several of Chopin's preludes are whipped off with a velocity that impresses, even while being unnecessarily showy. But Trifonov has a much greater depth than his fireworks suggest, and his Scriabin and Chopin have moments of lucid reflection that reveal Trifonov's thoughtful, expressive side. Yet he seems most at home in Liszt's monumental sonata, with its brooding passages, wistful reveries, and dynamic surges that reveal the volatile and poetic temperaments to which he feels most attuned. Trifonov is decidedly a virtuoso in the Lisztian mold, so it would behoove him to make his next recital album an all-Liszt program, though this exceptional performance of the Sonata in B minor will have to satisfy his fans until then. © TiVo
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Classical - Released October 7, 2016 | Deutsche Grammophon (DG)

Booklet Distinctions 5 de Diapason - 4F de Télérama - 5 Sterne Fono Forum Klassik
While Daniil Trifonov has established his reputation as a versatile pianist, demonstrating in his concerts and recordings an aptitude for the music of Frédéric Chopin, Pyotr Il'yich Tchaikovsky, and Sergey Rachmaninov, his talents for virtuosic brilliance and fantastic speed, as well as his deeply reflective character, seem ready-made for Franz Liszt's Transcendental Etudes, S. 139. This 2016 Deutsche Grammophon release shows Trifonov in his element, executing the most difficult passages with extraordinary flair, while reserving his lyricism and introspection for Liszt's poetic meditations. For a taste of Trifonov's brilliance, try track five of disc one, the famous Feux follets, which Trifonov plays with dazzling technique and a light touch. Also included in this double CD are Liszt's Two Concert Etudes, S. 145, the Three Concert Etudes, S. 144, and the Grandes Études de Paganini, S. 141, which make up the second CD. An example of Liszt's poetic side can be found in track five of disc two, Un Sospiro, in which sparkling arpeggios are merged with a long-breathed melody, characteristic of Liszt's passionate Romanticism. For a special treat, try the final track, Paganini Etude No. 6, which is a set of variations on Niccolò Paganini's most famous Caprice in A minor, which many composers have exploited. These recordings were made in September 2015 at the Siemensvilla in Berlin, and the acoustics of the concert room provide appropriate resonance for Trifonov's powerful playing, yet his softest notes are clearly audible in these superb recordings. © TiVo
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Classical - Released October 6, 2017 | Deutsche Grammophon (DG)

Hi-Res Booklet Distinctions 4 étoiles Classica - 5 Sterne Fono Forum Klassik
First you think : “here we go... yet agaaaaain another recording of Chopin’s two concertos”, then you read ‘world premiere’ in the description. Surprising, isn’t it? And yet, this is the truth, the whole truth, and nothing but the truth! This world premiere is describing the brand new orchestrations realised by Mikhail Pletnev. These re-orchestrations give prominence to the much more chamber-like aspect of the accompaniment, which admittedly is a little pale and formulaic in the version that we’ve known for almost two centuries. Pletnev has moderated the music score, thinning out some parts while not changing a single note: the piano part remains the same, and in the orchestra nothing changes apart from the instrumental assignation. In addition to those two concertos that are much more colorful, the pianist Daniil Trifonov offers us a handful of tributes to Chopin by his peers and successors: Schumann, whose admiration for the Polish composer wasn’t reciprocated, Grieg, Barber and Tchaikovsky, and most of all Mompou’s splendid series of Variations on a Theme of Chopin. New from old, but always for the best we won’t hasten to add. © SM/Qobuz
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Classical - Released August 28, 2015 | Deutsche Grammophon (DG)

Hi-Res Booklet Distinctions 5 Sterne Fono Forum Klassik
The long-awaited new album from Daniil Trifonov is finally here! It comes fully dedicated to the music of Rachmaninoff, and, more specifically, to his three cycles of variations for piano. First of all, we have the Rhapsody on a Theme of Paganini, Op. 43, a late work composed in the summer of 1934, which stands as one of Rachmaninoff’s great scores, alongside the Third Symphony, The Bells, the Liturgy of St. Chrysostom , and the Symphonic Dances. For this recording the Philadelphia Orchestra, working under the leadership of Yannick Nézet-Séguin, focus on the young Russian virtuoso with rapt attention, who then proceeds with another of the Russian composer’s great cycles, the underappreciated Variations on a Theme by Chopin , whose main theme resumes on the opening bars of the 20th Prelude of Op. 28, in C minor. Rachmaninoff designs from a highly polyphonic basis a work of rare complexity, and shape, through its harmonies. He has Chopin in mind, of course, for his lyrical side (Variations 6 and 21), but also J.S Bach (Variation 1), and Schumann – for the big Finale – whose epic touch ghosts the Symphonic Studies Op. 13. This partition, which allowed Trifonov to remove some passages, is believed by some performers to be an immense lyric poem in which notes turn literally into words (notably Jorge Bolet, and his magical phrasing, for Decca in 1986!). Others wish to unify it, like the young Trifonov himself, whose gesture is aimed primarily at a sense of fluidity. After a relatively brief, bright, tribute to Rachmaninov composed by the pianist himself, the album closes with the famous Variations on a Theme by Corelli, which is in fact the theme of "La Follia", which was used ceaselessly in the seventeenth and eighteenth centuries, all over Europe. © Qobuz
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Classical - Released October 11, 2019 | Deutsche Grammophon (DG)

Hi-Res Booklet Distinctions 5 de Diapason
Daniil Trifonov's journey around the world of Rachmaninov is at an end. The pianist has arrived safely into the harbour with Yannick Nézet-Seguin's Philadelphia Orchestra. This finale was inspired by the bells which are ubiquitous in the Great Russian soundscape. Alain Corbin explained their importance to the rhythmic and symbolic scansion of everyday life in 19th Century France in his book Village Bells. To the historian's analysis, we can now add the testimony of the pianist – who, like Rachmaninov, grew up in Novgorod. Russian bells leant Russian music its nobility and colouring of folk nostalgia. Daniil Trifonov hasn't forgotten this, as is clear from his piano transcription of the first episode of Les Cloches. He was wise enough to respect the operatic power of the score and the splendour of its orchestration: harp, celesta and flutes are all truly transformed into bells in the hands of a musician who stays true to the aura of disquieting oddness (with its shades of Edgar Allen Poe) which surrounds the first movement. His technique matches his capricious and bubbling imagination. While we might find ourselves yawning a little at the Vocalise, the first and third Concertos move us from thrilling ecstasies to tears of pleasure. A very fine record, in which the orchestra, perhaps a little distant, fulfils its role as a soundbox for the soloist. © Elsa Siffert/Qobuz
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Classical - Released November 18, 2020 | Deutsche Grammophon (DG)

Hi-Res Booklet
Here, Daniil Trifonov brings us an exciting itinerary that mixes solo piano and concert performances with a challenging programme. Now fully mature, Trifinov intends to demonstrate how the Russian composers at the turn of the 19th and 20th centuries were truly modern. The period is known in Russia as the “Silver Age” and corresponds with modernism’s “fin de siècle”. The Silver Age covers the whole range of fine arts, as well as haute couture, design and - of course - music and ballet.However, most of the programme comes from two composers who developed their modern sound outside of Russia. Stravinsky, who had long been considered a dissident, is now being reclaimed by Russian performers. None of his works (except those written when he was extremely young) were performed at the time in his home country. Having lost the score of his Concerto No. 2 in the turmoil of the 1917 Revolution, Prokofiev later rewrote it in Paris in a completely new style.Scriabin’s signature mystical vision that Daniil Trifonov talks about in the cover notes was not yet present in his Piano Concerto. This composition is a very romantic and rather academic early work written in the wake of Chopin, who was the young Scriabin’s idol.In addition to its great historical interest, this program is noteworthy thanks to Trifonov’s expressive playing in the solo pieces recorded at Princeton University in New Jersey, as well as in the two concertos conducted here by the ardent Valery Gergiev at the head of his St. Petersburg Mariinsky Orchestra. © François Hudry/Qobuz
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Classical - Released November 18, 2020 | Deutsche Grammophon (DG)

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Here, Daniil Trifonov brings us an exciting itinerary that mixes solo piano and concert performances with a challenging programme. Now fully mature, Trifinov intends to demonstrate how the Russian composers at the turn of the 19th and 20th centuries were truly modern. The period is known in Russia as the “Silver Age” and corresponds with modernism’s “fin de siècle”. The Silver Age covers the whole range of fine arts, as well as haute couture, design and - of course - music and ballet.However, most of the programme comes from two composers who developed their modern sound outside of Russia. Stravinsky, who had long been considered a dissident, is now being reclaimed by Russian performers. None of his works (except those written when he was extremely young) were performed at the time in his home country. Having lost the score of his Concerto No. 2 in the turmoil of the 1917 Revolution, Prokofiev later rewrote it in Paris in a completely new style.Scriabin’s signature mystical vision that Daniil Trifonov talks about in the cover notes was not yet present in his Piano Concerto. This composition is a very romantic and rather academic early work written in the wake of Chopin, who was the young Scriabin’s idol.In addition to its great historical interest, this program is noteworthy thanks to Trifonov’s expressive playing in the solo pieces recorded at Princeton University in New Jersey, as well as in the two concertos conducted here by the ardent Valery Gergiev at the head of his St. Petersburg Mariinsky Orchestra. © François Hudry/Qobuz
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Classical - Released December 6, 2019 | Deutsche Grammophon (DG)

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Classical - Released January 1, 2011 | Universal Music Italia srL.

Booklet
Following his successful 2012 release of the Tchaikovsky Piano Concerto No. 1 with Valery Gergiev and the Mariinsky Orchestra, Russian pianist Daniil Trifonov tries on the more intimate role of recitalist for this live Decca album of solo piano pieces by Frédéric Chopin. Trifonov is a powerhouse in the Lisztian mold, and his incredible technique seems better suited to fast, flashy fingerwork than to more subdued music. Certain pieces, such as the Rondo in F major, Op. 5, "À la Mazur," the Étude in F major, Op. 10/8, and the Grande Valse Brillante, Op. 18, allow feats of prestidigitation, and there's no denying that he can perform with dazzling virtuosity. However, Chopin should not be played to set land speed records, and Trifonov is required to show greater variety of tempos, dynamics, and expressions in the Andante Spianato and Grande Polonaise Brillante, the set of three Mazurkas, Op. 56, and above all in the Sonata No. 3 in B minor, where more is at stake emotionally and artistically. (It is perhaps of interest to note that the first four tracks were recorded in Venice, while the rest of the album was recorded in Sacile, Italy, so changes in playing style may reflect the different venues.) Trifonov is obviously more comfortable in glittering showpieces, and this CD confirms that can always entertain with his brilliance. But it is inconclusive about his capacity for emotional growth and ability to play slower and more private music with grace and depth. © TiVo
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Classical - Released October 12, 2018 | Deutsche Grammophon (DG)

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The Philadelphia Orchestra has been named "Gramophone's Orchestra of the Year 2020".
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Classical - Released November 18, 2020 | Deutsche Grammophon (DG)

Booklet
Here, Daniil Trifonov brings us an exciting itinerary that mixes solo piano and concert performances with a challenging programme. Now fully mature, Trifinov intends to demonstrate how the Russian composers at the turn of the 19th and 20th centuries were truly modern. The period is known in Russia as the “Silver Age” and corresponds with modernism’s “fin de siècle”. The Silver Age covers the whole range of fine arts, as well as haute couture, design and - of course - music and ballet. However, most of the programme comes from two composers who developed their modern sound outside of Russia. Stravinsky, who had long been considered a dissident, is now being reclaimed by Russian performers. None of his works (except those written when he was extremely young) were performed at the time in his home country. Having lost the score of his Concerto No. 2 in the turmoil of the 1917 Revolution, Prokofiev later rewrote it in Paris in a completely new style. Scriabin’s signature mystical vision that Daniil Trifonov talks about in the cover notes was not yet present in his Piano Concerto. This composition is a very romantic and rather academic early work written in the wake of Chopin, who was the young Scriabin’s idol. In addition to its great historical interest, this program is noteworthy thanks to Trifonov’s expressive playing in the solo pieces recorded at Princeton University in New Jersey, as well as in the two concertos conducted here by the ardent Valery Gergiev at the head of his St. Petersburg Mariinsky Orchestra. © François Hudry/Qobuz
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Classical - Released March 1, 2013 | DUX

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Classical - Released October 11, 2019 | Deutsche Grammophon (DG)

Booklet
Daniil Trifonov's journey around the world of Rachmaninov is at an end. The pianist has arrived safely into the harbour with Yannick Nézet-Seguin's Philadelphia Orchestra. This finale was inspired by the bells which are ubiquitous in the Great Russian soundscape. Alain Corbin explained their importance to the rhythmic and symbolic scansion of everyday life in 19th Century France in his book Village Bells. To the historian's analysis, we can now add the testimony of the pianist – who, like Rachmaninov, grew up in Novgorod. Russian bells leant Russian music its nobility and colouring of folk nostalgia. Daniil Trifonov hasn't forgotten this, as is clear from his piano transcription of the first episode of Les Cloches. He was wise enough to respect the operatic power of the score and the splendour of its orchestration: harp, celesta and flutes are all truly transformed into bells in the hands of a musician who stays true to the aura of disquieting oddness (with its shades of Edgar Allen Poe) which surrounds the first movement. His technique matches his capricious and bubbling imagination. While we might find ourselves yawning a little at the Vocalise, the first and third Concertos move us from thrilling ecstasies to tears of pleasure. A very fine record, in which the orchestra, perhaps a little distant, fulfils its role as a soundbox for the soloist. © Elsa Siffert/Qobuz
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Classical - To be released October 8, 2021 | Deutsche Grammophon (DG)

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Classical - Released October 6, 2017 | Deutsche Grammophon (DG)

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First you think : “here we go... yet agaaaaain another recording of Chopin’s two concertos”, then you read ‘world premiere’ in the description. Surprising, isn’t it? And yet, this is the truth, the whole truth, and nothing but the truth! This world premiere is describing the brand new orchestrations realised by Mikhail Pletnev. These re-orchestrations give prominence to the much more chamber-like aspect of the accompaniment, which admittedly is a little pale and formulaic in the version that we’ve known for almost two centuries. Pletnev has moderated the music score, thinning out some parts while not changing a single note: the piano part remains the same, and in the orchestra nothing changes apart from the instrumental assignation. In addition to those two concertos that are much more colorful, the pianist Daniil Trifonov offers us a handful of tributes to Chopin by his peers and successors: Schumann, whose admiration for the Polish composer wasn’t reciprocated, Grieg, Barber and Tchaikovsky, and most of all Mompou’s splendid series of Variations on a Theme of Chopin. New from old, but always for the best we won’t hasten to add. © SM/Qobuz
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Classical - Released January 1, 2013 | Deutsche Grammophon (DG)

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Classical - Released August 25, 2017 | Deutsche Grammophon (DG)

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Classical - To be released October 8, 2021 | Deutsche Grammophon (DG)

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Daniil Trifonov in the magazine