“My American Story” – the pianist performs the music of the United States

Wie klingt ein Land, wie gar ein Kontinent? And will the cultural identity be broader in harmony and rhythms, will the components of the peasants have arrived? This fragment was pronounced by the time of Daniil Trifonov – the Russian pianist stayed in America for a long time. “Ich wollte die Musik dieses Landes erkunden,” he said. New breasts Album hater «My American Story. North » getauft. This is the first project of a double bill, with a tribute and music from fortified Latin America. In the Album of the US-Wahl it is released, it will be released – it will be released later. Trifonov found his place in red music, in his works, at the dawn of the 20th anniversary of the American soundtrack.

“The music on the album has one clear voice,” says Trifonov. Himself when man has a song, the pieces have been created, man knows who this music is. “I want to see the music: if a most optimal cultural identity is the broadest and does not exist for itself, it is influenced by the whole Dinge herum, the landscape, history and current culture.” Mit dem often zitierten “Schmelztiegel-Vergleich” cann er dagegen wenig anfangen; The identity is often that of a musical discourse, the ähnliche Grundmuster is used and doch in jeder Komposition anders erklinge.

Erdig and Kraftvoll

Trifonov, of Russian childhood and youth, entered America in 2009 at Sergei Babayan’s Studium at the Cleveland Institute of Music. The web pages are Ohio Day and are an extremely productive and intensive newspaper, in which there are also many components and American music for this coverage. Zum Beispiel die Kunst Art Tatums, dessen unaufgeregter Flow ihn von Beginn an fascinierte. Sit acht Jahren left the pianist nun in New York. Von “Heimat” möchte er gleichwohl nicht sprechen – ces spüre er, mittlerweile auch Vater geworden, nur bei seiner Familie, unabhängig vom jeweiligen Ort.

Trifonov’s Center for American Pianists has two major keyboard and orchestral jobs, which are with the Philadelphia Orchestra under the direction of Yannick Nézet-Séguin. With the Klavierkonzert of George Gershwin, Trifonov created a Kultstück of American music for him, and the composer himself had a phrase that was written and written in the feeling of Sätzen, so that he created and detailed Trifonov’s entire work.

Der Schalk and the tänzelnde Verspieltheit, the handle and the best interpretations, passed through Trifonov in the hinterland. The company worked on the Gershwins Konzert with an erdigen, kraftvoll vibrierenden Grundgestus and an überragender Technik in the virtuoso passages. For Trifonov, the Gershwin monument is a “fantasy, sehr herausforderndes Stück” and nur scheinbar episodenhaft. “Gerade der erste Satz wirkt often thus, also ob er aus lauter verschiedenen Themen bestehen würde, aber sie sind alle in Beziehung zueinander et kunstvolle Variationen des ersten Themas.” The formal duration is also included between the two parts with a lyrical beginning, before the finale and the rondo jubelnd of the Konzert beschliesst. “The kind of piece that treats jazz as such,” says Trifonov, wrote here another art of phraseology and technology in the history of the era.

Gershwins Werk has a real study carried out: the own for Trifonov composed the piano concert of the Americans Mason Bates, which was premiered in Philadelphia on the documented album. Das Stück est un klingendes Zeugnis de la Lebensfreude, perkussiv et schillernd in der Tonsprache et voller Humor. For Trifonov, the first satz of a “Homage to the Renaissance” was rendered by the second satz in the romantic tradition of the original dialogue between a soloist and a zealous orchestra. The result of the Satz is the Konzert als Furioses and its complete Finale, the Anklänge and Minimal Music also being integrated into the film music sequences and jazzy episodes.

Feldforschung

Without jazz, American culture is not diesel, and therefore Trifonov’s description with American sounds is also a solution of use with the words Jazz. Zwischen Gershwin and Bates can be found under another clean transcription of Art Tatums “I Cover the Waterfront” and the Bill Evans song “When I Fall in Love”. Was yesterday im Ergebnis so mitreissend groovt und vor beiläufigem Understatement strotzt, war laut Trifonov harte Arbeit. “It’s in jazz that there’s a lot of concentration, crescendos or transitions,” says Trifonov, who goes further into clear-line music. And then, when a sentence is written, it is not the Grund-Flow that is underused.

A Groove jazz piece can be found for the job, as Trifonov himself analyzed. “Das war ein ständiges Vor und Zurück. I thought that I had aufgenommen, die Aufnahme angehört et versucht, daraus zu lernen,” said the pianist. Nach et nach habe er dabei gemerkt, “wie es klingen soll et wie sich das in den händen anfühlt”. The improviser character has a style like “I’m covering the waterfront” and these are details that revolve around his plan. This handshake is so an element of “a mathematical requirement and a subtle and complex logic”.

Daniil Trifonov, the expressive specialist and taste perfectionist, developed this experience. For the best album tracks, the notes are respected, the keyboard is played and the field search is performed. Man hört: das Rattern der U-Bahn, Stimmengewirr, das Schliessen von Türen, Lautsprecherdurchsagen, lachende Kinder. This is Trifonov’s own version of John Cages Stück “4’33”. Doch stattt 4 Minuten and 33 Sekunden Stille erklingt hier der Sound of amerikanischen Grossstadtalltags.