KC Symphony and Russian pianist join for jubilant performance

Daniil Trifonov’s avidly anticipated debut with the Kansas City Symphony, performing his own piano concerto, proved impressive. The entire program, conducted by Michael Stern, had a heartiness to it and Friday night’s audience in Helzberg Hall responded to its jubilance and vitality with resounding applause.

Works from virtuoso performer/composers contribute a considerable amount to the classical literature, with Ludwig van Beethoven and Johannes Brahms prime examples, though the practice has fallen off in the latter part of the 20th century. Placing Trifonov’s work between Beethoven’s Overture to “Egmont” and Brahms’ Symphony No. 2 emphasized this connection, especially since both Beethoven and Brahms were first recognized in their 20s for their pianistic abilities, but are remembered for their compositions.

Beethoven’s overture, written when he was 29, suspends its tensions. The opening statement from the strings was rich, robust, defining, then dissolving into the gentle statement from the winds. This contrast of robust and sweet continued with confidence into the triumphant cadence.

This contrast, and the balancing of these elements, was felt in Trifonov’s Concerto in E flat Major for Piano and Orchestra as well. With his lush writing and athletic performing style, Trifonov is, even at 25 years old, situated to continue the grand and romantic Russian tradition. That tradition influenced both tone and texture of the concerto, though Trifonov’s imagination offered an array of inventive ideas, especially his harmonies and timbres. While he didn’t stay on one idea too long, the material was well knitted with sudden and vast changes of scope. It was not just a showpiece for piano, but a work with virtuosic expectations of the orchestra, too.

As a pianist, he possesses an uncanny breadth of sounds, a multitudinous quality able to match the orchestra, from his dense, lyrical themes to the elaborate accompanying gestures. It is an emphatic style of playing, striking melodies above constant, swirling harmonies and secondary material.

Brahms’ Symphony No. 2 is mature Brahms, though for all its formal structure, it sounded fluid and organic. Brisk, quiet exchanges gave moments a sort of stage whisper prominence, while the excellent tutti low strings were both lyrical and mysterious. The strings throughout performed with resolve and strength. The winds blended exceedingly well, while the brass in their moments did not disappoint.

The consistency of the orchestra added to the work’s inherent vibrancy. This performance, too, produced an urgency that supported the cultural pertinence of the art form and the tradition’s continuance for future generations.

This story was originally published November 19, 2016 at 7:47 AM with the headline "KC Symphony and Russian pianist join for jubilant performance."