Prokofiev, Piano Concerto No. 3

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Daniil Trifonov ‪@daniiltrifonov‬
Boston Symphony Orchestra ‪@bostonsymphony‬ / Andris Nelsons -
Sergei Prokofiev: Piano Concerto No. 3 in C major, Op. 26
Koussevitzky Music Shed, Lenox, MA, USA / July 7, 2023
Opening Night at Tanglewood
00:00 I. Andante - Allegro
10:16 II. Tema con variazioni
19:52 III. Allegro, ma non troppo
30:56 Applause
32:54 [Encore] Sergei Prokofiev - Three Pieces from "Cinderella", Op. 95: II. Gavotte
36:38 Applause
Steven Ledbetter, a musicologist and former Boston Symphony's program annotator, writes:
Andris Nelsons, the BSO, and Daniil Trifonov sparked the wide-ranging 2023 Tanglewood season with high energy in a mostly Russian (plus Marsalis) program. […]
It begins with a wonderful lyricism (a quality that gradually came to dominate elements of Prokofiev’s later music, especially the ballets. But after this gentle beginning with woodwinds and a scurrying preparation in the strings, the soloist enters with dynamic fast music, often calling for pounding chords (for which the steely fingered Trifonov certainly showed the requisite muscularity), at some places hinting at Prokofiev’s frequent suggestions of Stravinsky, almost a decade his senior, whom Prokofiev often sought to outdo in rhythmic violence and dissonance (though never quite doing so), and suddenly reverting to gentle lyricism. Both pianist and orchestra gave full measure to both these expressive opposing forces.
For an encore, Trifonov stuck with Prokofiev but chose a delicate dance movement, a Gavotte, that the composer had transcribed from his ballet Cinderella. This was as crisp and clean and light as much of the concerto has been thunderous. […]
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David M. Rice writes:
"[...] Daniil Trifonov exuded enthusiasm and eagerness to plunge into Prokofiev’s Third Piano Concerto, which he did most emphatically following William R. Hudgins’s clarinet solo. Trifonov negotiated the Concerto’s challenges with spectacular technique, capturing the music’s sarcastic wit and humor. After the piano echoed a clever juxtaposition of oboe, pizzicatos and castanets, Trifonov powerfully dashed off a series of rising and falling octaves to conclude the first movement. In the first of the middle movement’s five variations, Trifonov’s trills and glissando launched a lovely sentimental discourse, and in the more rapid-paced variation that followed, his traversal of intricate figurations, set against muted brass, was most impressive. The Finale featured fine playing from the woodwinds, beginning with the bassoons announcement of a humorous idea, and ending with a non-stop race that showed off Trifonov’s incredible virtuosity. Trifonov’s charming but staid encore, the Gavotte from Prokofiev’s Cinderella, seemed oddly anticlimactic. [...]"
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Edward Sava-Segal's review:
There is little doubt that Daniil Trifonov, one the of the greatest pianists of his generation, was the primary reason why most people attended Friday night’s performance in the Koussevitzky Shed. He obliged with a performance of Prokofiev’s Piano Concerto no. 3 in C major that was not only technically immaculate but also respected the letter and the spirit of a score whose three movements are as much abrupt and stormy, as they are full of lyricism and memorable melodies.
There was no sign of grandiloquence in a reading shaped with great intelligence and sensibility from the very first bars. Balances between ludic and gravitas, sarcastic and mysterious were outstandingly maintained in the central theme with variations. Trifonov and Nelsons allowed the details - dissonant, poetic, even jazzy - to resound in all their splendour in the last movement, the section where too many pianists ignore the ma non troppo indication to display their prowess at unfathomable speeds. There was a clear chemistry between pianist and orchestra. In one of those scores where the ensemble’s contribution is as important as the soloist’s, the latter’s dialogues with different orchestral sections unfolded with verve and naturalness. Every piano intervention emerged organically from the orchestral tapestry.
A charming single encore, the Gavotte from Prokofiev’s Cinderella, was played in the same vein as the concerto’s middle section, with wit subsumed by delicacy.
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Jeremy Eichler's review:
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