Without stealing the focus from pianist Daniil Trifonov’s transfixing concert at Orchestra Hall on Sunday afternoon, a bit of an “overture” might be in order.Not only did this performance come one month after Trifonov had to postpone his original date in early February because of a positive COVID test, but the Russian-born musician — a child prodigy who came to the U.S.
And there was this bit of irony that surely was not planned: The opening piece on Trivonov’s program was the “Sonata No. 3” by Karol Szymanoski , the Ukrainian-born composer who spent many of his student years in Poland, and lived through both World War I and the Russian Revolution . The Syzmanowski piece began with a dreamy, impressionistic fluidity before shifting into a stormy, agitated mood suggesting emotional turmoil. And Trifonov’s remarkably fleet, balletic fingers captured both its passages of feathery lightness and frenzied madness in this work that was ideally paired with the next piece, Debussy’s “Pour le piano” . In fact, the Syzmanowski and Debussy works could be seen as something of a set of non-identical twins.
And then, with Trifonov’s wholly determined focus at the ready, it was on to Prokofiev’s ideally titled “Sarcasms,” a work dating from 2014 and comprised of five sections. It begins with a somewhat pounding, frantic, slightly dissonant and syncopated riff that immediately suggests a modernist mindset.
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