So-called swan songs, a creative’s final musical statements, vignettes, or settings of texts are special offerings indeed.
The pairing of visiting virtuoso Danil Trifonov with experienced lieder interpreter Matthias Goerne to present these final songs was a formidable recipe for success. Their joint ability for colouring each description of emotional and physical environments was so rewarding to watch and hear.
Singer and pianist worked as a fine team, bringing Schubert’s metaphorical, deeply emotional and next-level late-life introspection to penetrating life in the clear acoustic of Angel Place’s City recital Hall.
In a week that saw SSO in exciting concerto collaboration with Trifonov in Romantic soloist mode performing the fireworks of the Rach 4 alongside Berlioz’ Symphony Fantastique it was special in this ‘swan song’, last concert moment to hear this pianist’s gift of clear expression be transformed into the role lieder accompanist.
This is a role he took as seriously as doing justice to as being a concerto soloist. Trifonov brought his pianistic resources to this presentation of Lieder with stunning effect. As must have been the case with Schubert’s Winterreise song cycle, also performed during this tour week, Trifonov’s versatile clarity of touch yielded a nicely-wrought expression. This was a well-balanced accompaniment level, a sterling sympathetic base from which playing soared during introductions, interludes and heart-on-sleeve postludes.
The synergy and balance between this calibre of pianist and baritone was a treasured partnership and a rare treat to witness. Goerne’s agile, full tone voice leapt across the finely chiselled accompaniment during the emotional landscapes and searching Schwanegesang lyrics by Ludwig Rellstab or Heinrich Heine.
Select instances during these songs saw Goerne reserve his absolute top vocal strength for short, powerhouse climactic moments. These were brief but thrilling times, employed sparingly in the interpretation.
Likewise, Trifonov played a pivotal role in realising Schubert’s repetitive accompaniment figuration-so accurate and clear in his reliable technique-as well as maximising the opportunity to depart from patterning to supply more dramatic layering heading towards climaxes in the voice and poetry.
Inserted into the flow of the so-called ‘Schwanegsang’ cycle was also Schubert’s late song Herbst. This reflected the strong reference to nature, and the link between the seasons or nature and even birds with the terrain of the human heart.
There is no observation more vivid than the perception of environments and events by a child, with pleasure-and-pain reference fully intact.
Above: Danil Trifonov and Matthias Goerne perform Schubert songs D945 and D957 at City Recital Hall.
It was fitting that this recital was fleshed out with an opening bracket of piano miniatures- Tchaikovsky’s Children’s Album Op 39, which the composer subtitled ‘After Schumann’.
This set of ultra-compact miniatures, much more sprawling than Kinderscenen was a brilliant first-half prelude to the drama of heart and head amidst the beauty or savagery of nature, in the dense settings of poetry to come.
It was another audience treat to hear Trifonov turn his inimitable range of direct expression from Rachmaninov’s huge concerto work to this set of compact gems. The rolling catalogue from childhood of twenty-four succinct images and atmospheres was seamlessly and vividly presented.
Whether it was imitations of songs from the nursery across Europe, tales of toys (‘The Sick Doll’, ‘The Doll’s Funeral’, The New Doll’, ‘March of the Wooden Soldiers’ or ‘Playing Hobby-Horses’) as well as dances and then movement through a child’s routine (‘Morning Prayer’, ‘Nanny’s Story’, ‘Sweet Dreams’ and ‘In Church’), Trifonov’s depth of expression and well-graded characterisations expertly brought the glimpses to life as crystal-clear characterisations.
Huge praise from audiences, reviewers and fellow musicians-Matthias Goerne included – for Trifonov’s standout technical ease, pianistic clarity and variegated, excellent keyboard timbral options is demonstrated in this performance. These children’s works. miniatures of clear, simple perfection emerged from this pianist’s still poise at the instrument with no note or sentiment briefly flaring up out of place.
As a precursor to equally clean and pointed renderings of dense final songs by Schubert, another musician capable of great clarity in all forms, Trifonov showed colours and calm from the perceived simple album to the reputedly complex song settings with the same even line of expression. By the time we reached the concert’s second half, this musical clarity was the welcome norm.
We as audience members at this concert pinched ourselves to experience such perfect pianism live in Sydney with the superstar song interpreter Goerne weaving dramatic and philosophic delight above the fine keyboard tapestry. The pair were able to take us on an eventful, intimate Autumn journey through the final year of Schubert’s life, love and longing. And we reached the end of this timeless communication longing for nothing more.
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