Daniil Trifonov’s latest release, “My American Story,” presents a welcome and expansive exploration of American piano music. At the heart of this two-CD set are two concertos: one well-known and the other brand-new, offering an opportunity for a timely reevaluation of a contemporary American composer.
During Mason Bates’ tenure as composer in residence with the Chicago Symphony Orchestra from 2010 to 2015, he was not particularly well-received by some critics. The DJ-composer produced a significant amount of music during his time in Chicago, much of which felt thin and overly simplistic, relying heavily on predictable, trendy devices.
However, Bates, now 47, has emerged as a composer of greater depth and sophistication. It seems he confronted a creative barrier and successfully broke through it, elevating his music to a new level. This is especially evident in Bates’ Concerto for Piano, a new work that showcases refined craftsmanship and artistic maturity.
Written for Trifonov, Bates’ concerto is performed live in its world premiere from 2023, with Yannick Nézet-Séguin conducting the Philadelphia Orchestra. (Trifonov had previously given the concerto’s local debut with the Chicago Symphony Orchestra last June.)
Bates’ Piano Concerto lasts a concise 28 minutes, structured in three traditional movements performed without pause. The first movement opens with shimmering, mysterious Impressionism, transitioning into an upbeat, distinctly “American” sounding allegro that is both relaxed and energized. As the tempo increases, the solo part becomes increasingly virtuosic. Bates’ composition is marked by undeniable skill, accessibility, and an engaging communicative quality.
The second movement is a beautifully lyrical slow section. The pianist begins with a reflective solo, followed by a single horn introducing a more contemplative segment. The keyboard musings become darker and more agitated, leading to powerful orchestral chords and a passionate section. A cooling breeze from the high winds brings a sense of calm before the music transitions into a lush, lyrical climax.
The final movement begins with an insistent repeated-note theme that quickly accelerates. The soloist’s part becomes more brilliant and complex, building toward a grand yet unpretentious conclusion, culminating in an emphatic coda reminiscent of Rachmaninoff.
Few American piano concertos stand out, but Mason Bates’ concerto now joins that elite group with its expertly crafted melodies and enjoyable nature, balancing the Romantic concerto tradition with a fresh, contemporary American sensibility. Trifonov’s performance is polished and virtuosic, while Nézet-Séguin and the Philadelphia Orchestra provide exhilarating support.
The other notable work featured in this set is Gershwin’s Concerto in F. Trifonov’s performance is equally convincing, demonstrating a strong connection to the jazzy, syncopated style, although Nézet-Séguin’s somewhat fussy direction occasionally detracts from the experience. Earl Wild’s classic recording with Arthur Fiedler and the Boston Pops remains unmatched.
The two discs are complemented by solo piano works from various American composers. Highlights include a captivating rendition of John Adams’ China Gates and a revelatory interpretation of John Corigliano’s Fantasia on an Ostinato, where Trifonov merges spaciousness with bravura, providing a fresh perspective on the piece.
The standout performance is Trifonov’s interpretation of Aaron Copland’s challenging Piano Variations, in which he emphasizes the piece’s steeliness and dissonance. This work is rarely recorded and seldom performed live, but it showcases Trifonov’s exceptional skill. Emiko Edwards is set to perform it in her Chicago recital for the American Music Project on Sunday at Ganz Hall.
The high-quality recording adheres to the best DG house style, although the artist-centered notes are somewhat superficial, providing only a brief overview of Bates’ concerto.
Another of Bates’ works, Resurrexit, is featured on a recent live CD conducted by Manfred Honeck, pairing it with Bruckner’s Symphony No. 7 performed by the Pittsburgh Symphony Orchestra, part of his ongoing Bruckner series.
Bates’ evolving populist style has become more substantial, as demonstrated in Resurrexit, a compelling 11-minute Easter-inspired piece that builds to a radiant peak. Honeck, known for his mastery of Bruckner, leads a majestic performance of the Seventh Symphony, which unfolds naturally with minimal rhetoric, maintaining a seamless flow. His interpretation reveals a rich humanity and excitement, culminating in a vigorous finale.
In this live performance, the recording engineers have successfully captured the Pittsburgh Symphony Orchestra’s rich sonority, blending lean warmth with exceptional quality.
Related Topics
- Quartet Delivers a Refreshing Take on Classical Repertoire
- Study Reveals Musical Intervention Can Significantly Reduce Nightmares
- The Most Spine-Tingling Way to Celebrate Spooky Season: A Toy Piano Concert in a Catacomb
