Preghiera - Rachmaninov Piano Trios Gidon Kremer, Giedre Dirvanauskaite, Daniil Trifonov

• Sergey Vasil'yevich Rachmaninov (1873 - 1943/ Fritz Kreisler (1875 - 1962): Preghiera:
• 1 Preghiera (Arr. By Fritz Kreisler From Piano Concerto No. 2 In C Minor, Op. 18, 2nd Movement) 05:30
• Sergey Vasil'yevich Rachmaninov: Trio élégiaque No. 2 in D minor op. 9:
• 2 I. Moderato 20:36
• 3 II. Quasi variazione 20:34
• 4 III. Allegro risoluto 08:23
• Sergey Vasil'yevich Rachmaninov: Trio élégiaque No.1 in G minor:
• 5 Trio élégiaque No. 1 In G Minor 12:01
• Total Runtime 01:07:04

Info zu Preghiera - Rachmaninov Piano Trios

Gidon Kremer gilt schon seit Jahrzehnten als einer der interessantesten und mutigsten Künstler unserer Zeit. Mit seinem Kammerorchester Kremerata Baltica führt der Violinvirtuose regelmäßig sowohl Klassiker, als auch wenig bekannte Stücke kontemporärer Komponisten auf und macht diese so einem größeren Publikum zugänglich.

Nun hat sich der lettische Geiger, der 2017 seinen 70sten Geburtstag sowie das 20jährige Bestehen seiner Kremerata Baltica feiert, mit zwei weiteren Ausnahmekünstlern zusammengetan: Der litauischen Cellistin Giedr Dirvanauskait und dem Russischen Starpianisten Daniil Trifonov. Das Trio stellt ergreifende Meisterwerke der russischen Romantik vor und beschränkt sich dabei auf Trios des großen Meisters Rachmaninow und die gemeinsame Komposition von Fritz Kreisler und Rachmaninow, der diese Aufnahme ihren Namen "Preghiera" zu verdanken hat.

Mit der ausgezeichneten Interpretation des hochkarätig besetzten Trios ist ein im besten Sinne unter die Haut gehendes Stück Musikgeschichte entstanden, an dem wir uns noch lange erfreuen werden.

Gidon Kremer, Violine
Giedre Dirvanauskaite, Cello
Daniil Trifonov, Klavier

Gidon Kremer
Violinist, artistic director and founder of Kremerata Baltica. Driven by his strikingly uncompromising artistic philosophy, Gidon Kremer has established a worldwide reputation as one of his generation’s most original and compelling artists. His repertoire encompasses standard classical scores and music by leading twentieth and twenty-first century composers. He has championed the works of Russian and Eastern European composers and performed many important new compositions, several of which have been dedicated to him. His name is closely associated with such composers as Alfred Schnittke, Arvo Pärt, Giya Kancheli, Sofia Gubaidulina, Valentin Silvestrov, Luigi Nono, Edison Denisov, Aribert Reimann, Pēteris Vasks, John Adams, Victor Kissine, Michael Nyman, Philip Glass, Leonid Desyatnikov and Astor Piazzolla, whose works he performs in ways that respect tradition while being fully alive to their freshness and originality. It is fair to say that no other soloist of comparable international stature has done more to promote the cause of contemporary composers and new music for violin.

Gidon Kremer has recorded over 120 albums, many of which have received prestigious international awards in recognition of their exceptional interpretative insights. His long list of honours and awards include the Ernst von Siemens Musikpreis, the Bundesverdienstkreuz, Moscow’s Triumph Prize, the Unesco Prize and the Una Vita Nella Musica – Artur Rubinstein Prize. In 2016 Gidon Kremer has received a Praemium Imperiale prize that is widely considered to be the Nobel Prize of music.

In 1997 Gidon Kremer founded the chamber orchestra Kremerata Baltica to foster outstanding young musicians from the Baltic States. The ensemble tours extensively and has recorded almost 30 albums for the Nonesuch, Deutsche Grammophon, Burleske and ECM labels. “After Mozart” (Nonesuch, 2001) received an ECHO prize and a GRAMMY award in 2002, while their recent release on ECM of works by Mieczysław Weinberg was nominated for a GRAMMY in 2015.

Maestro Kremer will lead Kremerata Baltica on landmark tours of North America and Europe in 2016-17 to celebrate the orchestra’s 20th anniversary and his 70th birthday year.

Giedrė Dirvanauskaitė
is a Lithuanian cellist. She is a laureate of several national competitions; attended master classes held by M. Rostropovich, D. Geringas, H. Beyerle, T. Grindenko, and others.

As a soloist G. Dirvanauskaitė has performed with many different chamber and symphony orchestras of Europe, Asia, and the Middle East. Giedre Dirvanauskaite has premiered works of V. Kissine, G. Kancheli, A. Maskats, V. Poleva. She has attended many festivals like Lockenhaus (Austria), Gstaad, Basel (Switzerland), Beppu (Japan), Gohrisch (Germany), December Nights (Russia), and others. Her stage partners include artists like V. Afanassiev, M. Argerich, Y. Bashmet, M. Bekavac, S. Chen, V. Mendelssohn, L. Hagen, H. Holliger, M. Portal, A. Zlabys.

In recent years Giedrė Dirvanauskaitė has extensively toured with many different chamber music formations. Since 2009, she regularly performs and tours in a trio with violinist Gidon Kremer and pianist Khatia Buniatishvili. The latter trio’s released record “Kissine/Tchaikovsky: Piano trios” (ECM, 2011) won the prestigious German Critics Award as a recording of exceptional artistry, in addition to receiving praise from all over the world as one of the best recordings of P. Tchaikovsky’s works ever made. Other recordings with G. Dirvanauskaitė’s solo part include “Hymns and Prayers” – Silent Prayer by G. Kancheli (ECM, 2008), “Between the Waves” – Duo by V. Kissine (ECM, 2013) and 2 CD album released by the label ECM – a homage to a composer Mieczyslaw Weinberg – including his 10 Symphony for strings and String trio for which G. Dirvanauskaitė was nominated for the Gammy award 2015.

In January 2015 Giedrė Dirvanauskaitė toured together with Gidon Kremer and pianist Daniil Trifonov as a trio through USA. She remains to be the leader of violoncello group of the Kremerata Baltica chamber orchestra that she is a member since 1997. Dirvanauskaitė plays an instrument by Alexander Gaglianus, made in 1709.

Daniil Trifonov
Moments before Daniil Trifonov performs, profound silence invariably takes possession of his audience. Its intensity depends not on concert hall convention; rather, it arises naturally from the Russian pianist’s power to transcend the mundane and communicate music’s timeless capacity to bind communities together. Out of that silence comes a rare kind of music-making. “What he does with his hands is technically incredible,” observed one commentator shortly after Trifonov’s triumph in the final of the International Tchaikovsky Competition in Moscow in 2011. “It’s also his touch – he has tenderness and also the demonic element. I never heard anything like that.” That view was expressed not by a professional critic but by one of the world’s greatest pianists, Martha Argerich. She concluded that her young colleague was in possession of “everything and more”, an opinion that has since been boldly underlined in print, online and over the airwaves by a succession of previewers and reviewers. The Washington Post wrote of the “visceral experience” of hearing Trifonov’s playing; the Süddeutsche Zeitung, meanwhile, described his debut concert at last year’s Verbier Festival as “a real culture shock”, such was its blend of poetic insight, wit, nuance and inventive brilliance.

In February 2013, Deutsche Grammophon announced the signing of an exclusive recording agreement with Daniil Trifonov. His debut recital for the yellow label, recorded live at Carnegie Hall, combines Liszt’s formidable Sonata in B minor, Scriabin’s Sonata No. 2 in G-sharp Minor Op. 19, the “Sonata-Fantasy”, and Chopin’s 24 Preludes Op. 28. Future plans include concerto albums and further recital recordings. “The moment I signed to Deutsche Grammophon is, of course, perhaps the most significant event in my life to date,” he recalls. “It’s the greatest honour to record my first CD for the label, especially in such a great hall as Carnegie Hall.”

Since winning the Tchaikovsky Competition, Trifonov has travelled the world as recitalist and concerto soloist. His list of credits include debut recitals at Carnegie Hall, Wigmore Hall, the Berlin Philharmonie, London’s Queen Elizabeth Hall, the Auditorium du Louvre in Paris, Tokyo’s Opera City, the Zurich Tonhalle and a host of other leading venues. He has also appeared with the Vienna Philharmonic, the London Symphony Orchestra, the New York Philharmonic Orchestra, the Philharmonia, the Mariinsky Orchestra, the Boston Symphony Orchestra, the Chicago Symphony Orchestra, the Israel Philharmonic Orchestra, the Orchestre Philharmonique de Radio France, the Royal Philharmonic Orchestra and the Cleveland Orchestra. Forthcoming debuts include concerto performances with the Los Angeles Philharmonic Orchestra, the Philadelphia Orchestra, the San Francisco Symphony and the Moscow Philharmonic.

For all the demands of his busy performance schedule, Trifonov still finds time to study with Sergei Babayan and take composition lessons at the Cleveland Institute of Music. “I’m looking forward to future projects with Deutsche Grammophon,” he says. Exploring the vast piano literature, he adds, is the work of a lifetime. “In the coming years I hope to learn as many new pieces as possible and also leave time for composition, as composing partly influences piano playing.”

Daniil Trifonov was born in Nizhny Novgorod on 5 March 1991. The old system of Soviet communism and the once mighty Union of Soviet Socialist Republics had been dissolved by the time Daniil’s parents, both of them professional musicians, celebrated their son’s first birthday. For all the social and economic upheavals of the time, the Trifonovs recognised their son’s prodigious musical talents and supported his formal training. “I started playing piano when I was five and was also composing and always playing some concerts,” Daniil recalls. He gave his first performance with orchestra at the age of eight, an occasion etched in the soloist’s memory by the loss of one of his baby teeth midway through the concert. “It was quite an experience! But the first understanding of how important piano playing is for me came when I broke my left arm at the age of 13. I was going to a piano lesson. It was winter and very slippery, so I fell down and broke my arm and could not play normally for more than three weeks.”

Physical injury focused young Daniil’s mind on what making music meant to him. It also heightened his emotional connection to the piano and its repertoire. Scriabin’s impassioned music – mystical, transcendent and technically demanding – became a near-obsession of Trifonov’s early teens. The composer’s harmonic language and vibrant tone colours touched the aspiring performer’s soul and inspired him to enter Moscow’s Fourth International Scriabin Competition, where the 17-year-old secured fifth prize. Inspiration also flowed from Trifonov’s study of historic recordings of great pianists, which he borrowed from his teacher Tatiana Zelikman at Moscow’s famous Gnessin School of Music. “When I was studying with Tatiana Zelikman in Moscow she had a great collection of old recordings and a lot of LPs, so I was fed by those recordings.” Trifonov absorbed lasting lessons from the recorded legacy of Rachmaninov, Cortot, Horowitz, Friedman, Sofronitsky and other representatives of a golden age of pianism. “Among pianists who inspire me nowadays are Martha Argerich, Grigory Sokolov and Radu Lupu,” he adds.

Daniil Trifonov himself became an inspiration in the summer of 2011. He began by winning the 13th Arthur Rubinstein International Piano Master Competition in Tel-Aviv before returning home to secure first prize, the Gold Medal, and Grand Prix at the XIV International Tchaikovsky Competition. Trifonov also won the Audience Award and the Award for the best performance of a Mozart concerto. His work was already known to influential critics and concert promoters thanks to his appearance a year earlier at the prestigious International Chopin Piano Competition in Warsaw. The media’s broad and deep response to his Moscow victory guaranteed that the whole world knew about the 20-year-old Russian. “Mr Trifonov has scintillating technique and a virtuosic flair,” noted the New York Times. “He is also a thoughtful artist . . . [who] can play with soft-spoken delicacy, not what you associate with competition conquerors.” At the beginning of 2012, cultural commentator Norman Lebrecht heralded the young man’s meteoric progress and neatly described him as “A pianist for the rest of our lives”

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