UMS

UMS in the Classroom: Daniil Trifonov

By UMS Lobby

Daniil Trifonov 3 by Dario Acosta-Deutsche Grammophon
Interested in using a UMS performance in your university classroom? For each performance on the season, we provide suggested curricular connections, links to contextual material online, citations for scholarly material, and prompts for classroom discussion. For additional resources and individualized curricular support, please contact Shannon Fitzsimons Moen, UMS Campus Engagement Specialist, at skfitz@umich.edu or (734) 764-3903.

UMS is also committed to making our performances an affordable part of the academic experience. Our Classroom Ticket Program provides $15 tickets to students and faculty for performances that are a course requirement. Please email umsclasstickets@umich.edu to set up a group order.

Connect:

This performance may connect meaningfully with courses in the following schools and disciplines:

  • History
  • Political Science
  • Germanic Languages and Literatures
  • Russian, Eastern European and Eurasian Studies
  • Slavic Language and Literatures
  • Composition
  • Music Education
  • Musicology
  • Piano

Explore:

  • Alex Ross contemplates Trifonov’s unique pairing of “monstrous technique and lustrous tone.”
  • Trifonov shares reviews, videos, and albums on his official website.
  • The New York Times‘s Anthony Tommasini shines a light on the international piano soloist’s busy touring schedule in this feature.
  • Explore the works and lasting influence of Frédéric Chopin in Chopin: A Listener’s Guide to the Master of Piano by Victor Lederer (2006, Amadeus Press).

Reflect:

  • The repertoire on this program begins with several composers’ “variations” on the piano music of Frédéric Chopin, ending with works by the Polish master himself. What elements of Chopin’s compositional style do you hear in the “variations”?
  • Chopin’s Piano Sonata No. 2 in B-flat Minor, Op. 35 is popularly known as “The Funeral March”, though the moniker refers specifically to the third movement which the composer marks, “Marche funèbre: Lento”. What characteristics of the contrasting movements might also suggest the somber mood of a funeral?

Share your thoughts!