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Title - 'Destination Rachmaninov: Arrival'
Artist - Daniil Trifonov

For those not in the know, Grammy Award winning Russian pianist Daniil Trifonov – winner of Gramophone’s 2016 Artist of the Year award – has made a spectacular ascent of the classical music world as a solo artist, champion of the concerto repertoire, chamber and vocal collaborator, and composer.

Combining consummate technique with rare sensitivity and depth, his performances are a perpetual source of awe. “He has everything and more … tenderness and also the demonic element. I never heard anything like that,” marveled pianist Martha Argerich.

Trifonov recently added a first Grammy Award to his already considerable string of honors, winning Best Instrumental Solo Album of 2018 with Transcendental, a double album of Liszt’s works that marks his third title as an exclusive Deutsche Grammophon artist.

As The Times of London notes, he is “without question the most astounding pianist of our age.”

After the highly acclaimed album Destination Rachmaninov – Departure Daniil Trifonov concludes his Rachmaninov project with a coupling of the composer’s Piano Concertos Nos. 1 & 3.

On Destination Rachmaninov: Arrival (released via Deutsche Grammophon), gifted pianist Trifonov once again teams with The Philadelphia Orchestra as conducted by the also gifted Yannick Nézet-Séguin for a continued unique and highly successful approach to Rachmaninov.

1 The Silver Sleigh Bells (op. 35, 1st movt.)
2-4 Concerto for Piano and Orchestra No. 1 in F Sharp minor (op. 1)
5 Vocalise (op. 34 no 14)
6-8 Concerto for Piano and Orchestra No. 3 in D minor (op. 30)

Including Trifonov’s own transcriptions of Rachmaninov’s famous, beloved, heart-rending Vocalise and virtuosic The Silver Sleigh Bells, it's the latter that begins the journey here. The choral-orchestral masterpiece is simply magnificent to behold and is a near seven minute, at times frenetically controlled, work of impassioned beauty.

The four-part Concerto for Piano and Orchestra No. 1 in F Sharp minor (op. 1) is less corybantic, instead choosing to flow sweetly, gently, curving and bending in the air as if it were in flight.

Vocalise is a short, but sweet melody and Trifonov dedicates his meticulous time to in rather splendid fashion and then comes Concerto for Piano and Orchestra No. 3 in D minor (op. 30).

On what could easily have become a rather flashy, even loud piece, given that it builds and falls, ebbs and flows, with peaks and troughs throughout, luckily Trifonov and Nézet-Séguin are more clearly focused on allowing the music to continually grow and swell naturally.

As always, their combined technical prowess is flawless and it all conveys such an energy and finesse of touch throughout. Indeed, the balance between piano and orchestra, especially during the opening gambit and its accompaniments is phenomenal.

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