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Daniil Trifonov|Destination Rachmaninov: Arrival

Destination Rachmaninov: Arrival

Daniil Trifonov

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Daniil Trifonov's journey around the world of Rachmaninov is at an end. The pianist has arrived safely into the harbour with Yannick Nézet-Seguin's Philadelphia Orchestra. This finale was inspired by the bells which are ubiquitous in the Great Russian soundscape. Alain Corbin explained their importance to the rhythmic and symbolic scansion of everyday life in 19th Century France in his book Village Bells. To the historian's analysis, we can now add the testimony of the pianist – who, like Rachmaninov, grew up in Novgorod. Russian bells leant Russian music its nobility and colouring of folk nostalgia. Daniil Trifonov hasn't forgotten this, as is clear from his piano transcription of the first episode of Les Cloches. He was wise enough to respect the operatic power of the score and the splendour of its orchestration: harp, celesta and flutes are all truly transformed into bells in the hands of a musician who stays true to the aura of disquieting oddness (with its shades of Edgar Allen Poe) which surrounds the first movement. His technique matches his capricious and bubbling imagination. While we might find ourselves yawning a little at the Vocalise, the first and third Concertos move us from thrilling ecstasies to tears of pleasure. A very fine record, in which the orchestra, perhaps a little distant, fulfils its role as a soundbox for the soloist. © Elsa Siffert/Qobuz

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Destination Rachmaninov: Arrival

Daniil Trifonov

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The Bells, Op. 35 (Serge Rachmaninoff)

1
I. Allegro ma non tanto (The Silver Sleigh Bells) (Arr. for Piano by Trifonov) (Live at Philharmonie, Berlin / 2019)
00:06:56

Sergei Rachmaninoff, Composer - Christoph Franke, Producer - Marcus Herzog, Mastering Engineer, Mix Engineer, StudioPersonnel - René Möller, Recording Engineer, StudioPersonnel - Sid McLauchlan, Producer, Additional Producer - Daniil Trifonov, Arranger, Piano, Work Arranger, MainArtist, AssociatedPerformer

℗ 2019 Deutsche Grammophon GmbH, Berlin

Piano Concerto No. 1 in F-Sharp Minor, Op. 1 (Serge Rachmaninoff)

2
I. Vivace
00:13:08

The Philadelphia Orchestra, Orchestra, MainArtist - Sergei Rachmaninoff, Composer - Marcus Herzog, Mastering Engineer, StudioPersonnel - Yannick Nézet-Séguin, Conductor, MainArtist - Andrew Mellor, Recording Engineer, StudioPersonnel - Sid McLauchlan, Producer - Dave Conner, Asst. Recording Engineer, StudioPersonnel - Daniil Trifonov, Piano, MainArtist, AssociatedPerformer

℗ 2019 Deutsche Grammophon GmbH, Berlin

3
II. Andante
00:07:19

The Philadelphia Orchestra, Orchestra, MainArtist - Sergei Rachmaninoff, Composer - Marcus Herzog, Mastering Engineer, StudioPersonnel - Yannick Nézet-Séguin, Conductor, MainArtist - Andrew Mellor, Recording Engineer, StudioPersonnel - Sid McLauchlan, Producer - Dave Conner, Asst. Recording Engineer, StudioPersonnel - Daniil Trifonov, Piano, MainArtist, AssociatedPerformer

℗ 2019 Deutsche Grammophon GmbH, Berlin

4
III. Allegro vivace
00:07:46

The Philadelphia Orchestra, Orchestra, MainArtist - Sergei Rachmaninoff, Composer - Marcus Herzog, Mastering Engineer, StudioPersonnel - Yannick Nézet-Séguin, Conductor, MainArtist - Andrew Mellor, Recording Engineer, StudioPersonnel - Sid McLauchlan, Producer - Dave Conner, Asst. Recording Engineer, StudioPersonnel - Daniil Trifonov, Piano, MainArtist, AssociatedPerformer

℗ 2019 Deutsche Grammophon GmbH, Berlin

라흐마니노프: (Serge Rachmaninoff)

5
Vocalise, Op. 34, No. 14 (Arr. for Piano by Trifonov )
00:03:34

Sergei Rachmaninoff, Composer - Marcus Herzog, Mastering Engineer, Mix Engineer, StudioPersonnel - Sid McLauchlan, Producer - Daniil Trifonov, Arranger, Piano, Work Arranger, MainArtist, AssociatedPerformer - Silas Brown, Recording Engineer, StudioPersonnel

℗ 2019 Deutsche Grammophon GmbH, Berlin

Piano Concerto No. 3 in D minor, Op. 30 (Serge Rachmaninoff)

6
I. Allegro ma non tanto (Live at Verizon Hall, Philadelphia / 2018)
00:17:25

The Philadelphia Orchestra, Orchestra, MainArtist - Sergei Rachmaninoff, Composer - Marcus Herzog, Mastering Engineer, StudioPersonnel - Yannick Nézet-Séguin, Conductor, MainArtist - Andrew Mellor, Recording Engineer, StudioPersonnel - Sid McLauchlan, Producer - Dave Conner, Asst. Recording Engineer, StudioPersonnel - Daniil Trifonov, Piano, MainArtist, AssociatedPerformer

℗ 2019 Deutsche Grammophon GmbH, Berlin

7
II. Intermezzo (Adagio) (Live at Verizon Hall, Philadelphia / 2018)
00:11:18

The Philadelphia Orchestra, Orchestra, MainArtist - Sergei Rachmaninoff, Composer - Marcus Herzog, Mastering Engineer, StudioPersonnel - Yannick Nézet-Séguin, Conductor, MainArtist - Andrew Mellor, Recording Engineer, StudioPersonnel - Sid McLauchlan, Producer - Dave Conner, Asst. Recording Engineer, StudioPersonnel - Daniil Trifonov, Piano, MainArtist, AssociatedPerformer

℗ 2019 Deutsche Grammophon GmbH, Berlin

8
III. Finale (Alla breve) (Live at Verizon Hall, Philadelphia / 2018)
00:14:24

The Philadelphia Orchestra, Orchestra, MainArtist - Sergei Rachmaninoff, Composer - Marcus Herzog, Mastering Engineer, StudioPersonnel - Yannick Nézet-Séguin, Conductor, MainArtist - Andrew Mellor, Recording Engineer, StudioPersonnel - Sid McLauchlan, Producer - Dave Conner, Asst. Recording Engineer, StudioPersonnel - Daniil Trifonov, Piano, MainArtist, AssociatedPerformer

℗ 2019 Deutsche Grammophon GmbH, Berlin

Album Description

Daniil Trifonov's journey around the world of Rachmaninov is at an end. The pianist has arrived safely into the harbour with Yannick Nézet-Seguin's Philadelphia Orchestra. This finale was inspired by the bells which are ubiquitous in the Great Russian soundscape. Alain Corbin explained their importance to the rhythmic and symbolic scansion of everyday life in 19th Century France in his book Village Bells. To the historian's analysis, we can now add the testimony of the pianist – who, like Rachmaninov, grew up in Novgorod. Russian bells leant Russian music its nobility and colouring of folk nostalgia. Daniil Trifonov hasn't forgotten this, as is clear from his piano transcription of the first episode of Les Cloches. He was wise enough to respect the operatic power of the score and the splendour of its orchestration: harp, celesta and flutes are all truly transformed into bells in the hands of a musician who stays true to the aura of disquieting oddness (with its shades of Edgar Allen Poe) which surrounds the first movement. His technique matches his capricious and bubbling imagination. While we might find ourselves yawning a little at the Vocalise, the first and third Concertos move us from thrilling ecstasies to tears of pleasure. A very fine record, in which the orchestra, perhaps a little distant, fulfils its role as a soundbox for the soloist. © Elsa Siffert/Qobuz

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