Rachmaninoff, Piano Concerto No. 4 | San Francisco Symphony, Michael Tilson Thomas

Daniil Trifonov @daniiltrifonov San Francisco Symphony @sfsymphony / Michael Tilson Thomas @michaeltilsonthomas - Sergei Rachmaninoff: Piano Concerto No. 4 in G minor, Op. 40 Davies Symphony Hall, San Francisco, CA, USA / Sep. 19, 2019 Broadcast on KDFC 00:00 [Excerpt] ’Destination Rachmaninov - Departure (Trailer & Interview)’ 01:23 [Excerpt] Interview with WRTI’s Susan Lewis in October 2015 01:54 I. Allegro vivace (Alla breve) 12:41 II. Largo 20:39 III. Allegro vivace 30:23 Applause 30:28 Daniil in Rehearsal 31:55 [Excerpt] Daniil’s 2015 Interview at the Festival Pianistico Internazionale di Brescia e Bergamo [Reviews] By Harvey Steiman: “[...] the Rachmaninoff concerto, which in its 1941 revision keeps everyone on their toes. Its high energy could tempt the soloist, especially, to clang away, but Trifonov found ways to soften tone and weave in moments of delicate filigree among denser passages. In the opening movement, his touch was silvery, and sweet against the persistently brooding orchestral melody in the Largo. In the finale, he soared with fleet deftness as the orchestra kept pace with equal verve. Trifonov’s encore calmed things down: his own piano arrangement of Rachmaninoff’s Vocalise that felt like a jazz ballad. [...]“ By James Roy MacBean: “[...] Needless to say, Daniil Trifonov’s awesome technical prowess was more than up to meeting and transcending the difficulties. Here, in this finale, we recognise what Martha Argerich noted when she first heard Trifonov play in Carnegie Hall: Trifonov combines formidable technique with an element of the demonic in his playing. Along with Martha Argerich we can only agree that “we have never heard anything quite like that before.” Daniil Trifonov, now aged 27, only gets better and better, if that’s possible. I can’t wait to hear him again and again. [...]“ [Interviews] Interview with KDFC’s Jeffrey Freymann in September 2019: “We can hear influences of music of 1920s. And some, maybe jazz influences, maybe a little bit of Gershwin or Ravel, but at the same it’s still very Rachmaninoff… To me, it’s music very much of a time. Like I feel also some even industrial elements in it, in, for example, how the orchestra very often uses certain rhythmical ostinato that brings to mind all of the industrialization that was happening at that time, and it’s much more urban concerto, compared to his other works.” “The pianistic writing is already noticeably less full, it’s more scarce, maybe, in the sense that only the most essential elements are in the piano part… But already here, orchestra has a lot of thematic roles, and many places where piano is in the background, or just a part of orchestral texture, for example in development section of finale… The piece also employs orchestra to a much more prominent extent than in his previous concerti, and we’ll see a continuation of that in his next work, which would be the Rhapsody on a Theme of Paganini.“ Interview with WRTI’s Susan Lewis in October 2015 (11’49”): Daniil’s performance with the Philadelphia Orchestra and Yannick Nézet-Séguin in October 2015: #DaniilTrifonov #Rachmaninoff #MichaelTilsonThomas #SanFranciscoSymphony #SFSymphony #RachmaninoffPianoConcerto #DaviesSymphonyHall #Rachmaninov