In the First, he steers the music’s dramatic ebb and flow with total conviction, while also bringing tremendous clarity of fingerwork to its elaborate piano writing. Yannick Nézet-Séguin and the Philadelphia Orchestra are superbly attentive partners…In the Third Trifonov makes light work of the hugely challenging piano part, again driving a clear structural path through the work’s expansive and occasionally discursive design.

His performance of the First Concerto, audaciously slow in the central Andante, is less urgently committed than expected, particularly when compared with his 2018 album of the Second and Fourth Concertos. As is now customary, Trifonov chooses the fuller cadenza in No 3, where with muscles bulging and rippling he is let loose with a vengeance. His arrangement of Vocalise is over- laden, but he dazzles in his arrangement of ‘The Silver Sleigh Bells’ (part one of The Bells choral symphony Op 35) – a burst of joyous brilliance.

As on the first leg of his Rachmaninov Journey, Trifonov wears the technical demands of the music so lightly that both concertos feel like chamber-music on the grandest scale rather than virtuosic war-horses - he’s every bit as compelling in the role of accompanist as he is when holding the spotlight, and the Philadelphia players (particularly the horns and clarinets) respond in kind. Surely two of the finest accounts of these much-recorded works on disc, and his pair of transcriptions are a treat too.

A towering performance to rank with interpretations by Horowitz and Argerich...The Philadelphians’ contribution could hardly be grander or more sumptuous.

His playing is as dazzling as ever, especially in a hell-for-leather account of the First Concerto. But the performance of the Third Concerto is less convincing, not because there is any lack of focus in what Trifonov does, but because his playing never probes beneath of the surface of this endlessly fascinating work.