Nearly a month at the S.F. Symphony’s season end is currently devoted to music and artists from Finland and Russia, blending new and old congenially.

The last of these shone the spotlight on the versatile and resourceful pianist Daniil Trifonov, 26, in that legendary knuckle-buster, Rach3 (Rachmaninoff’s Third Piano Concerto). Trifonov is a unique figure, reveling in such supreme virtuoso tests, a man smiling the whole time where others might well resort to a Rasputin-like scowl. He offers an amiable combination of articulation, dexterity and velocity. This is the keyboard’s glasnost transparency in spades.

Apart from a brief stretch of blurry over-pedaling in the 20-minute opening movement, his every note was clearly audible, and his impact electric.

The long and challenging cadenzas (solo display segments) were so much meat for his menu.

The Third Concerto (1909) was allegedly unplayable, dramatized in a movie based on a performer’s nearly being crushed by the 48-minute opus. Unbeknowns to most, its memorable opening theme, sounded in unharmonized octaves, is borrowed from an old chant of the Orthodox Church (Stravinsky was not the only Russian who borrowed tunes from hymnals.) Then the neo-romantic hornet’s nest of fast-flying runs (some 20,000 notes for the piano soloist)  gradually takes hold and provides a perfect competition showpiece for any Trifonov.

The emergence has been extraordinary for this outsider from Nizhny Novgorod, Russia. He neither won major gold medals nor attended the most prestigious music conservatories. But his musical versatility is amazing, only one slice of which is discernible in concerto gigs.

The sell-out crowd went berserk with enthusiasm when heard June 22, prompting a modest Schumann solo encore from “Kinderszenen.” Even the familiar stoical countenances of the musicians gave way to smiles and accolades, coming  before Trifonov bowed gratefully, gracefully in their direction.

Moving next door to Finland, Music Director Michael Tilson Thomas also served up the last two symphonies of Jean (pronounceit “Shawn”) Sibelius. The Sixth is intimate, private, even academic, his messages sewn into the fabric of the music with great subtlety.

The Seventh on the other hand is unmistakably in Sibelius’ Nordic style, with brooding, doleful low brass, and themes that are clearly fleshed out in color. It’s a fluid propulsive, intensive, even passionate work, less admired by musicologists because of its loose, suite-like structure. This is  music of yearning by a restless soul, a piece to save on your top shelf alongside the ubiquitous Symphonies No. 5 and 2.

AUDIENCE NOTES—The June 22 concert drew an array of local notables and philanthropists to witness this man called Daniil. Spotted among them was SFS Board President Sako Fisher, Mr. and Mrs. Bernard Osher, and, from across the street, recent S.F. Ballet Board President John Osterweis and his wife.

S.F. Symphony under MTT with Finnish-Russ program, through June 24, Davies Hall, S.F. For info: (415)864-6000, or go online.

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