Power of the astounding Russians

Peter Donohoe is enjoying working with the New Zealand Symphony Orchestra and conductor James Judd.

English pianist Peter Donohoe has been a leader in his field since winning the Tchaikovsky Competition in 1982. In 2003, he astounded us with Shostakovich and Tchaikovsky. This weekend he returns, with the NZSO, for the mighty Brahms First - and more Tchaikovsky.

"People ask for it a lot," is the pianist's explanation about why he is drawn to Russian music. "It's almost as simple as that."

But, on reflection, this music does have something. "Like the Russians themselves, it grabs you straight away. These people can express their emotions without worrying about it. Not like the British, who are so retentive."

Saturday night's Tchaikovsky No 2 suffers from being "very much in the shadow of the first concerto, which became the most popular concerto ever written", Donohoe says. "The second is very balletic, very exciting, very charming and very difficult. A virtuoso piece in the great tradition.

"If it is not as original as No 1, who cares? Why do we always need to be guided towards the cream rather than the milk?"

Friday night's Brahms is sterner stuff. "You really need to work as part of an overall symphonic argument and do away with this traditional view of being a soloist accompanied by an orchestra."

And it is essential to know Brahms' other works. "The idea of doing either of his piano concertos without knowing the symphonies is just a bit of joke. But I'm afraid there's a bit of it about."

Donohoe is quick to comment on wider issues, too, starting with a materialist education system in Britain that "doesn't expose young people to anything that doesn't lead directly to a career.

"There's no point in doing games," he laments, "unless the students are aiming to be professional sportspeople. And if they apply that to music, only a few will be professional musicians. And what are they going to do for an audience?"

Sponsors, perhaps? No thanks, replies Donohoe. "Musicians would end up existing so those people can have events with which they can do their business deals."

These days, Donohoe is most keen on the long-ignored British piano concerto. Naxos is bringing out a series of recordings that unearths composers such as Reizenstein and Rawthorne.

The latest is the glittering 1938 concerto of Arthur Bliss. Donohoe compares this score to Prokofiev's Second Concerto, which Egveny Kissin has taken a liking to. "I'm not saying the Prokofiev is bad, but I won't play it and it's certainly not as great as the Bliss concerto."

This British self-deprecation when it comes to composers can also extend to performers. Donohoe considers Nigel Kennedy, Simon Rattle and himself are three of the few musicians accepted by their country.

"But when the chance comes up, we get sniped at as well. Simon has been given a hard time for leaving Britain and going to Germany. But wouldn't you, if you were offered that job? [Heading the Berlin Philharmonic.]

"And, what's there to worry about? He has kept his house in London and brings the Berlin Philharmonic over twice a year."

Donohoe is enjoying working with the NZSO's James Judd. "He puts the music first and trusts other people - not someone who insists on being called maestro and regards the orchestra as needing to be told what to do."

"The conductor should have a vision of the music, have a respect for how other people play and somehow make this compromise into one."

Donohoe is in New Zealand for three weeks on this, his sixth visit, and sightseeing is not a priority. "I don't sightsee very easily. Music is my hobby as well as my job."

Performance

* What: The NZSO, with Peter Donohoe
*Where and when: Hamilton, Founders Theatre, Thur 8pm; Auckland Town Hall, Fri 6.30pm, Saturday 8pm
*What: Peter Donohoe recital
*Where and when: Auckland Town Hall Concert Chamber, Mar 20, 7.30pm