Right from the opening low D, thundered out by the horns, low strings and timpani, one senses that this is going to be a dynamic, assertive performance. And so, on the whole, it proves: Svetlanov prepares well for Donohoe's first entry with powerful, clenched-fist fortissimos and remote B flat minor mystery seemingly united in a single sweep. Donohoe has therefore plenty of accumulated energy to travel on, and he makes a great deal of it, avoiding sententious expansion in the poco piu moderato solos and striking plenty of sparks at climaxes.
In all three movements the power and clarity are impressive. Where I think the performance doesn't quite hit the mark is in some of the piano's soliloquies—I stress some, for in passages like the first movement's poco piu mosso solos, or the Adagio's first solo entry, Donohoe combines strength and sweetness, even if he does avoid strong dynamic contrast. Towards the end of the Adagio, though, Brahms's wonderful quiet piano/orchestra exchanges carry a low electric charge. There's little here to challenge memories of Gilels, (DG) the 1952 Curzon/Decca with van Beinum or the 1938 Schnabel (Pearl (CD) GEMMCD9376—to be reviewed later)—riveting, despite passing untidiness in the orchestral playing. Donohoe almost makes up for it though in the big solo just before the coda—the point at which minor finally yieldsto major. In such places he shows how much this is his sort of concerto. I only wish the involvement had been more consistent: high points suggest that Donohoe has the power to rival Lupu (Decca), Douglas (RCA), Curzon (at least in his later stereo Decca version with Szell) and perhaps even Gilels. Each of these, however, offers something more integrated, more wide-ranging in expression than Donohoe on this showing.
I have my doubts too about one aspect of Svetlanov's contribution. However much one may admire the energy and sweeping long phrases, he often seems to achieve his effects at the expense of expressive detail: great mountainous waves rise and fall, but their surfaces are smooth as glass. The orchestral first theme of the Adagio is marked espressivo, e legato—it's certainly legato, but espressivo?
The prevailing impression in Donohoe's Op. 118 Piano Pieces is like that left by his handling of the concerto. There are fine things, and less compelling things. The outer sections of the lovely A major Intermezzo flow and breathe very naturally, but the minor-key middle section is pushed just a bit hard. The G minor Ballade is strong and clear, while on the other hand there's too much pedal for my liking in the A minor Intermezzo. Excellent recordings in both works, with just the right amount of perspective adjustment for the solo pieces. Still the verdict remains: good in parts.'