Rachmaninov's Preludes (always excepting the once ubiquitous C sharp minor piece) seem to be more popular among pianists than among the general public, and especially among more thoughtful pianists. This may help to explain the presence in the catalogue of several complete sets, for record format is more sympathetic to the presentation of this fine music than a concert.
Listening to them straight through is not really the best way of appreciating the range and subtlety of Rachmaninov's art, even in Peter Donohoe's highly intelligent and appreciative performances. He has the virtuosity: that is a sine qua non for what is sometimes fearfully demanding music technically. But he also has the understanding of what Rachmaninov consciously owed to Chopin, acknowledging this in his touching performance of Op. 23 No. 4 but also in the pieces where Rachmaninov matches, but by no means overtakes, some of Chopin's astonishing harmonic explorations. Again, he takes note of how close Rachmaninov comes to the kind of witty piano writing which Debussy was exploring in some of his own preludes.
The great B minor Prelude, which Rachmaninov himself preferred above all of them, is superbly delivered, with a carefully controlled progress towards the majestic delivery of the opening idea. Many of the preludes open upon just a simple, strong idea, and use it to explore different aspects of romantic piano writing; many of them also end on mysterious, laconic chords (another feature they owe to Chopin).
Donohoe has clearly thought deeply about the music, and taken trouble to understand the various sources of Rachmaninov's inspiration. The result is a set that does ample justice to some superb and still underrated music.'