By Hugh Robertson

It takes enormous skill and dedication to become an international concert pianist. But Nobuyuki Tsujji has had to work twice as hard – blind since birth, he learns all his scores by ear, and has to concentrate intently in performance to be attuned to every little shift and nuance of the orchestra or conductor.

‘Nobu’, as he is affectionately known, made his Sydney Symphony debut in 2016, performing Beethoven’s Third Piano Concerto under Vladimir Ashkenazy, with Ashkenazy praising Tsujii for his ‘rare combination of excellent pianism and genuinely expressive musicianship.’

Nobu returns to Sydney this month for two concerts: performing Rachmaninov’s towering Third Piano Concerto together with the Orchestra, followed by a solo recital of works by Beethoven, List, Ravel and Kapustin. Ahead of these eagerly-anticipated performances, he took the time to answer some questions via email.

You made your Sydney Symphony debut in 2016, performing Beethoven with Vladimir Ashkenazy. What do you remember of those performances, and your visit to Sydney?

When I made my Sydney debut in 2016, it was my first visit to Australia itself. I was also filming a documentary for a Japanese TV station, so I was busy with many other things besides performing, such as touching the rudder on a boat, listening to Indigenous musicians in front of Circular Quay station, visiting a Japanese school and many other experiences that I normally cannot have, so many things remain in my memory.

It was the first time that I had performed Beethoven’s Third Piano Concerto under Maestro Ashkenazy’s baton, and we also recorded it for CD. It was a fulfilling stay and a very valuable experience – although I was nervous about performing in the world-famous Sydney Opera House!

How would you describe Rachmaninov’s Third Piano Concerto? Why do you enjoy performing it?

I don’t know if I would say I enjoy performing it – it is a very tough piece! But it is a piece of music I had always wanted to play when I was younger, and have now performed it many times. I always try to play it as though it is the first time.

Rachmaninov was of course a famous pianist himself. Can you sense his personality as a musician and as a person in the music?

I can tell he was a wonderful pianist, especially because this concerto is so difficult to perform. His melodies also convey a sense of gentleness and the grandeur and harshness of the Russian wilderness. I have been to the house where Rachmaninov lived in Switzerland and touched his tuxedo and handprints, and realised both the size of his stature and the size of his hands. The detailed instructions in the score give the impression of a difficult person, but I believe he was actually a gentle person.

How do you prepare for a difficult work like this?

Play until you can play! The only way is to practice.

There have been so many famous recordings of this work: Horowitz, Ashkenazy, Van Cliburn, Rachmaninov himself. Do you listen to those for inspiration, or do you try and avoid other recordings to keep your own interpretation fresh in your mind?

I listen to recordings of various artists. All the performances are great, but when I actually start playing I feel that my emotions get the better of me and I forget anything I learned from anyone else!

What would you like people to know about the piece before they come to hear it?

It is a difficult piece with many notes and a long playing time, so the audience may need a lot of energy to listen to it – but Rachmaninov's beautiful melodies will bring up many images. You cannot help but enjoy listening to Rachmaninov’s music.

What can you tell us about the recital program you are performing in Sydney? How did you select the pieces on this program?

Remembering the very warm applause I received from the audience the last time I performed in Sydney, I chose only my favourite pieces for the Sydney audience to enjoy this time as well.

Liszt is one of my favourite composers, as I have many opportunities to play him on a regular basis. I have also loved Ravel’s works since I was a child, especially Jeux d'eau (Fountains), which is one of my favourites – I can really feel the water flowing in the piece.

This solo program is rich in variety, ranging from works from the classical period to jazz-like pieces. I hope you will be able to sense the wonder of these four composers and the charm of each piece of music.

What can you tell us about the composer Nikolai Kapustin, who features in this concert?

Mr Kapustin is a Ukrainian composer who was a classmate of Mr Ashkenazy at the Moscow Conservatory. He seems to have had outstanding piano skills, but he had a deep inclination towards jazz music. Like with Rachmaninov his pieces are difficult because he was a pianist himself, and knows how hard he can push the performer. But I think his fusion of jazz and classical music will be fun to listen to, and I think the audience will especially enjoy listening to the pieces of this I will be playing in this concert. And it is very difficult to play!

Do you prepare differently for a concerto performance compared to a solo recital?

Recitals are a big responsibility. I perform alone and I get very nervous, but I do enjoy being in my own world all by myself. Concertos, on the other hand, are played with an orchestra, so in my case I have to memorise not only the piano part but also the orchestral part – which is a challenge, but there is also the pleasure of musicians working together to create the music.