Review: Chopin - Piano Sonatas 2 & 3

Benjamin Grosvenor’s selection of Chopin’s second and third sonatas, coupled with several smaller works, is ambitious given the numerous distinguished recordings already available. His previous releases have earned consistent praise, with both myself and colleague Leighton Jones highlighting his successful interpretations of other Romantic contemporaries such as Liszt, Schumann, and Brahms.

Chopin – Piano Sonatas

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An engaging interpretation of the B-flat Minor Sonata involves balancing ferocity with fragility. Grosvenor has always exhibited an enviably mellow and well-rounded tone quality, evident in the D-flat major second theme. However, the rugged tumult essential for conveying passionate urgency is somewhat lacking, particularly when compared to Sokolov’s live performance with its relentless torrent of two-note phrases), or Mitsuko Uchida’s pedal-free volatility.

Fortunately, the Scherzo (track 2) fares better. Here, Grosvenor delivers the necessary intensity while his detailed articulation and character shifts emphasize precisely what a scherzo embodies: a lighthearted jest. His phrasing imparts a graceful, dance-like swing, alternating with a more daring presence.

Central to the sonata is the Marche Funèbre (track 3), where Chopin juxtaposes dark austerity with anguished despair. Grosvenor’s performance, while commendable for its exquisite tone in quieter passages, falls short of capturing the full emotional gravitas exemplified by Michelangeli’s classic rendition (Praga Digitals). In charged moments, Grosvenor’s approach sometimes results in chords that feel overly harsh. In the finale, although the sweeping gusts are convincingly rendered, occasional overuse of pedal detracts slightly from his otherwise impeccable fingerwork.

The Op. 58’s B Minor Sonata suits Grosvenor notably better. The opening Allegro Maestoso (track 9) effectively balances authority and tenderness, especially in the second thematic section, where his silky legato lines particularly shine. His interpretation of the Scherzo (track 10) is intriguing, shifting the focus from the typically highlighted virtuoso right-hand passages to the interplay between these and the left-hand motifs. This fresh perspective, combined with emphatic accents, introduces a welcome humor seldom heard in other recordings.

Benjamin Grosvenor (image: © Kaupo Kikka)

The Largo (track 11), though initially forceful, gradually embraces B major’s warmth and comfort. Grosvenor’s attentiveness to Chopin’s exquisite secondary melodies in inner voices enriches the listening experience. While his Finale might lack the electrifying impact of Argerich’s (DG) or Kissin’s Carnegie Hall performances (RCA), it remains consistent with his high execution standards throughout this sonata.

Among the shorter pieces, the Berceuse (track 5) plays particularly well to Grosvenor’s strengths, capturing the lullaby’s innocence and charm with a delicate shimmer, especially in higher registers.

Though these interpretations—particularly of the Second Sonata—won’t replace benchmark recordings, Grosvenor offers memorable moments worth savoring. His ambitious program and commendable effort nonetheless deserve genuine praise.