The minimalist title of Rafał Blechacz’s most recent album belies a hefty program of Chopin’s Sonatas Nos. 2 and 3, the Op. 60 Barcarolle, and Op. 14 F-sharp minor Nocturne. Adding to the challenge is that these works are often performed, which of course begs the question: does this recording bring something new to the table?
In the liner notes, Blechacz explains his views on these significant works: having played the Sonatas since his teens, he now seeks greater freedoms in expression and interpretation. His rendition of the second Sonata certainly speaks to this insight: the first movement shows a perceptible flexibility in tempo and articulation. Given that recordings by the likes of Argerich (DG 1974) underscore a relentless metronomic ostinato, Blechacz’ might come off as slightly different. Still, the choices are mindful and effective, adding terrifying surges and swells to the urgency. The D-flat major second theme doesn’t meander all that much, but his well-calibrated voicing brings out the top line in bel canto fashion. In the Scherzo, accounts like the Michelangeli (Praga) take off with whirlwind ferocity. Blechacz takes a more measured approach closer to that of Horowitz (RCA) and Sokolov. Measured does not mean uninteresting, however: the staccato repeated notes are insistent, even gritty; they de the scene for contrast in the more delicate touches of the major-key flourishes (0’10”). The middle section is refreshing in how Blechacz gives due attention to the waltz accompaniment. The only thing missing, though, is enough voicing in the descending middle voice passages (1’25”).
The pianist remarks that the Funeral March (track 3) has particular relevance in the current era given the weight of recent global and social events. The performance indeed mirrors this sense of gravity in a “less-is-more” fashion: there’s something unadorned and almost simplistic about the opening passage; the straight rhythms and even phrasing create a space in which the listener can contemplate and reflect. Like in the middle section of the Scherzo, though, there is lyricism and richness in the melody. Coupled with the ever thickening textures, this helps create an uncontrived growth in sonoric and emotional intensity that reaches its high point at 1’13”. The chords are a tad harsh here, however, and he could take more time for us to savor the arrival of D-flat major.
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The first movement of the Op. 58 B minor Sonata is not as convincing as its previous counterpart. The tempo feels rushed when we consider the recording by Maria Joao Pires (DG), who contours lines in the right places to give breathing room and a place for chords to properly resonate; this in turn creates an orchestral sound even in the extremely dry recording environment. Blechacz’s second theme also initially feels too brisk—until we get to a lovely moment at 2’23”: here, the moment of silence gives an element of surprise, complemented by a fantastic color change. The Scherzo fares better: the fast notes are noticeably absent of pedal and so the pianist has only his fingerwork to rely on. Given the flawlessness of his technique, that’s not at all an issue: the runs are effervescent, scintillating, and delightful. The Finale is very much a game of intensity management: too much too soon, and the listener feels overwhelmed. Unfortunately that’s the issue here: Blechacz delivers with plenty of energy from the outset but this is what makes the long-term growth difficult to appreciate. Ivo Pogorelich (whose disc we reviewed in 2022) may make unconventional musical choices, but he ultimately considers the overall structure and trajectory to deliver a more dynamic interpretation.
Both shorter works do not disappoint in their artistry. The F# minor Nocturne has good balance between the silky accompaniment and supple melody. The Barcarolle is especially beautiful in how it captures the gentle rocking rhythm and tenderness of the soprano line.
Blechacz indeed shows undeniable familiarity with these pieces: where he shines is not necessarily in the most flashy sections but in the quieter moments. Though alternate interpretations are recommended for the B minor Sonata, the other works make for an enjoyable listen.
Schumannn & Brahms
Benjamin Grosvenor – Piano
Decca, CD 4853945
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