Review: Grigory Sokolov – Purcell and Mozart

Deutsche Grammophon continues releasing Grigory Sokolov’s live solo piano recitals, which usually takes him on tours with the same program during a season. The 2023 season included the same program featured on this new album, with the first half dedicated to rarely performed works by Purcell, and the second half to works by Mozart.

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With Sokolov, there’s always the unique piano sound that hovers the interpretation: an almost nasal-like tone of the instrument that’s masterfully controlled with the usage of pedals and finger dexterity. This sound works very well in richly ornamented music as Purcell’s, the fast trills are as effective as on the harpsichord.

Purists will most likely snag at the romantic take of the slow dance movements in Purcell’s suites, but Sokolov’s playing is so mesmerizing that one soon forgets the “authenticity” consideration and is carried with the music.

The first and second half of the recital were taken from two different performances in Spain, and they are truly “live sounding”; Sokolov seems to get into things at Purcell’s 4th Suite (track 9, CD 1). The audiences in both halves are not the quietest, and you can hear coughs, sneezes and the occasional foot stomps. But the instrument is caught extremely well, and the overall sound spectrum is detailed yet opened.

The central work in the second half is Mozart’s sonata in B flat, K. 333. This interpretation and sound production reminded me of Horowitz’s late Mozart recordings of this sonata, which he took to studio and on stage in his final seasons. Sokolov’s take is less overtly romantic, and I was less convinced by his usage of staccatos in fast runs in the first movement. Yet there’s no denying that this is a compelling playing that holds special fascination, especially in the slow movement.

Grigory Sokolov (image: ©️ Anna Flegontova / DG)

Sokolov is also at his best in another slow piece that finishes the album, Mozart’s touching Adagio in B Minor. Those who were wondering if this standalone piece might have been intended as part of a 3 movement sonata (as far as this writer knows, there is no evidence for that) – will be persuaded that this work is fully formed as a stand-alone piece, with an entire emotional world and genius handling of musical themes. To me, Sokolov’s playing here is the highlight of the album.

The album ends with Sokolov’s usual and often played encores, including works by Rameau, Chopin, and Bach. The booklet, at least when writing this review, is only available on the CD and Vinyl versions, and not the digital album. Be that as it may, the album is a highly enjoyable recital, with some works not commonly played on piano, well recorded (minus the audience noise), and demands repeated listening.