Blechacz's Chopin Sonatas

[A.L.]

Thoughts on Rafal Blechacz's relatively recent disc of the Chopin piano sonatas plus the Nocturne Op. 48 in F# Minor and the Barcarolle? For me, his playing of the sonatas ranks among the finest I've heard. The Barcarolle less so but the one Nocturne is equally among the finest.

[A.L.]

Record label: Deutsche Grammophon

[Jonathan Ben Schragadove]

On Thursday, August 31, 2023 at 5:27:02 AM UTC-7, A.L. wrote:

> Thoughts on Rafal Blechacz's relatively recent disc of the Chopin piano sonatas plus the Nocturne Op. 48 in F# Minor and the Barcarolle? For me, his playing of the sonatas ranks among the finest I've heard. The Barcarolle less so but the one Nocturne is equally among the finest.

Agreed - fabulous performances!! I was so impressed that I bought just about all of his other recordings, including live performances from the Chopin Competition (Warsaw, 2005).

[A.L.]

Glad to read that you also share my enthusiasm for these exceptional interpretations.

[A.L.]

So I played this disc again last night and was once more mesmerized by its impact and its superlative quality. But only another participant has bothered to comment on it. What is up?

[Notsure01]

On 9/4/23 5:33 AM, A.L. wrote:
> So I played this disc again last night and was once more mesmerized by its impact and its superlative quality. But only another participant has bothered to comment on it. What is up?
>

I'm very far from being a piano expert, but since you asked:

- Beautiful tone
- Plenty of personality
- But some articulation not ideally clear (for example from 30 seconds
to one minute of Sonata 2)
- Nocturne was impressive
- Barcarolle greatly expressive, but missing the even flow of the waves.

Was wondering if you could be more specific about its other superlative
qualities - it's more than likely I might have just overlooked them!

I agree that it would be interesting to get opinions from other folks here..

[A.L.]

You said it well: beautiful (I'd say gorgeous) tone, plenty of personality (rare and difficult to project amid such challenging, true and tried warhorses), an (more than) impressive Nocturne (Op 48 in F# Minor). I detected nothing of the sort regarding the unclear articulation you described in the 2nd sonata but I concur with you on the Barcarolle: It came across to me as the least successful, albeit impressively played. But I found it a bit heavy-handed and missed hearing a more "liquid" interpretation. I have not read the liner notes so don't know if there is something behind it but I wonder what made the producer insert such long pauses between the 3rd and 4th movements of each sonata? Did you notice?

[A.L.]

Correction. I had written: "I wonder what made the producer insert such long pauses between the 3rd and 4th movements of each sonata?"
But the long pauses are here:
Sonata #2, between movements III (Marche funèbre) and IV (Finale)
Sonata #3, between movements II (Scherzo) and III (Largo)

[JohnGavin]

Regarding the Sonata in B Minor, I agree completely regarding movements 1 and 2. Truly superlative playing, with fine details of voicing and transparency - masterful use of pedal. I began to be disappointed with movements 3 and 4 where his expressive devices, eg. Slowing down at the top of runs were done too much and too predictably and so they became mannerisms.

This in general is what has marred his playing for me in the past. But this is only my taste. There’s a lot to admire in his playing.

[M. A.]

I may need to relisten more attentively, but based on one listening, I join John Gavin in finding the first two movements of the 3rd Sonata to be the most successful parts of the disc, and I too was a little annoyed by those mannerisms particularly in the finale. The 2nd Sonata failed to engage me - I just found it at least the first and fourth movements too cautious and tame compared to what I consider the best versions. The Nocturne is indeed very well played, and I don't find the Barcarolle too bad, either.

Could you elaborate further why you enjoy these interpretations so much, also by comparison to other versions on disc?

M.A.

[A.L.]

I don't know what else to add but that I found them satisfactory beyond measure. And yes, I also detected the somewhat "mannered" final movement of the 3rd sonata (in addition to the lengthy pauses between movements that I wrote about). But the convergence of ravishing sound, filigree, soulfulness and full-bodied delivery captured my senses and attention. That's what a great recording ought to do. Otherwise why bother?