Frédéric Chopin (1810-1849)
Piano Sonata No.2 in B flat minor, Op.35 ‘Funeral March‘
Nocturne in F sharp minor, Op.48 no.2
Piano Sonata No.3 in B minor, Op.58
Barcarolle in F sharp major, Op.60
Rafał Blechacz (piano)
rec. 2021, Teldex Studio, Berlin
Deutsche Grammophon 4863438 [66]

The Polish pianist Rafał Blechacz came to public attention in 2005 when he won the International Fryderyk Chopin Piano Competition in Warsaw. He broke all records by winning all five first prizes, taking not only First Prize but also the polonaise, mazurka, sonata, and concerto prizes. Piotr Paleczny, vice chairman of the jury, said that Blechacz “so outclassed the remaining finalists that no second prize could actually be awarded”. He was rewarded with a Deutsche Grammophon contract a year later. He’s made several albums now, focusing mainly on Chopin, in addition to a Bach album I reviewed several years ago, awarding it one of my Recordings of The Year for 2017.

I’ve great admiration for Blechacz’s Chopin Second Sonata; it’s a staggering account, of consummate artistry and brilliance. The opening movement conveys dramatic sweep, breadth, expansiveness and blazing passion. The dare-devil Scherzo contrasts demonic punch with a balm-like middle section. The pianist avoids all hint of sentimentality in the Marche funèbre, with the central section restrained, simple and gossamer-like. In the nightmarish finale, as Arthur Rubinstein said: “One hears the winds of night sweeping over churchyard graves, the dust blowing and the dust that remains”.

Without doubt, the Piano Sonata No. 3 in B minor is a challenging work in terms of its technical and interpretive difficulties. Blechacz’s authoritative performance does the work full justice. The opening of the first movement is bold and dramatic, and the exquisite second subject is eloquently contoured. The Scherzo is fleet of foot with pearl-like fingerwork. Following a declamatory opening, the nocturne-like slow movement conveys a calm and magical serenity. The finale is a technical tour de force, played with unerring conviction to scintillating effect.

In recital, Blechacz often combines the Second Sonata with the Nocturne in F sharp minor, Op. 48, No. 2. For him, the work has a sense of “restless foreboding”, also found in the opening movement of the Sonata. The outer sections are weighed down with melancholy and tug at the heartstrings. The contrasting central section was described by the composer as “A tyrant commands, and the other asks for mercy”.

Similarly, the pianist often performs the Barcarolle with the Third Sonata. The influence of Italian bel canto found in the former, relates to that glorious second subject in the opening movement of the latter. Blechacz’s reading underlines its intense lyricism, rich harmonic textures and emotional depth.

The DG engineers have worked a miracle here. The Berlin venue provides a convincing and sympathetic acoustic, which results in a clear and detailed recording. The piano sound is exemplary, sounding rich and full, with bell-like clarity. This is the music that Blechacz excels in and I’m certain that this wonderful release will be a strong contender for one of my Recordings of the Year.

Stephen Greenbank

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