Benjamin Grosvenor is imposing with the opening of the B-flat minor Sonata, an up-front introduction, rustling the exposition (repeated, if not back to the very beginning as has been the trend in recent years) to silent-movie drama contrasted by a much slower, romantic, second subject, and so the movement develops. The Scherzo is hectic, the Trio sweetly turned, then the ‘Funeral March’ tolls doom, the middle section reveals nostalgia, the whole rounded by the remarkable impressionistic Finale, which Grosvenor plays with arresting impetuosity. The B-minor Sonata is nicely capricious throughout, surreptitious (left-hand) at times in the first movement (repeat eschewed), then a fleet-fingered Scherzo encasing a spontaneous Trio, attacca into a sensitive confiding Largo, with the Finale clearly articulated (no swallowed notes) and during which the left-hand dances, and the right sparkles – dazzling if entirely musical. Between the Sonatas Grosvenor distils the Berceuse simply, allowing a natural augmentation of notes, and the First Ballade has its fair share of description and expressive freedom, with the pair of Opus 55 Nocturnes similarly not tied to the page. The recorded sound presents Grosvenor in close profile, possibly at the expense of really quiet playing, yet also conveying a musician totally focussed on what he is doing, aware of this music’s crowded past and his own place in posterity. Decca 487 0958 is certainly one to keep.
Benjamin Grosvenor records Chopin – Piano Sonata No.2 (B-flat minor) & No.3 (B-minor), Berceuse, G-minor Ballade, Nocturnes (Opus 55) – for Decca.
Thanks for your concise and informative review. Yesterday I had the misfortune to stumble across a review of this release that brings the internet into disrepute, a badly written and badly edited load of nonsense by one Clark, full of spelling mistakes, tiresome repetitions, gobbledegook and pretentiousness.