Recordings of the 10 Scriabin sonatas were once a rarity, but in the past decade more than a dozen such sets have been released. To succeed in such an endeavour, a pianist must excel not only in Scriabin’s lyrical and impassioned early Romantic style but also in the mystical harmonic complexities of his later works. Both Yunjie Chen and Nuno Cernadas are well qualified for such a task. Chen has performed all 10 sonatas in a single evening more than 120 times – a monumental achievement – while Cernadas, making his recording debut here, has devoted significant interest to the composer over the years.

Interestingly, the two artists take significantly different approaches. Chen’s style is freer, more imaginative and atmospheric, constantly seeking moments of fantasy and beauty. He takes liberties with the score, prioritising his vision over strict adherence, whereas Cernadas is more faithful, performing with greater intensity and drama, and producing a bigger sound.

In the First Sonata, Chen offers a more beautiful sound and greater expressivity, while Cernadas delivers a more driven performance with a far more tragic funeral march. However, such generalities of style don’t hold true throughout. Chen is unexpectedly angular and straightforward in the sonata’s third movement, while in the virtuosic finale of the Second Sonata, Cernadas adopts a surprisingly restrained approach. In the Third Sonata the edge goes to Cernadas. Chen’s playing has more colour and nuance but falls short on drama, and his rhythmic freedom in the second movement goes too far – its opening dotted rhythm becomes more of an approximation, further obscured by heavy pedalling. Cernadas, on the other hand, delivers fiery and exciting playing, with a particularly beautiful and colourful transition from the slow movement into the finale.

With the Fourth Sonata, we reach Scriabin’s middle period. Here, Chen’s imaginative and free approach resonates deeply, whereas Cernadas comes across as more earthbound, particularly in the repeated right-hand chords of the opening movement. The Fifth Sonata is another case where expectations are reversed, with Chen displaying greater intensity and contrast. His rendition features incredibly rapid and light chord figurations that immerse the listener more fully in Scriabin’s sound world.

In Sonatas Nos 6‑8, often considered the most difficult to interpret, preference ultimately comes down to personal taste. Both pianists demonstrate a solid understanding of Scriabin’s late style. Chen is generally more atmospheric, whereas Cernadas emphasises intensity and drama. A striking example of their differing approaches is their handling of the challenging fourths passages that permeate the Eighth Sonata: for Chen they are delicate and shimmering, while for Cernadas they become breathtaking virtuosic flourishes.

Cernadas delivers a truly intense, mysterious and powerful rendition of the Ninth Sonata. The way he pedals the opening motif creates a hazy, enigmatic aura that contrasts vividly with the intensity of the music that follows. Chen unfortunately disappoints in this sonata, a work that demands an intensity he never fully achieves, and his rhythmic alteration of the ‘fate’ motif upon its first appearance is inexplicable. Both pianists offer acceptable versions of the Tenth Sonata, though neither approaches the magical sound world Sofronitsky conjures or the blistering heat Horowitz brings to this work.

This review originally appeared in the SPRING 2025 issue of International Piano