There is a tale of a performer who says "When I first start a new piece, I work out what I can leave out", and David's suggestion here is sensible, not just because of the chance of a fluffed note, but also a difficult chord can cause tension that pulls on the strings and causes intonation problems.
By the same token there was a Koshkin piece I started, and I thought 4 chords in it were totally impossible. A month later, they seemed pretty straightforward (and when you've been playing as long as I have, that came as a surprise).
So I would play the chords the way David suggests, but once or twice a week, I'd try the "real" chords - they might surprise you one day by working out in a way they never have before. This composite approach gives you the chance for technical advancement on the one hand, and a robust performance piece with "no scary bits" on the other - the best of both worlds!
Nothing in this life is impossible except skiing through revolving doors