Pascal GALLET

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“The piano is inventive and fair in the expression of sensuality and sonorous pleasure, the two elements that prevail in this music… Playing with a subtle range of nuances, ample and fluid at the same time…"
Pierre Massé
DISCOGRAPHY
The Piano Concerto was composed a few years after the Sonata. When it was created in Strasbourg, it triggered a small scandal, a scandal that is actually quite incomprehensible today. The work is striking once again with its dramatic progression, a progression that reserves a central and peripheral role for the piano. Tremendously expressive and of an implacable formal construction, it deserves to be played more often… A big thank you to Pascal Gallet for this rare disc, remarkably interpreted.
We cannot put aside the quasi-jouissance that this music produces, precisely because it functions both on the ground of language (the structure that directs us) and on a more archaic energy (the sound continuum that grabs us). This is particularly evident in the First Sonata, but it is also true in the Concerto.
ARTE
If Grieg is refocusing on small forms after having dabbled in sonata form, there are two reasons: on the one hand, he is not comfortable in the development, a technique which restricts him in his poetic impulses and 'imagination; on the other hand, the work of variations in which he thrives is also best suited to popular material, whose short phrases are repeated, juxtaposed, but never go as far as development. It may also be a Norwegian cultural characteristic, as the composer suggests in a letter to his publisher in 1889: “We are Germans from the North, and we share with all Germans a strong propensity for melancholy and reverie.
Meguelone
A journey with the "political" Chopin of the Polonaises, the nostalgic of the Mazurkas, and the famous Sonata No 2 known as "funeral". The movement that bears this name was written before the sonata; it is he who serves as his creative base (it was played at Chopin's funeral in the Church of the Madeleine) - Pascal Gallet (complete music for piano by Jolivet at Maguelone) presents us with an unemotional, inexorable reading of this sonata. "
In this funeral program with a slow rhythm but without any monotony, he builds each story with a real flexibility of touch and subtly combines softness and force while avoiding any overload (Polish op. 44). There is in this relevant approach a desire to tell Chopin, but with a certain distance from the emotional content of each page (trio from the funeral march from Op. 35). Instead of saying or affirming, Pascal Gallet suggests !
Piano Magazine
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