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Released in 2016 | Pascal Gallet
Released in 2015 | Pascal Gallet


The greatest composers of film music and the greatest composers of classical music for a timeless album dressed with a superb Digipack and a beautiful booklet 12 pages.

an extraordinary repertoire of 21 titles such as Caribbean Pirate, Indiana Jones, Cinema Paradiso, Schindler's List, Amélie Poulain, The Chariots of Fire or Christopher Columbus, .

Titles transcribed for the piano, served by an exceptional sound envelope by the acoustic qualities of the Rameau room (Nanterre Music School), the richness of the Steingraeber piano used during recordings and the purity of the sound recording and mixing.


Released in 2014 | Pascal Gallet
No ! Henri Collet is not only the musical critic who, in 1920, launched young composers baptized "Group of Six"! Spain! This was the favorite for Henri Collet. He criss-crossed Castile on a donkey, in a fruitful quest for folklore.

July 2015 - Rated 4/5 by CLASSICA
2015 - Selected CD of the summer by Piano Bleu


Released in 2003 | Pascal Gallet

The present volume constitutes a first itinerary through André Jolivet's solo piano work, from his earliest opus, written while still a teenager, to pieces of maturity, composed some twenty years later, such as Mana or Cosmogony.

Such a set, however varied, does not lack a strong unity to be placed not under the sign of the uniform but, as in all rich works, the complex, sometimes the paradoxical, in any case always tension: the latter is a central element of the composer's aesthetic, and we find its origin in the very personality of Jolivet, both a committed man, a humanist on the left, all nourished by the ideals of fraternity, and a composer demanding always in search of innovation and renewal.


Released in 2008 | Pascal Gallet
Composed in 1945 in memory of Bartok disappeared the same year, the principles of writing the Sonata, whose general form is in the tradition, remain those of Jolivet: primacy granted to the melody both in its harmonic dimension that acoustic.

Somewhat later than the Sonata, the ORTF's Concerto, which wanted a work inspired by the overseas territories, was originally to be called "Equatoriales". He made a lot of talk about him: scandal when he was founded in 1951 in Strasbourg, ovation a year later in Paris. The work acquires a universal dimension, by which it joins the magical origins of music and reaches its first vocation: to connect men with each other.

Pascal Gallet offers with this third and final part of the complete piano for Jolivet, even deeper interpretations. The first sonata shows all the reliefs of the composer's universe. The Piano Concerto, which is the first "modern" recording, plunges us happily into the orchestral colors of Jolivet, the piano part melting or bursting in turn. A lot of percussion, in the orchestra or the piano, but also great moments of tenderness. A must !


Released in 2010 | Pascal Gallet & Eric Aubier
Debussy, Ravel, Chabrier, Fauré, Enesco and many other composers played by Pascal Gallet on piano and Eric Aubier on Trumpet.
Released in 2006 | Pascal Gallet


Real qualities of sound, a warm climate, the Scherzo No. 1 and the Pole in F minor convince by their frankness and internalized central part. The Mazurkas are very nicely played, witty, mysteriously evanescent. The sonata, compared to the greatest name Alfred Cortot, Serge Rachmaninoff, Martha Argerich, Nelson Freire, is an excellent version, without the tics, without the effects of sleeve. (DIAPASON - Chopin record - May 2006 - Alain Lompech)


Released in 2013 | Pascal Gallet

A trip with Chopin "political" Polish, the nostalgic Mazurkas, and the famous Sonata No 2 called "funeral". The movement bearing this name was written before the sonata; it is he who serves as a creative base (he was played at the funeral of Chopin in the Church of the Madeleine) - Pascal Gallet (complete piano music Jolivet at Maguelone) presents us a reading without qualms , inexorable of this sonata. "

In this slow-paced funeral program, without any monotony, he builds each story with a real flexibility of touch and combines with subtlety softness and strength while avoiding overloading (Polish op.44). There is in this relevant approach a will to tell Chopin, but with a certain distance from the emotional content of each page (trio of the funeral march of Op 35). Instead of saying or affirming, Pascal Gallet suggests! (Piano Magazine)

Released in 2013 | Pascal Gallet


At the piano with Debussy "- How Debussy preludes Marie-Rose Carlié presents the Préludes on texts by Marguerite Long Gabriel Pierné its exact contemporary, echoes it:" He literally ran on the keyboard and forced all the effects. At times, he obtained astonishing effects of mellow softness.

Marguerite Long, to whom Marie-Rose CARLIÉ lends her voice, serves as a guide for this new interpretation by Pascal Galet. Friend of Debussy, Fauré and Ravel, she was the internationally renowned pedagogue from 1906 to 1966 and left us in 1960, a pamphlet entitled / "Au piano avec Debussy" sown with precious anecdotes.

In this recording "Live" captured in December 2012, Pascal Gallet takes us with happiness - after Chopin and Liszt - in debussistes chatoiements.
Released in 2005 | Pascal Gallet


This second volume, devoted to Jolivet's piano work, reveals an extraordinary composer's personality whose perhaps most fundamental principle was, throughout his life, never to be alienated by any system.

Far from this, of any dogma, it is a compositional technique in perpetual mutation which is revealed throughout this disc, giving place to a varied set, without ever being heterogeneous: it is that the preoccupations of Jolivet, centered around the sound ("music must be his first") give rise to a treatment of the piano which reveals in all its facets all the timbral and resonant possibilities of the instrument.

So that beyond the aesthetic and technical oppositions specific to the various pieces of the collection, as far apart in their stakes as can be pedagogical pieces and pieces "serious" and larger, such as the Five Dances rituals or the Second Sonata, the attentive listener will be able to recognize a style, a real composer's dough which informs the works of the artist despite the modifications that he makes him undergo according to the supports and subjects he chooses.
Released in 2012 | Pascal Gallet


This DVD is both a recital, but also a documentary. [...] One can only admire the magnificent performances on two Steingraeber pianos. Pascal Gallet plays in particular that dated 1873 that possessed Liszt.

These instruments, when played with such mastery of power and so clever use of the pedal, become "out of the ordinary". Indeed, how not to revel in bass that sound like organ and treble as refined? Without forcing the touch, the interpreter makes his keyboard sing, expresses vehemence like the velvety nuances of the Harmony of the Evening or the Second Ballad. Musically, a success. (Pianist - July / August 2012 - S.F.)


Released in 2007 | Pascal Gallet & Enesco Quartet
The Quartet No. 1 (Op. 49), Quartet No. 7 (Op. 108), Quintet with Piano (Op. 53) performed by the Quatuor Enesco and Pascal Gallet on piano.


Released in 2002 | Pascal Gallet
If Grieg refocuses on the small shapes after sounding the sonata form, there are two reasons: on the one hand, he is not at ease in the development, a technique that restrains him in his poetic impulses and 'imagination; on the other hand, the work of variation in which he flourishes is also best suited to the popular material, whose short sentences are repeated, juxtaposed, but never to the point of development. It is perhaps also a Norwegian cultural characteristic, as the composer suggests in a letter to his publisher in 1889: "We are Germans of the North, and we share with all Germans a strong propensity to melancholy and reverie.


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