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

Lei Jiang (Composer), Deqing Wen (Composer), 

My SiCong (Composer), Pascal Gallet (Piano).


Released in 2014 | Pascal Gallet
Nope ! Henri Collet is not only the music critic who, in 1920, launched young composers baptized “Groupe des Six”! Spain! It was the favorite for Henri Collet. He criss-crossed Castile on the back of 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 2013 | Pascal Gallet
At the piano with Debussy" - How did Debussy prelude? Marie-Rose Carlié presents the Preludes on texts by Marguerite Long Gabriel Pierné, her exact contemporary, echoes it: "He literally rushed on the keyboard and forced all the effects. .. it got some amazing fluffy softness effects at times."
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 booklet entitled / "At the piano with Debussy" strewn with precious anecdotes.
In this "Live" recording captured in December 2012, Pascal Gallet happily takes us - after Chopin and Liszt - into Debussist shimmers.


Released in 2005 | Pascal Gallet
This second volume devoted to the piano works of Jolivet allows us to discover the personality of an extraordinary composer whose perhaps most fundamental principle was, throughout his life, never to allow himself to be alienated by any system.
Far, therefore, from any dogma, it is a compositional technique in perpetual mutation which is revealed throughout this disc, giving rise to a varied whole, without ever being heterogeneous: it is that the concerns of Jolivet, centered around sound (“music must be sound first”) give rise to a treatment of the piano which reveals under its various facets all the timbral and resonant possibilities of the instrument.
So that beyond the aesthetic and technical oppositions specific to the various pieces in the collection, as far apart in their stakes as educational pieces and more "serious" and larger-scale pieces, such as the Five Dances rituals or the Second Sonata, the somewhat attentive listener will be able to recognize a style, a veritable composer's paste which informs the artist's works despite the modifications he makes them undergo according to the supports and subjects he chooses.


Released in 2012 | Pascal Gallet
This DVD is both a recital and a documentary. […] One can only admire the magnificent interpretations on two Steingraeber pianos. Pascal Gallet notably plays the one dated 1873 that Liszt owned.
These instruments, when played with such mastery of power and such intelligent use of the pedal, become "out of the ordinary". Indeed, how not to revel in basses that sound like organs and trebles that are just as refined? Without forcing the touch, the interpreter makes his keyboard sing, expresses the vehemence like the velvety nuances of the Harmonie du Soir or the Second Ballade. Musically, a success. (Pianist - July/August 2012 - SF)


Released in 2010 | Pascal Gallet & Eric Aubier
Debussy, Ravel, Chabrier, Fauré, Enesco and many other composers interpreted by Pascal Gallet on the piano and Eric Aubier on the trumpet.


Released in 2006 | Pascal Gallet
Real qualities of sound, a captivating climate, the Scherzo n°1 and the Polonaise in F# minor convince by their frankness and an internalized central part. The Mazurkas are very nicely played, with spirit, mysteriously evanescent. The sonata, compared to the greatest names Alfred Cortot, Serge Rachmaninoff, Martha Argerich, Nelson Freire, is an excellent version, without the tics, without the effects of the handle. (DIAPASON - Chopin Record - May 2006 - Alain Lompech)


Released in 2015 | Pascal Gallet
The greatest composers of film music and the greatest composers of classical music for a timeless album dressed in a superb Digipack and a beautiful 12-page booklet.

an extraordinary repertoire of 21 titles such as Pirates of the Caribbean, Indiana Jones, Cinema Paradiso, Schindler's List, Amélie Poulain, Chariots of Fire or even Christophe Colomb,...

Titles transcribed for the piano, served by an exceptional sound envelope thanks to the acoustic qualities of the Rameau room (Music School of Nanterre), the richness of the Steingraeber piano used during the recording sessions and the purity of the sound recording and mixing.
Released in 2013 | Pascal Gallet

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 a creative basis (it was played at Chopin's funeral in the Church of the Madeleine) -Pascal Gallet (the complete piano music of 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! (PianoMagazine)


Released in 2003 | Pascal Gallet
This volume constitutes a first itinerary through the work for solo piano of André Jolivet, from his very first opuses, written when he was still only an adolescent, to mature pieces, composed some twenty years ago. later, such as Mana or Cosmogony.
Such a set, however varied it may be, nevertheless includes a strong unity to be placed not under the sign of the uniform but, as in all rich works, of the complex, sometimes of the paradoxical, in any case always tension: the latter constitutes a central element of the composer's aesthetics, and we find its origin in the very personality of Jolivet, both a committed man, a left-wing humanist nourished by ideals of fraternity, and a composer always demanding in search of innovation and renewal.


Released in 2008 | Pascal Gallet
Composed in 1945 in memory of Bartok who died the same year, the writing principles of the Sonata, whose general form is part of the tradition, remain those of Jolivet: primacy granted to the melody both in its harmonic dimension and acoustic.
Somewhat later than the Sonata, the Concerto, commissioned by the ORTF which wanted a work inspired by overseas territories, was initially to bear the name "Equatoriales". He made a lot of noise about him: scandal during his creation in 1951 in Strasbourg, ovation a year later in Paris. The work acquires a universal dimension, through which it rejoins the magical origins of music and achieves its primary vocation: to connect people with each other.
Pascal Gallet offers with this third and last part of the complete piano by Jolivet, even deeper interpretations. The First Sonata shows all the reliefs of the composer's universe. The Piano Concerto, of which it is the first "modern" recording, plunges us happily into the orchestral colors of Jolivet, the piano part blending or bursting in turn. Lots of percussion, in the orchestra or the piano, but also great moments of tenderness. A must !


Released in 2007 | Pascal Gallet & Enesco Quartet
The Quartet n°1 (opus 49), Quatuor n°7 (opus 108), Quintet with piano (opus 53) performed by the Enesco Quartet and Pascal Gallet at the piano. 


Released in 2002 | Pascal Gallet
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.
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