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Piano solo - Verschenen op 30 november 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason
On the dawn of his fortieth birthday, the Spanish pianist Javier Perianes should be more than proud of his dazzling career. Among the places that regularly welcome him we find Carnegie Hall, the Berliner Philharmoniker, the Philharmonie de Paris, Gewandhaus in Leipzig and La Roque d'Anthéron. Barenboim and Larrocha were his masters. He is particularly fond of the great French repertoire of Debussy and Ravel, though he never focuses solely on them - his previous recordings have taken him to Beethoven, Mompou, Schubert or Granados. Here, he remains in the French world with Debussy's Book I from Preludes and his three Estampes, the composer’s piano masterpiece, which Perianes distils with immense instrumental colour, breathing, contrasts and a magnificent violence that counterbalances a crystal clearness at every moment, as requested by the score. © SM/Qobuz
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Piano solo - Verschenen op 6 april 2018 | Warner Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason - Uitzonderlijke Geluidsopnamen - 5 étoiles de Classica
The remarkable Turkish pianist Fazıl Say (born 1970) here offers us a suitably remarkable album, recorded in 2016 in the Great Hall of the Salzburg Mozarteum and given over to the Premier Livre of Debussy's Préludes – 1910 – which he sets up in against the six Gnossiennes by Satie (1890 for the first three, 1897 for the latter three) and to the pieces which made him famous, the Gymnopédies of 1888. It's quite stunning to hear these works and to reflect on the fact that Satie's works actually come before Debussy's Préludes – by almost two decades, in fact. It is hardly surprising the Satie has been thought a real avant-gardist both in his day and by minimalists today. Considering how different these two were, it was natural that they should have been friends, especially given Debussy's tendency towards jealousy of his contemporaries... But it is impossible to be jealous of a kind, bubbly soul like Satie. Say brings immense tenderness to these two opposite poles – poles so far removed that they almost join back up. © SM/Qobuz
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Piano solo - Verschenen op 29 juni 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - Preis der deutschen Schallplattenkritik
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Piano solo - Verschenen op 16 maart 2016 | Universal Music Australia Pty. Ltd.

Onderscheidingen 5 de Diapason
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Piano solo - Verschenen op 16 maart 2018 | Universal Music Division Decca Records France

Hi-Res Booklet Onderscheidingen 5 de Diapason
A brainchild of two veterans of the Philips label – including Tom Deacon, the instigator of the phenomenal "The Great Pianists of the 20th Century" in the 1990s – this re-release of the recordings of the complete works of Debussy played by Hans Henkemans for the Dutch label from 1951 to 1957 will remain one of the most beautiful celebrations marking this centenary year. These historic recordings, which have yet to be released as a single collection, were made at about the same time as the recordings by Marcelle Meyer (Les Discophiles Français), Albert Ferber (Ducretet-Thomson), Walter Gieseking (His Master's Voice), Menahem Pressler (MGM Records) and Reine Gianoli (Westminster): but they stand out from their contemporaries for their concern for textual precision and above all a complete absence of impressionism. The composer Hans Henkeman, born in 1913 and a major figure in the musical life of the Netherlands from the 1930s to the 1960s, was mainly interested in the range of the French composer's rhythmic vocabulary. Very often, and in particular in modern cycles (Estampes, Images, Children's Corner), the rhythm seems to overshadow the purely harmonic aspect, even if Hans Henkemans' naturally clear and limpid piano playing style reproduces these elements of Debussy's musical world without adulteration. Reflets dans l’eau stuns with its rapid tempo, its somewhat pithy expressiveness, but also with its fiery surges, its powerful accents in the fortissimo passages: there is also a freedom, a great broadness, in Henkemans' piano, which lends an almost austere aspect to the music's overall rhythmic stature. Moreover, Cloches à travers les feuilles, the greatest and also the most difficult of the Images pour piano, surprises the listener as much for its variations at a fulgurating tempo as for the great clarity of its articulation. But for many, the best of Henkemans' treasury of Debussy remains the 12 Etudes, where, naturally, his strict and utterly original playing style is perfectly matched to this mature, extreme cycle. Few musicians have brought such speed to Pour les degrés chromatiques or such a rage to Pour les agréments. Stunning! As Tom Deacon quite rightly puts it in the liner notes, "these interpretations can and should be seen as the forerunners of the modern approach to Debussy represented by the late Charles Rosen, Arturo Benedetti Michelangeli, and even the young Michel Béroff as well as by the conductor Pierre Boulez, all of whom worked to strip the carbuncles from Debussy's music that are simply the result of the normal wear and tear of successive generations of mis(or should I say over-)interpretations. This re-release should really set the record straight. © PYL/Qobuz