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Product SACD |veröffentlicht: Apr 24, 2009 Maurice Ravel: Piano Works

"Gleich die eröffnende Schubert-Hommage der „Valses nobles et sentimentales“ gestaltet er mit einem Optimum an Sensibilität und Formsinn. Ähnlich gelungen dann auch seine Wiedergabe des „Gaspard“ und der Sonatine, und die Schlusssteigerung von „La Valse“ habe ich noch nie so wenig klavierauszugsmäßig und bei aller Transparenz so rauschend „orchestral“ gehört wie von Descharmes." (Ingo Harden, Stereo)
Interpreten
Romain Descharmes

Romain Descharmes
Composer
Maurice Ravel

Ensemble piano Romain Descharmes

« ... The account was all the more stunning for coming after performances characterized as much by subtlety as by force. Mr. Descharmes’s Ravel, in the Sonatine and “Gaspard de la Nuit,” was fluid and eloquent. Perhaps more surprising for a Frenchman, his Brahms, in the F minor Sonata, was burly and declamatory, though it remained lithe and proved melting in lyrical moments. »
(New York Times).

"....Genuinely mind-blowing, a polished, bounding, roaring performance........Romain Descharmes deserves a triumphant reception....." (Ouest-France)


Born in 1980, Romain Descharmes was awarded First Prize in the Dublin International Piano Competition in 2006, leading him to perform recitals on such prestigious stages as Carnegie Hall in New York, Wigmore Hall in London, National Concert Hall in Dublin, Minato Mirai Hall in Yokohama, Tsuda Hall and Hakuju Hall in Tokyo, and Salle Cortot in Paris. He has also been awarded prizes at other international competitions (Vlado Perlemuter, Shanghai, Hamamatsu, Alessandro Casagrande), and has received the support of the Yamaha and Natexis-Banque Populaire foundations. In 2004 he became an affiliate of the Charles Cros Academy.
He studied at the Conservatoire National Superieur de Musique in Paris, where he won four first prizes (piano, chamber music, piano accompaniment and vocal accompaniment) while studying with Jacques Rouvier, Christian Ivaldi, Jean Koerner and Anne Grappotte. Later, he continued his studies first with Jacques Rouvier and then Bruno Rigutto, during which time he was awarded a scholarship by the Meyer Foundation for cultural and artistic development, and made a recording of works by early twentieth century composers. For this project he received the advice of Pierre Boulez. He has also taken masterclasses with Dimitri Bashkirov, Idil Biret, John O'Conor and Oxana Yablonskaya.
Romain Descharmes frequently gives recitals in France (Roque d'Anthéron, Piano aux Jacobins, Rencontres Internationales Frederic Chopin, Serres d'Auteuil, Nancyphonies, Ars Terra, Aix-en-Provence, Saint Jean-de-Luz, Estivales de Musique au Coeur du Médoc, Agora Festival) and abroad (Festival Arties in India, Beirut, Leipzig, Naples, Lisbon Opera, and Festival Cervantino in Mexico). He has also participated in numerous broadcasts for television and radio (France-Musiques, Mezzo, NHK Japan).
He has appeared in concert with orchestras in USA, England, Ireland, France, Japan and China, most notably with the Midland Symphony Orchestra, the National Symphony Orchestra of Ireland, l'Orchestre de la Garde Républicaine, le Nouvel Ensemble Instrumental du Conservatoire de Paris, l'Orchestra del Lazio and the Shanghai Philharmonic Orchestra.
He is also much sought-after as a chamber musician. He is renowned for his attentive, sensitive playing and wide repertoire, which ranges from sonatas to larger ensemble pieces, as well as lieder, of which he is particularly fond. He has collaborated with such artists as Roland Daugareil, Henri Demarquette, Laurent Korcia, Sarah Nemtanu, the Court-Circuit Ensemble, the Ebène Quartet, the Satie Quartet and the Berliner Philarmoniker Quintette.
His first CD recording was of Brahms pieces for Claudio Records in London.
International Piano

Rezension International Piano July/August 2009 | Guy Dammann | July 1, 2009 When Romain Descharmes gave his Wigmore Hall debut in January 2007, soon after...

When Romain Descharmes gave his Wigmore Hall debut in January 2007, soon after winning the Dublin competition, levels of anticipation and excitement were high. The hall was packed to the gunnels with support, but the results, for me at any rate, were underwhelming, with soggy Brahms and undistinguished Ravel. The highpoint was an unexpectedly high octane dose of Frederick Rzewski's Winnsboro Cotton Mill.

Both the Brahms and the Rzewski have made it on to disc. Now it is the turn of the Ravel, marking the pianist's recording debut with Audite performing on a Kawai piano. The exceptionally bright tone of the instrument works brilliantly – literally – for the first item on the disc, Valses nobles et sentimentales. Ravel's almost casual dissonances glisten and gleam like rough-cut jewels against the warm darkness of the acoustic of Berlin's Jesus-Christus-Kirche. To the pacing and balance of these deceptive dances Descharmes brings both intelligence and independence of mind, setting down an interpretation of these exciting and sometimes underappreciated pieces that deserves attention.

Whether the same can be said of the rest of the disc is less clear. Gaspard de la nuit, on the edge of ragged in the Wigmore Hall recital, is technically much more proficient, especially where the more restrained and confident pedalling is concerned. But there is little really dazzling about 'Ondine' and 'Le Gibet'. 'Scarbo', unusually in recordings of this work, is the most convincing.

With the Sonatine, full of delights though it is, you get the slightly tired sense that Descharmes has been playing it since shortly after coming out of nappies and hasn't really thought a great deal about his approach to it since. More interesting is the pianist's own transcription of La valse. Although the composer's own two-piano version may be familiar, his solo version of the work leaves much to be desired. Descharmes's arrangement works better and his warm-blooded and somewhat flirtatious performance brings a stimulating if not totally satisfying conclusion to this somewhat frustrating disc.
Fanfare

Rezension Fanfare Issue 33:2 (Nov/Dec 2009) | Peter Burwasser | November 1, 2009 First of all, the young French pianist Romain Descharmes (b. 1980) is a very...

First of all, the young French pianist Romain Descharmes (b. 1980) is a very fine artist, possessed of not merely great dexterity, but exceptional style and taste. But more Ravel piano music? Really? The arkivmusic Web site lists 79 versions of the Sonatine, 96 of Gaspard, 100 of the Valse nobles et sentimentales, and, wait for it, 166 spins on the dance floor for La valse, more than half of them in the solo piano configuration. I love this music as much as anyone does, but must admit to no small degree of Ravel fatigue. Descharmes acquits himself well amidst the blistering competition, but as a nit-picking critic (that’s why they pay me the big bucks), I must report some minor instances of over-mannered rhythmic manipulations, mainly in Valses nobles et sentimentales. The Gaspard is on the cool side, but this is not so much a criticism as a way to distinguish Descharmes’s completely effective style from the more animalistic approach of, say, Argerich. The Sonatine is especially lovely, aglow with elegance and lucid texture.

If, by some chance, you need this material in your CD collection, you will not go wrong with this choice. As I have commented before, the Audite label produces some of the best piano sound in the industry, exquisitely balanced and with a natural (not too close) ambience. As for me, I look forward to hearing this promising new talent again soon, in more adventurous material.
RBB Kulturradio

Rezension RBB Kulturradio 7. Juli 2009 | Ulrike Klobes | July 7, 2009 Von weitem sehe er zwar aus wie ein Schulmeister, aber eigentlich sei er ein...

Von weitem sehe er zwar aus wie ein Schulmeister, aber eigentlich sei er ein kleiner, selbstgefälliger Dandy – so beschrieb Erik Satie einmal Maurice Ravel. Als dieser 1927 zu seiner Amerika-Tournee startete, hatte er 60 Hemden, 20 Paar Schuhe, 75 Krawatten und 25 Seidenpyjamas im Gepäck. Genauso anspruchsvoll wie mit seinem Aussehen war der als Griesgram verschriene Ravel auch mit seiner Musik. Seine Klavierwerke beispielsweise gelten als überaus anspruchsvoll und virtuos. An diese hat sich jetzt ein junger französischer Pianist gewagt:

Romain Descharmes,
Jahrgang 1980, hat in Paris Klavier, Kammermusik und Klavierbegleitung studiert und ist neben seiner erfolgreichen Pianistentätigkeit ein aktiver Kammermusiker. Diese Einspielung ist Descharmes dritte Solo-CD, auf seiner ersten hat er Werke von Debussy, Skrjabin, Schönberg und Boulez aufgenommen, auf seinem zweiten Album gibt es ausschließlich Brahms-Werke zu hören, jetzt also Ravel.

Die Werke
Descharmes Auswahl trifft quasi den Kern von Ravels Klavierwerken: Als "Einleitung" des Albums dienen die kleinen, raffinierten Walzer aus der Sammlung Valses nobles et sentimentales, es folgt der sehr fantastisch anmutende Dreiteiler Gaspard de la Nuit, auch die eher klassizistische Sonatine ist dabei, den Höhepunkt bildet aber zweifelsfrei die Klavierbearbeitung von La Valse.

Die Interpretation
Romain Descharmes spielt sehr klar und überhaupt nicht emotional aufgeladen, an einigen Stellen für manche Geschmäcker vielleicht sogar ein wenig zu unprätentiös. Er überschlägt sich nicht in den Tempi, was eine schöne Transparenz zur Folge hat. Nicht nur die schnellen Läufe bleiben so vom Verschwimmen verschont, auch die oft donnernden Akkordfolgen kommen sehr präsent zum Ausdruck, ohne einen Störfaktor zu bilden.

Alles in allem eine überaus gelungene Einspielung von höchster Virtuosität.
International Record Review

Rezension International Record Review July/August 2009 | Julian Haylock | July 1, 2009 Ravel

Ravel's music is so all-encompassing in its absolute integrity (every note has its exact place in an overall scheme) that it possesses an almost Bach-like indestructibility. Some players emphasize the leading line, others the music's rhythmic profiles, others its textural allure, others its rich harmonic palette, yet it invariably emerges sounding utterly convincing.

Romain Descharmes, winner of the Dublin International Competition in 2006, remarkably combines all these qualities in interpretations that can withstand comparison with the finest of the past. His French accent is as acute and Galois-scented as Monique Haas's, his captivating spontaneity as compelling as Samson François, his harmonic pungency and weighting as telling as that of Werner Haas, and his exhilaration in the piano mechanism's colossal bass power in La valse curiously reminiscent of Horowitz.

The Ravel who emerges here is less an effeminate aesthete with a soft centre than an indomitable, macho personality of exquisitely refined taste. In tackling Valses nobles et sentimentales, most pianists attempt to impart a sense of stylistic unity to Ravel's coruscating inspirations, whereas Descharmes gives each waltz its own unique character, ensuring that the music's startling changes of mood register with full impact. One of the greatest challenges in this above all of Ravel's piano works is to characterize the music's dancing lilt and affectionate phrasing without sounding calculating and arch, a test which Descharmes passes with flying colours as he enters into each miniature's distinctive sound-world. This is compelling playing that takes the listener on a vital emotional journey, never generalizing the specific.

It is rare indeed that one encounters a performance of Gaspard de Ia nuit that has one totally forgetting the supreme technical accomplishment involved. Yet here Descharmes charms his Kawai grand into producing magical, glistening sonorities throughout 'Ondine' that, despite the pungent clarity of his playing elsewhere (not least in 'Scarbo'), suggests that he has somehow dispensed with the use of a hammer mechanism altogether. His 'Scarbo' may not be the last word in Grand Guignol, smouldering incandescence, yet its intoxicating textural allure and commendable lack of self-conscious virtuoso wizardry focuses the music's swirling changeability to a remarkable degree.

The enchanting Sonatine suits Descharmes's quicksilver tonal reactions to a tee. The central minuet is a particular triumph, its surface nostalgia and contentment subtly spiked on occasion by Ravel's gently clashing harmonies. I can't wait to hear what Descharmes makes of Miroirs and Le tombeau de Couperin.

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