Resonus Classics and Pierre-Arnaud are proud to announce today’s release of the pianist’s second album dedicated to Beethoven!
The first Beethoven album finally hits the digital shelves and is available on all major platforms like iTunes, Google Play, AmazonMP3…
You can download a CD quality or High Resolution (24bit/96kHz) version from Resonus Classics website . These lossless formats are also available on Linn Records website, Quobuz, highresaudio.com and many others!
So head to your favorite online music service and get it now!
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Pianist Pierre-Arnaud Dablemont releases his first album on Resonus Classics with an album containing three pivotal sonatas by Ludwig van Beethoven – the two Op. 27 sonatas labelled “Quasi una fantasia” in E flat major and C sharp minor (including the “Moonlight” sonata) and the Op. 28 sonata in D major (“Pastoral”).
In these three sonatas we see Beethoven stretching and experimenting with both form and texture, and the Paris-born pianist Pierre-Arnaud Dablemont – known for his innovative and interpretations – brings a unique and fresh view to these vital works of the classical piano repertoire.
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Tuesday today, so time for our third and penultimate episode of the series about Beethoven featuring Pierre-Arnaud, If Beethoven Blogged in collaboration with Opus Osm !
In this episode entitled Twisting forms to find a new language, pianist Pierre-Arnaud Dablemont discusses taking risks to discover new meanings in music and demonstrates “before and after” versions of ways to play Beethoven.
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Mary Matz, editor of Opus Osm, and Pierre-Arnaud just published the second episode of If Beethoven Blogged entitled There’s always something new to discover.
In this episode, Pierre-Arnaud describes in basic terms the complex process of interpreting Beethoven’s works for modern recordings, to help connect today’s listener to music written in an earlier time and for a cruder instrument — the pianoforte, forerunner of today’s modern piano.
Don’t miss any episode: check Opus Osm‘s website every Tuesday or follow Pierre-Arnaud on Twitter!
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After a successful launch of the series last week on Opus Osm, Mary Matz and Pierre-Arnaud Dablemont released the first episode of If Beethoven Blogged.
This Week Mary and Pierre-Arnaud are talking about the pianist’s project Beethoven Evolutions and his vision of Beethoven.
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Opus Osm will start streaming the 5-episode-long series about Beethoven featuring Pierre-Arnaud, every week starting on Tuesday (June 3rd).
The series, entitled If Beethoven Blogged, is the result of a long collaboration between Mary Matz, editor of Opus Osm and pianist Pierre-Arnaud Dablemont. It focuses on the pianist’s work on Beethoven in the context of his album dedicated to sonatas op. 27 and 28 to be released on July 1st.
Find below the list of episodes and their release date:
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This morning I was trying to remember my first post ever. Even before I had WordPress installed, which has been my CMS for many years now. It was on January 24th, 2007 something about SACEM (The French ASCAP), the complexity of its royalties system and how it was making it difficult for us to play contemporary music. The blog was then bilingual (French and.. Frenglish?). I was so proud of publishing something for the first time! 7 years and several hundreds posts later, here I am; a completely different musician and man in a completely different place.
In a way, blogging saved me: it forced me to evolve and get out of my comfort zone. The psycho-therapeutic effect was undeniable: I could get out anything that was bothering me, it was a place to express views that I knew I couldn’t express otherwise, try out ideas. I would say that it has worked better than a shrink in difficult times. It stimulated my thinking, helped me organize my ideas and define myself.
Thanks to this blog, I met fantastic people who energized and influenced me in a positive way. Some of them are now friends or close collaborators, some virtually vanished and others left us for good. It’s probably a good time to thank them for their input, for telling me when I was writing mere bullshits, when I was wrong, when I didn’t think about it enough. Thank you for your support in good times as well as bad ones. Thank you for helping me grow.
Right after I published these three posts last autumn I somehow felt it was the end of the road. In a way, the story of this blog is my transformation from caterpillar to butterfly, from a crawling shy musician to a flying confident pianist. I tried to keep the blog running but it doesn’t feel natural anymore.
My life as a musician has changed tremendously in the last months. I have lots of exciting projects and collaborations piling up, I need to finish what I have started and focus on future projects. I’d like to record more albums each year. There is this book I’d like to finish. There is this first modest documentary film I’d like to produce in a near future. And there is my life outside the musical scope I’d like to enjoy a little more.
I could keep the blog and write occasionally, when I have time. I don’t think it is a good idea: many music blogs end that way, in a long agony of sporadic posts nobody reads anymore. It’s sad. Instead, I’ll publish my pieces elsewhere when I feel the urge to write something short and opinionated about a particular topic.
So what’s next? No, I won’t delete every single post and turn them into an eBook at $2.99. The blog will stay on-line but won’t be updated anymore. It might help some people, and maybe, at some point, I’ll come back to blogging, who knows? The RSS feed will now display webnews items, so keep it in your reader! The better way to get updates (and a bit of my writing too ) is to subscribe to my awesome monthly newsletter: here is the link.
I’m a little sad to let go this blog which has been one of my oldest companion and one of the achievements I’m the most proud of. But at the same time, it’s exciting to turn a page, be involved in great projects and take on new challenges.
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Pierre-Arnaud will unveil his Beethoven album on July 1st through Resonus Classics.
This second album comes two years after his acclaimed debut album Introducing Pierre-Arnaud Dablemont, which featured Ravel’s Gaspard de la nuit and Janacek’s On an overgrown path and In the mists.
The album will be available exclusively through digital media from your usual music sources and in high resolution audio 24-bit/96kHz (FLAC, ALAC, WMA or WAV depending on the site) through Resonus’s site and the following partnering sites: www.theclassicalshop.net, www.linnrecords.com, www.highresaudio.com, www.hdtracks.com, www.qobuz.com, www.eClassical.com .
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You already know I’m a fan of Ravel’s work and it’s more than time to feature him in this Listen To This! series. Time to discover THE piece I was singing at the top of my lungs when I was a child. I now thank my parents for their patience: I’ve never been a good singer and my intonation is quite approximate, especially when it comes to singing some very challenging airs from this little gem…
L’enfant et les sortilèges: Fantaisie lyrique en deux parties (The Child and the Spells: A Lyric Fantasy in Two Parts) is an opera in one act, with music from Maurice Ravel and libretto from Colette. It’s Ravel’s second opera (the first being l’Heure Espagnole, described as a musical more than an opera!).
Of course there is great music, and a great story ahead of its time, outlining values like the respect of Nature and Animals, and showing how symbiotic relationships between Nature, Animals and Human Beings can lead to a better world. Very hot topic isn’t it?
As a child, I probably didn’t get that but I did catch Colette’s great story and the importance of not harming animals or trees. And I sang all the songs. And I danced all the dances (Yep, they dance all time, like in American Operettas!).
And for cat lovers, there is a very famous Duo miaulé that raises the hair on the back of my cat
How could you resist?
Here is an excellent version with the RTF orchestra and Lorin Maazel conducting. It includes also l’Heure Espagnole and other pieces. Enjoy!
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All students are often asking the same thing: quick fixes to play a certain piece flawlessly. I wasn’t an exception: I wanted from my professors fingerings, exercises that could help me feel absolutely comfortable in certain difficult sections.
Today, I’m so glad my teachers never quite responded to my requests: it pushed me to be creative in my daily practice and I was forced to learn to solve all kinds of technical problems myself. Of course, when I was hitting the wall, they always had a solution to make me shift perspective and get out of trouble.
If I had to teach piano again to long term students I would probably say only 2 things to close the technical chapter: be creative and find a way to feel comfortable every time you play, every bar you play. Along these lines, I would probably develop their constructive thinking.
What does really count is the sound quality and musical result. How we do it doesn’t really matter. Everyone does things differently anyway.
Sorry, but there is no quick fix to magically play better. It is a long, sometimes painful and always careful lifelong education: technique is about understanding your body and how it works.
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