The Complete PoemsCalliope, 2006
Since Chopin's Nocturnes we know how much we have in Pascal Amoyel a poet of the piano.
No wonder he tackles a repertoire that does not just capitalize on the name "poem", but, above all, evolves - like the Nocturnes - in a particular sound universe. A dizzying shortcut, it is at the edge of the two worlds, in the largest work on the disc, the Poem-Nocturne op. 61, that Pascal Amoyel definitively enters the court of the great scriabiniens. It translates all of these resonances, these mysteries and this suspension of music.
To be a poet of the piano is to create atmospheres while respecting the musical framework. This is what Pascal Amoyel is doing once again here. He also finds, in this hall of the Abbey of Pontlevoy and through a capturing of an absolute taste, a framework ideally suited to his playing style and his universe. We would be told that these musical ghosts appeared to him at 3 am in the candlelight that we would not be more surprised! This evocation will perhaps give you an idea of the Scriabinian spheres that Pascal Amoyel seeks to reach ...
The game gives the impression of absolute freedom. It also perfectly gives the feeling of a night escape and a style like no other. Pascal Amoyel integrated the musical and technical complexity (the rhythm!) Of these late Scriabin pieces to then provide an escape. The juxtaposition of these musical visions with the previous versions of "pianists" is sometimes dizzying.
Alain Cochard, Diapason, 2006
Le toucher de Pascal Amoyel vient renforcer l’étrangeté et le mysticisme d’une conception très poignante. On se laisse envoûter par un remarquable Poème-Nocturne » [...], comme par tout un programme tendu par l’ultime Poème op. 72 Vers la Flamme… Pas un crépitement de brasier, mais une flamme sombre, d’un voluptueux mystère - à l’image du disque tout entier.
Vallouise (05), France
La Roque d'Anthéron, France
Festival international de la Roque d'Anthéron