Romain Descharmes – extraits de Presse

« Even though I know the piece well, nothing prepared me for Descharmes’ superb control of the work’s distinctive syncopations. »« Recordings of the Month » – Dan Morgan, Musicweb-international, June 2017

« Just as impressive is pianist Descharmes, who handles the technical challenges with seeming ease » – American Record Guide, 2017

« Romain Descharmes savors the music’s charm and brilliance without indulging in excessive sentimentality. The First Concerto, with its surprising wiring for horns, has a breezy freshness that completely disarming. It’s played with joyful directness and a complete lack of affectation. I enjoy fast and dazzling versions of the Second Concerto, with its whirlwind finale, but Descharmes treats the piece with almost epicurean relish, nowhere more so than in this sassy, witty account of the central scherzo. There’s no lack of virtuosity, but also time to savor the music’s many harmonic delights. A disc to savor. » – David Hurvitz,

« C’est avec une élégance dénuée de maniérismes autant que de sécheresse que Romain Descharmes joue les deux premiers concertos et l’Allegro appassionato. Il nuance son piano de coloris moirés et tendres, et sort les griffes quand il le faut. Du Concerto n°1, inspiré de Bach, il délivre une interprétation qui réussit à faire passer la pilule d’un bavardage parfois excessif du compositeur dans la premier mouvement, et d’une vacuité qui interdit de facto le « con fuoco » demandé dans la finale, tout en magnifiant le caractère rêveur de l’Andante sostenuto. Chapeau ! » – Alain Lompech, Diapason, Mai 2017

« The bigger and better surprise, though, is the unaffected, highly accomplished musicianship of Pierre Fouchenneret and Romain Descharmes, neither of whom I’d heard before. Fouchenneret’s tone is warm yet finely focused and with spot-on intonation throughout. Descharmes’s touch is unfailingly elegant; he renders even the thickest passages with crystalline clarity. […] Fouchenneret and Descharmes are absolutely worth a listen. I’ll certainly be returning to their superb accounts of the three sonatas as well as the Spring, and I eagerly look forward to hearing more from them. » – Andrew Farach-Colton, Gramophone, January 2017

« […] alongside pianist Romain Descharmes, ‘a marvel of class and purity’, as Christian Merlin so rightly described him. By their refreshing, profound and pertinent vision of these works, going in turn from fieriness to extreme poetry without ever losing sight of the necessary classicism of the style, they take us on a ‘non-stop’ journey to the peak, the heart of the Beethovenian universe, on the threshold of Romanticism. Magical! » – Presto Classical, September 2016