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Christian-Pierre La Marca, Nathanaël Gouin & Orchestre de Paris – Cello & Cinema (2024)
FLAC (tracks) 24 bit/96 kHz | Time – 31:46 minutes | 566 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Naive
Finneas Baird O’Connell, Billie Eilish: No Time to Die; Arlen: Over the Rainbow; Chaplin, C: Smile from ‘Modern Times’; Einaudi: I Giorni; Glass, P: The Poet Acts; Lennon & McCartney: Yesterday; Mancini, H: Moon River; Weill, K: Lost in the Stars (from Lost in the Stars); Weiss, G D: Wonderful World.
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Nathanaël Gouin, Sinfonia Varsovia & Aleksandar Marković – Caprice (2023)
FLAC (tracks) 24 bit/88,2 kHz | Time – 01:19:42 minutes | 1,12 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Mirare
According to pianist Nathanaël Gouin, there is in caprice a form of liberty devoid of heaviness. The fact that so many composers have taken an interest in this genre indicates a genuine liking for this liberty. Each one of them makes a mark on its identity in a profoundly different way, from Bach to Ohana. Using this idea, he was able to compose a programme of German, Russian and French music, whilst choosing works which embrace the spirit of the caprice and, more importantly, resembling him.
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Nathanaël Gouin, Yan Levionnois, Guillaume Chilemme – Beethoven & Korngold (2019)
FLAC (tracks) 24 bit/96 kHz | Time – 01:21:28 minutes | 1,36 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Mirare
From shadow to light: cut off from society but willing to communicate, seeking to embrace the whole world, Beethoven’s case epitomizes a human and sensitive quest.
The apex of the chamber music genre, the ‘Ghost’ and the ‘Archduke’ Trios portray these romantic figures between intimacy and magnificence, mystery and greatness, inner conflicts and peace with humanity.
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Nathanaël Gouin – Liszt Macabre (2017)
FLAC (tracks) 24 bit/96 kHz | Time – 01:23:08 minutes | 1,28 GB | Genre: Classical, Piano
Studio Masters, Official Digital Download | Front Cover | © Mirare
A virtuosity of horror: like the writers, painters and composers of his time, Liszt was fascinated by the macabre. He portrayed terrifying visions of gruesome scenes and Hell itself, going far beyond the traditional usages of the piano. In Totentanz, Pensée des morts, Funérailles and the Mephisto-Walzer, his demoniacal virtuosity is placed at the service of a Romantic imagination obsessed by the Gothic and the fantastical, inspired by medieval frescoes of dancing skeletons and the Grim Reaper with his scythe. Yet, for all that, Liszt never failed to evoke the hope held out by Christian faith.
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