A new recording of Grieg's final Lyric Pieces features three historical instruments, a Rönisch 1915, Feurich 1918 and Steinway 1924, each chosen for a specific opus and tuned in unequal temperament. Captured in a pure, unprocessed recording, this nuanced approach reveals the music's original character, restoring subtle colours and emotional inflections through the intimacy of the upright piano.

Ziad Kreidy, alongside other distinguished musicians, is one of the featured performers in this monographic collection dedicated to the works of Pascal Arnault. This recording reveals a wide range of musical atmospheres, reflecting the duality between social engagement and a yearning for spiritual purity.

Cinq lieder pour soprano et piano, Nelson and Edouard String Quartet - Quatuor à cordes n°1, Quatre Chants Sérieux pour un Office Inter-religieux pour baryton piano, Fragments de mémoires pour quatuor à cordes, Cinq Danses Allégoriques Livre II pour piano à quatre mains [extraits], Sonate pour une Ballade Nocturne pour violon et piano, 5 Danses Allégoriques Livre I piano 4 à mains, Sonate Janvier 2015 pour piano, Retrouver la verdure printanière pour quatuor à cordes et mezzo, Après une lecture de Mahzuni/Berlaud pour piano, Troisième sonate pour piano

Amélie Raison, soprano / Elsa Tsuya Mionet, mezzo soprano / Thibault Dabon, baryton / Mercedes et Pierre Frédéric Proteau, piano à 4 mains / Quatuor Onslow / Quatuor Odysée / Benjamin Hertzl, violon / Pascal Arnault, piano / Ingmar Lazar, piano / Ziad Kreidy, piano / Daniel Propper, piano

Maguelone, Paris, 2018. Érard upright piano, circa 1852 (Romantic 1/8 comma unequal temperament)

Schumann, Waldszenen Op. 82. Goetz, Löse Blatter Op. 7. Heller, Herbstblätter Op. 109

Maguelone presents what is probably the first recording of a romantic piano tuned in romantic unequal temperament. This magnificent small-sized Érard Chanteur from 1852 is perfectly suited to the poetry of the character pieces by Schumann, Goetz and Heller, performed live by Ziad Kreidy. The sound quality faithfully reproduces the acoustical space. Author of several reference works on the piano, Ziad Kreidy is an advocate of piano diversity adapted to everyone.

Maguelone, Paris, 2018 (Pleyel Grand Piano No. 59194, circa 1874)

Ziad Kreidy continues his journey through instruments that composers themselves might have played with this second volume of Lyric Pieces. Deeply rooted in the popular traditions of his homeland, Edvard Grieg (1843-1907) is the quintessential Norwegian composer of the late 19th century. Like many Romantic-era creators, he was drawn to both large musical forms and shorter compositions. The Lyric Pieces, a charming collection of character pieces, offer a unique soundscape that reveals Grieg’s secret, inner personality. Inspired by the creatures of Norwegian fairy tales and folklore, these works reflect the soul of his country and the wonders of the surrounding nature.

Pleyel concert grand circa 1874 (n° 59194) There was no consensus regarding piano manufacturing in the 1870s. Unlike his competitor Érard, Pleyel had been impressed by Steinway's American modernism at the Paris Universal Exhibition of 1867. Following this discovery, he abandoned straight-strung design for his concert grand in 1869. Cross-stringing arrangement was not at all obvious at the time. In fact, Pleyel was still making upright and grand straight-strung pianos. The instrument of this recording represents the first concert grand cross-stringed Pleyel model, with a weaker overlapping compared to later models. This piano is otherwise made following traditional standards. It has a traditional assembled steel frame that is not made of cast iron. Its action includes two escapement levers with ivory leafsprings. A few years later, Pleyel will replace it by the Érard double escapement action. Abandoned in a Parisian-area home, this beautiful instrument was only produced for a short time by Pleyel. Halfway between straight-strung and cast-iron frame pianos, it shows a French manufacturing which is proud of its heritage while adopting a foreign modernism.

Ldn, Paris, 2012 (Érard Upright Piano, circa 1867)

The LdN label and Coadex distribution present what is likely the first recording on an upright piano from the second half of the 19th century. This beautiful Érard piano from 1867, with its compact dimensions, is perfectly suited to the poetry of the first four volumes of Grieg's Lyric Pieces, which Ziad Kreidy performs here in concert. As the author of the essential work Les avatars du piano, published by Beauchesne, Ziad Kreidy is a passionate advocate for the diversity of pianos suited to each repertoire.

LdN, Paris, 2012 (Pianoforte)

This recording, dedicated to the friendship between Mozart and Haydn, moves far from the studio ambiance. Captured live, it strives to remain true to the recital experience and the connection between musician and audience. After featuring two of Mozart's most famous sonatas, the album presents two Haydn sonatas in two movements, blending simplicity with sophistication, and sobriety with exuberance. The unadorned sound capture faithfully reproduces the acoustic space in all its authenticity.