Christian Ihle Hadland has chosen 15 sonatas by Domenico Scarlatti that display a more nuanced picture of the composer than many of us are used to hearing. Reviewers have on several occasions pointed out the variations in sound treatment, subtle art of phrasing and singing tone so characteristic of Hadland’s playing, alongside a strong sense of pulse and natural fluctuations of tempo.

Domenico Scarlatti famously wrote his more than 555 sonatas while in service of Maria Barbara, who in 1746 would become the Queen of Spain. We get a hint of what kind of virtuoso Scarlatti himself was when reading one of the few contemporary descriptions of his playing that exists: from the Irish composer and organist Thomas Roseingrave who met Scarlatti in 1710 in Venice: ‘When he began to play, Rosy said, he thought ten hundred devils had been at the instrument; he never had heard such passages of execution and effect before.’

Widely recognized as one of Norway’s most exciting pianists, Hadland is a highly sought-after both recital and as a chamber musician and has appeared several times in prestigious venues and festivals such as Wigmore Hall, Risor Chamber Music Festival, the Schleswig Holstein Music Festival and Kissinger Sommer. Since 2004 he has appeared annually at the Bergen International Festival as both a solo recitalist and in chamber groups and he has collaborated with such artists as Janine Jansen, Henning Kraggerud, Lars Anders Tomter, Tabea Zimmermann, Clemens Hagen, Christian Poltera and Truls Mork. Since 2009 Hadland has been artistic director of Stavanger Chamber Music Festival and is also a part of the Prof. Jiri Hlinka Piano Academy. In 2011 he was selected for the prestigious BBC Radio 3’s New Generation Artists program.

“His debut solo recording [...] has stood out even in this anniversary year’s competitive field. His Chopin has a liquid quality; clearly defined but with an elasticity that points towards some of the all-time pianistic greats.” - Classic FM Magazine Hot Property October 2010

“Album of the week! - Hadland’s refreshingly speedy interpretation injects some of the composer’s signature cheeky charm back into the piece. The sense of ensemble is impeccable throughout - as the horns echo the piano, or the piano echoes the strings, you can almost see the twinkle of joy in Mozart’s eye as the cheery tunes are bounced effortlessly between each section of the orchestra.” - Classic FM

“The Haydn is spot-on: sleek, whimsical, and graceful. Those same qualities render this late Brahms with a somewhat cool demeanour, but this richly expressive music speaks for itself if delivered with accuracy and taste, which is certainly the case here.” - Fanfare