Notes and Editorial Reviews
Jean-Philippe Collard returns to Chopin after 33 years of silence. It has taken him decades to feel comfortable with the composer. Today he is confident in his approach to this repertory and has no qualms about his interpretative options. Chopin's music gives him two very powerful impressions. First of all, it interprets the sensation of being in love, an aspect he finds fascinating. Moreover, his language speeds up the process of communication between artist and audience.
He sees this disc as a break, a renewal. All his previous records were released on EMI. Today he has changed labels, repertory, sound engineer ... These developments enable him to escape a certain routine, to put himself on the line.
are countless benchmark versions in this repertory, but the French pianist has not sought to measure himself against them, and his approach to the composer is honest and totally sincere. Chopin represents a genuine challenge, for which Jean-Philippe Collard has identified a style that is his alone.
The sixty-five-year-old pianist is in top form for his first Chopin recording in decades. He tears into the Twenty-Four Preludes with a sense of abandon, dramatic sweep and poetic detail that grips you from start to finish. In contrast to Collard’s sometimes dry-sounding EMI discs, the sonic genie bursts out of the bottle here, so to speak, liberating Collard’s juicy sonority; sample the Second Sonata’s first movement dynamic surges, the visceral impact of the Scherzo’s big chords, and the eerie nuances in the “wind over the grave” two-handed unison finale.
– Jed Distler, Listen Magazine Read less
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