Jean-Philippe Collard - Chopin: Préludes, Op. 28 & Piano Sonata No. 2 in B-Flat Major, Op. 35 - "Funeral March" (2013) [Hi-Res]

• Title: Chopin: Préludes, Op. 28 & Piano Sonata No. 2 in B-Flat Major, Op. 35 - "Funeral March"
  
• Year Of Release: 2013
  
• Label: La Dolce Volta
  
• Genre: Classical Piano
  
• Quality: flac lossless / flac 24bits - 96.0kHz +Booklet
  
• Total Time: 00:58:13
  
• Total Size: 208 / 885 mb
  
• WebSite: Album Preview
  

Tracklist

01. Preludes No. 1 in C Major, Op. 28: Agitato
02. Preludes No. 2 in A Minor, Op. 28: Lento
03. Preludes No. 3 in G Major, Op. 28: Vivace
04. Preludes No. 4 in E Minor, Op. 28: Largo
05. Preludes No. 5 in D Major, Op. 28: Allegro molto
06. Preludes No. 6 in B Minor, Op. 28: Lento assai
07. Preludes No. 7 in A Major, Op. 28: Andantino
08. Preludes No. 8 in F-Sharp Minor, Op. 28: Molto agitato
09. Preludes No. 9 in E Major, Op. 28: Largo
10. Preludes No. 10 in C-Sharp Minor, Op. 28: Allegro molto
11. Preludes No. 11 in B Major, Op. 28: Vivace
12. Preludes No. 12 in G-Sharp Minor, Op. 28: Presto
13. Preludes No. 13 in F-Sharp Major, Op. 28: Lento
14. Preludes, Op. 28 No. 14 in E-Flat Minor: Allegretto
15. Preludes No. 15 in D-Flat Major, Op. 28: Sostenuto
16. Preludes No. 16 in B-Flat Minor, Op. 28: Presto con fuoco
17. Preludes No. 17 in A-Flat Major, Op. 28: Allegretto
18. Preludes No. 18 in F Minor, Op. 28: Allegro molto
19. Preludes No. 19 in E-Flat Major, Op. 28: Cantabile
20. Preludes No. 20 in C Minor, Op. 28: Largo
21. Preludes No. 21 in B-Flat Major, Op. 28: Cantabile
22. Preludes No. 22 in G Minor, Op. 28: Molto agitato
23. Preludes No. 23 in F Major, Op. 28: Moderato
24. Preludes No. 24 in D Minor, Op. 28: Allegro appassionato
25. Piano Sonata No. 2 in B-Flat Major, Op. 35 - "Funeral March": I. Grave - Doppio movimento
26. Piano Sonata No. 2 in B-Flat Major, Op. 35 - "Funeral March": II. Scherzo
27. Piano Sonata No. 2 in B-Flat Major, Op. 35 - "Funeral March": III. Marche funèbre (Lento)
28. Piano Sonata No. 2 in B-Flat Major, Op. 35 - "Funeral March": IV. Finale (Presto)

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.

Jean-Philippe Collard sees this disc as a break, a renewal. All his previous records were released on EMI. Today he has changed labels, repertoire, sound engineer . . . These developments enable him to escape a certain routine, to put himself on the line. There are countless benchmark versions of these pieces 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.

With a discography of more than 50 titles under his belt, Jean-Philippe Collard is a regular visitor to the foremost musical venues of the old continent and the other side of the Atlantic – from Carnegie Hall to the Teatro Colón by way of the Théâtre des Champs-Élysées and the Royal Albert Hall. A well-known figure to the French public, a great favourite with audiences in the United States, he can boast of having played with the top conductors and orchestras all over the world.

Still as unaffected as ever, direct and jovial, he’s more likely to talk of his private happiness than his public successes: a fulfilling family life alongside his wife and five children, with close and loyal friendships . . A nature lover, a DIY enthusiast in his spare time, this gentleman pianist cultivates more than one secret garden.

"Whatever the repertory I tackle, my priority has always been piano sound. I look for what the pianist Samson François called the ‘Blue Note’, that is to say, the ideal note at the ideal moment. The note in all its plenitude. Once you gain control of the sound, you can control the discourse, the momentum of the musical phrase. The experience of recording allows you to go still further in that quest. Paradoxically, recordings are responsible for a certain uniformity of sound. When I was young, I could recognise the greatest pianists by their sound. Today, unfortunately, piano playing is dominated by a kind of linearity."

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