LDV118

22 AU CINÉMA CE SOIR Does the evolution of your very wide tastes in film correspond to the evolution of your own piano repertory? Yes, that seems pretty accurate to me. Tastes sometimes change in a curious way. In the end, I still like what I loved as a teenager, whether it’s films or music. When I was studying at the Paris Conservatoire – in those days I went to the cinema at least four times a week – I tackled repertory that everyone said was a ‘must’ and . . . which I no longer play today! Nowadays, I listen again to Karl Münchinger, whose Mozart performances are celestial and far removed from ‘historically informed performance’. What is breadth, what is sustaining a phrase? I advise my students at the École Normale de Musique de Paris to listen to versions by Münchinger and Wilhelm Furtwängler. One always returns to one’s first loves and to the spiritual nourishment of the very greatest artists. Do I like Chopin, Schumann and Scriabin a little less today? Maybe so. On the other hand, Bach, Mozart and Schubert have become essential to me. That’s just the way it is. The same applies to films. During my student years, I was interested in films that I would now call very sophisticated and which, I have to admit, don’t satisfy me now.