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Are you influenced in your approach to the works by their
biographical context? We know, in particular, that Chopin
composed some of the Preludes during a tormented stay on
Majorca . . .
When I work on a score, I refuse to analyse the biographical elements, because
it would distort my thinking. I know what I know about Chopin. You mustn’t
superimpose family photos on the music. In the same spirit, I refuse to listen to
other records in order not to be conditioned in my approach to the works.
What is your daily working routine?
I’ve never practised in the evening, because I’ve always wanted to preserve my
family life. From seven o’clock onwards, I enter another world. That’s my way
of recharging my batteries. I try at all costs to avoid the cocoon phenomenon. I
do all I can not to get hemmed in. Of course, you can’t work through the whole
piano repertory in one lifetime. You could dedicate yourself to the instrument day
and night. But I think it’s important to maintain connections with the world. My
definition of the ideal is not to allow myself to get too far away from a form of
everyday simplicity.
JEAN-PHILIPPE COLLARD