21 JEAN-PHILIPPE COLLARD Is there not a certain frustration in comparison with the organ's sound potential? No, because the final sonic spectrum conceived by Busoni, made possible by a technique that requires a large hand, draws us into another world. It works incredibly well. I’m lucky enough to have a large hand, and all the fingers are so engaged that it sounds just like in a church! The sonic pleasure, the feeling — it’s all incredibly powerful. Busoni hit the mark, and you would never think it could sound better on the organ. He doesn’t distort anything. He is not aiming for imitation either. These scores have become, for me, true piano works in their own right — and that is what impressed me: I was surprised they could reach such scale. I had expected something more marginal, but what emerged fits the piano completely. He fully embraced the works, cultivated their most profound identity, and — aside from the technical challenges — I’d say they practically play themselves, and do so fabulously.
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