LDV91

17 JEAN-PHILIPPE COLLARD There are considerable differences between his first version of the Barcarolles and this one. The pianist brings a new freshness to the lively, nimble pieces, which are mostly taken a little faster than before, while richer textures give several pieces a remarkable amplitude of sonority. For example, Barcarolle no.3 is approached with a new suavity, while the haunting flow of no.7 is magnified. The slightly emaciated profile of the first version is replaced by something fleshier, the beauty of the timbres bringing out all the magic of the opening of Barcarolle no.5. After winning the Georges Cziffra International Competition in 1970, you were spotted by Peter de Jongh, Artist and Repertoire Director of La Voix de Son Maître, who offered you the opportunity to record your very first disc. Why did you set your cap at Fauré’s Barcarolles? Jean-Philippe Collard — I was simply told to choose original repertory, not to do yet another version of Beethoven sonatas. When it came to deciding on the programme, we leafed through the Diapason Record Catalogue. We hit upon letter F for Fauré, who wasn’t well represented in the catalogue at the time. Eric Heidsieck had already recorded the Nocturnes for the same label, and so the Barcarolles were a natural choice, especially as they were the right length for an LP.