No products in the cart.


Jean-Philippe Collard,

Cet album a plusieurs mérites : contribuer à mettre le Concerto de Scriabine, trop longtemps mésestimé, à sa vraie place et faire découvrir à la plupart des auditeurs celui de Rimski-Korsakov.


- +


Créateur de mondes sonores, Scriabine s’est d’abord inscrit dans le sillage d’un Chopin. Jean-Philippe Collard explore cette veine romantique en mettant en lumière son Concerto pour piano, d’une délicatesse non dénuée de passion, qu’il rapproche de celui de Rimski-Korsakov. Deux œuvres encore négligées du répertoire russe, d’un charme et d’une candeur irrésistibles.


Alexandre Scriabine

  • Piano Concerto in F sharp minor 26’34


  • Allegro 7‘24
  • Andante 8‘30
  • Allegro moderato 10‘40


Bilkent Symphony Orchestra, Emil Tabakov


  • Étude B flat minor, op.8 n°11 : Andante cantabile 3’41
  • Étude D sharp minor, op.8 no12 : Patetico 2’32
  • Prélude for left hand, op.9 n°1 2’40
  • Nocturne for left hand, op.9 n°2 5’07

Piano Sonata no.4 in F sharp major, op.30


  • Andante 2’50
  • Prestissimo volando 4’48


Nikolaï Rimski-Korsakov


  • Piano Concerto in C sharp minor, op.30 13’53


  • Moderato—Allegretto quasi polacca 6’14
  • Andante mosso 3’51
  • Allegro 3’48

At the heart of colour


Jean-Philippe Collard belongs to that category of artists who move through space in the same way as they play: the measured gestures brush past the lights until he sits down in front of the instrument. The pianist has come to listen to those who have come to hear him. What he proposes is a dialogue without words. Just through the eyes and then through sound. An infinity of sounds.

This very special complicity conceals all the preparatory work that comes before the concert: the need to forget one’s nervousness (how long afternoons are before going on stage!), to dominate an impatient body, to channel one’s courage, the self-control of the final moments before the leap into the void, it all depends. It is necessary, he says, ‘to be sucked into the music, to be calm enough to find your way back to spontaneity, and to captivate the audience’. The urge to convey and reveal the beauty of music exceeds the nature of a mere passion: it is a matter of vital necessity, for which one must resolve to share one’s own emotions, without the desire to conquer those of others in return. An offering, now of immense proportions after hundreds of concerts and more than sixty recordings.

‘You have to strike straight at the heart and not over-intellectualise works you’ve frequented for years’, he says. Those works constitute a fabulous harvest, the fruits of Romanticism, from Chopin and Schumann right up to Rachmaninoff, made still more beautiful by two centuries of French music.

All Jean-Philippe Collard’s sound worlds are impregnated with colour: the ‘sensation produced on the organ of sight by light variously reflected by bodies’, says the Littré dictionary, with an epicurean perception unusual in such a volume yet intensely familiar to a pianist who, precisely, declares that he is ‘hungry for colours’. But not just any colours. A gourmet of pigments, the artist knows what nuance means in every context, when sonic landscapes with a measured temperament resonate in the iridescence of arpeggios and the long finish of chords. When he recalls his apprenticeship with Pierre Sancan, his friendship with Vladimir Horowitz and his encounters all over the world with the elite of conductors and the foremost orchestras, Jean-Philippe Collard knows that he can tell the public everything. So he has paid tribute to the gods of colour, his composers.

Customer service

Don’t hesitate to contact us for all inquiries


Free gift

For all orders over 50 €


100% secure payments / Secure SSL protocol


Fast delivery

Shipment within 24/48 hrs from receipt by tracked post

You may also like…

Newsletter La Dolce Volta

Pour les amoureux de la musique classique, recevez nos dernières créations et profitez d'offres exclusives (un à deux envois par mois)