Jean-Philippe Collard-Neven
Classical and jazz pianist, composer, improviser
 
 
       


Present-PastBach in BrésilMinimalists (maximalists?)Complete Works Léos JanáčekThe Spectrals and MessiaenBelgian Music Liszt, Via Crucis Impro

 

Present-Past

Girolamo Frescobaldi, toccata prima (Il secondo libro di toccate) 1637
Bruno Mantovani, Suonare 2006
Thomas Adès, Darkness Visible 1992
John Dowland, In darkness let me dwell (from A Pilgrimes Solace, arr. Collard-Neven) 1612
Maurice Ravel, Prélude (Tombeau de Couperin) 1914-1917
François Couperin, Les juméles (12e ordre, 1) 1713
Maurice Ravel, Forlane (Tombeau de Couperin)
François Couperin, Les faste de la grande ménéstrandise 3e, 4e et 5e actes (11e ordre, 5)
Maurice Ravel, Menuet (Tombeau de Couperin)
François Couperin, L’Atalante (12e ordre, 8)
Bruno Mantovani, Etude pour les agrémens (hommage à Ravel) 2003

Here, the dialogue is triple. Theoretical, real, or asuming the simple shape of a tribute. In Suonare, Montovani pays tribute to a sound conception typical of Italian Baroque music. Thomas Adès rewrites a melody from Downland from which I subsequently play the original as a suddenly newly found theme, after a ghostly variation. In the suite Couperin's tomb by Ravel, I have substituted every second piece by an excerpt of Couperin's suite while respecting the tonal plan as well as the original dramaturgy. The cycle is completed with Mantovani's tribute to Ravel. (above)        (haut)


Bach in Brésil        

Heitor Villa-Lobos, Bachiana Brasileira n°4 for piano
J.S. Bach, Partita n°2
Egberto Gismonti, Frevo (with improvisations)
J.S. Bach, Prélude anf Fugue in mi b minor from 2nd cahier
Antonio Carlos Jobim, Retrato em branco et preto, Luisa        (haut)


Minimalists (maximalists?)

John Adams, China Gates
Conlon Nancarrow, Two Canons for Ursula, Canon A
Jean-Luc Fafchamps, Back to the pulse
Morton Feldman, Intermission VI
Steve Reich, New-York Counterpoint (version for piano and tape, arr. J-Ph. Collard-Neven)

Conlon Nancarrow, Two Canons for Ursula, Canon B
John Adams, Phrygian Gates        (haut)


Complete Works Léos Janáček

Dans les brumes
Narodni tance na morave
15 chants traditionnels moraves
Na pamatku
Variations pour Zdenka
Trois danses moraves
Sonate 1905
Sur un sentier recouvert I
Sur un sentier recouvert II
Un souvenir        (haut)


The Spectrals and Messiaen

Tristan Murail, cloches d'Adieu, et un sourire...    
Olivier Messiaen, Cloches d'angoisse et larmes d'adieu    
Jonathan Harvey, Tombeau de Messiaen (pour piano et bande)    
Tristan Murail, Territoires de l'oubli        (haut)


Belgian Music

Jean-Luc Fafchamps, back to the voice     
Benoît Mernier, Les ombres errantes
Claude Ledoux, Courbes d'étoiles I
                        
   Courbes d'étoiles II
                     
   Courbes d'étoiles III    
Jean-Pierre Deleuze, Espaces oniriques        
Fabian Fiorini, la Ballade du souffleur de poussière  (haut)

Ferenc Liszt, Via Crucis

Franz Liszt

Ave Maria (extrait des Harmonies poétiques et religieuses) for solo piano   

Pater noster, Ave Maria en La majeur, Ave verum corpus, for choir
Invocation (extrait des Harmonies poétiques et religieuses) for solo piano   

Via Crucis, pour solistes, choir and piano
        (haut)
From the concert recorded on december 4th 2008 by RTBF Musiq3

Collegium Vocale Gent, directed by Patrick Davin
Jean-Philippe Collard-Neven, piano


Impro

A concert in which the keyword is to plan nothing ahead. To be at the disposal of the present time, the electricity in the air, the energy in the room, to be a channel, to let oneself be carried away by an overwhelming energy. At most an improvisation could flirt with the ghost of a Scriabin prelude, or another, mingle with sounds recorded in Chili, Mexico, Tunisia or Libramont....

Improvisations recorded during the Ars Musica Festival 2009 (Flagey, Studio 1, Brussels)

Impro 1 Part I

Impro 1 Part II

Impro 1 Part III

Impro 6

Impro 4

Impro 3


(haut)

The Solo Recital is an invaluable place of freedom in which there is no need to justify such and such way of doing in order to be understood by a music partner, but where, on the contrary, one can give free reign to one's imagination with one's own demands and inspiration as the only limit.

From Frescobaldi to Scelsi, not to mention Bach or Egberto Gismonti, or simply improvising on the present moment, I love to compose programs along a well defined line, a dramaturgy.

Be it through a dialogue between past and present, or playing with contrasts in order to throw new light on music pieces, or by focusing on a precise thematic, the examples of programs that follow reflect my choices as an interpreter during these last years. I never cease to widen and enrich their scope through personal reflections, wishes and discoveries.

Apart from these examples, I do not wish to proceed to give an exhaustive enumeration of my repertoire. The latter should not be a menu from which one picks and chooses pieces in order to regroup them at a whim. I like each concert to be a project, thought through, dreamt by me, or responding to the demands of an artistic director.

I could at best give at random the names of Léos Janacek, Maurice Ravel, Ferenc Liszt, Bruno Mantovani, Giacinto Scelsi, Claude Vivier, Luigi Nono, Tristan Murail, J.S Bach, John Downland, Girolamo Frescobaldi, Jean-Luc Fafchamps, Olivier Messiaen, John Adams, Jonathan Harvey... who have accompanied me for a long time.