The Salle Colonne in Paris

Paris, Salle Colonne
Liszt's Sonata in B minor
21 piano recitals

Liszt's Sonata
... and all the pieces of music I cherish.


A masterpiece of romantic piano music, Franz Liszt's Sonata in B minor is particularly suited for the art of interpretation. A true journey through music, unique in form and rich in musical inspirations, it is both a gem and a challenge for the instrument.

For this reason, Jean-Philippe Collard placed it at the heart of each of his 21 recitals performed for the opening of the new Salle Colonne in Paris. Every night, with Liszt's sonata, he played works that he has loved and cherished all his life. Romantic music was given pride of place (Liszt, Chopin, Rachmaninov, etc.), along with treasures of French music (Debussy, Ravel, Fauré, etc.), and the all-time piano greats (Bach, Mozart, Beethoven, etc.), with pieces of contemporary music also featuring (Dutilleux, Messiaen, etc.).

For this wide panorama of piano music, Jean-Philippe Collard conjured up an atmosphere both intimate and convivial. The recitals, which lasted from 60 to 70 minutes with no interval, offered the long-dreamed-about opportunity for a unique moment during which the performance of these masterpieces revealed the reflections and aspects of their genuine beauty.

The Salle Colonne, which has been entirely refurbished and dedicated entirely to music, gives room to this new aspiration for closer communication between the artist and the audience.

The programme varied almost every night, depending on Jean-Philippe Collard's humour or the audience's reaction. This concept allows for a wide variety of choice around a central theme. Jean-Philippe Collard had the further privilege of playing on his own piano and was able to invite some fellow musicians on stage, with their violin or cello, to perform some chamber music pieces.


As a whole, this project corresponds perfectly to a desire for renewal that the pianist had felt for a very long time. Collard also feels that the project will create an environment favourable to new connections between the music, the performer and the audience. It is also probably more suited to the countless large-scale options offered by the media and state-of-the-art technologies today.