Schumann: Fantasie & Kreisleriana

Frissons and passions
To Robert Schumann, the piano represented the alpha and omega of an inner world shaken by psychological storms that drove him to the brink of snapping. At a time when he was crazed with passion for his fiancée Clara, from whom he was forcibly separated, his overflowing inspiration raised the Fantasie in C major op.17 to breathtaking peaks. The ghostly universe inhabited by the figure of the musician Kreisler, invented by the Romantic writer Ernest Theodor Amadeus Hoffmann, haunted the mind of a bipolar composer constantly assailed by his demons. The ‘bizarre, demented music’ of Kreisleriana op.16, dating from the same period, concentrates into eight cyclothymic pieces the nightmarish atmosphere, the bitter chasms and poetic visions, of a fantastic landscape. 
Jean-Philippe Collard, seized by an irresistible élan, echoes the cries of the Schumannesque soul. With his inventiveness and his hypersensitive humanity, he opens up infinite horizons from which one does not emerge unscathed.

Frissons and passions
To Robert Schumann, the piano represented the alpha and omega of an inner world shaken by psychological storms that drove him to the brink of snapping. At a time when he was crazed with passion for his fiancée Clara, from whom he was forcibly separated, his overflowing inspiration raised the Fantasie in C major op.17 to breathtaking peaks. The ghostly universe inhabited by the figure of the musician Kreisler, invented by the Romantic writer Ernest Theodor Amadeus Hoffmann, haunted the mind of a bipolar composer constantly assailed by his demons. The ‘bizarre, demented music’ of Kreisleriana op.16, dating from the same period, concentrates into eight cyclothymic pieces the nightmarish atmosphere, the bitter chasms and poetic visions, of a fantastic landscape. 
Jean-Philippe Collard, seized by an irresistible élan, echoes the cries of the Schumannesque soul. With his inventiveness and his hypersensitive humanity, he opens up infinite horizons from which one does not emerge unscathed.
Frisson et passion
Le piano représente pour Robert Schumann l’alpha et l’oméga d’un monde intérieur agité par des tempêtes psychologiques qui conduisent au bord de la rupture. Fou de passion pour sa fiancée Clara dont il est séparé, son inspiration débordante élève la Fantaisie en ut majeur op. 17 sur des sommets haletants. L’univers fantomatique de la figure du musicien Kreisler, imaginé par l’écrivain romantique Ernest Theodor Amadeus Hoffmann, hante l’esprit d’un compositeur bipolaire sans cesse en proie à ses démons. « Musique bizarre, musique folle », les Kreisleriana op. 16 de la même époque concentrent en huit pièces cyclothymiques la veine cauchemardesque des gouffres amers et les visions poétiques d’un paysage fantasmé. 
Jean-Philippe Collard, soulevé par un élan irrésistible, se fait l’écho de l’âme schumanienne. Par son inventivité et son humanité à fleur de peau, il ouvre des horizons infinis dont on ne sort pas indemne.