MUSIC REVIEW : Pianist Collard Returns to Pasadena

With quiet authority, extraordinary strength and delicacy and a tone-production that never grates, Jean-Philippe Collard plays the piano with the ease and confidence of one born to make music. He seems to be a virtuoso without ego.

The French musician, a longtime visitor to Southern California, returned to Ambassador Auditorium this week to demonstrate again his many skills in a provocative program.

This time, his agenda combined a Lisztian first half--the “Sonetto del Petrarca No. 104” and the B-minor Sonata--and a post-intermission of short pieces by a trio of Earth-sign French composers: Faure, Milhaud and Poulenc.

As he has done before, the 44-year old pianist on Wednesday night showed himself as comprehensive in technique as he is in repertory.

His playing of the Liszt Sonata turned out, paradoxically, both quick and analytical; he left no dynamic area unprobed, and created a long line of musical thought connecting all parts of the entirety. The result: a compelling, colorful and singular reading achieved without apparent stress.

At some times in the past, Collard’s musical responses have proved indifferent. Not this time. In his French group, especially, charm, wit, nuances of feeling and pungent details all emerged clearly.

Faure’s Nocturne No. 4 and Impromptu No. 2, Milhaud’s “Le Printemps” suite and “Tango des Fratellini,” and five miniatures by Poulenc, ending with the Toccata from “Trois Pieces,” exerted their considerable and irresistible charms with potency, but a light touch. One would be hard put to imagine a happier half-hour of music than this became.

At the end, Collard, who seemed surprised by the cheers, shouting and standing ovation given him by the very attentive (no coughing this time!) Ambassador audience, provided more beauty in two ear-opening encores, both by Ravel: “Oiseaux tristes” and “Alborada del Gracioso.”