Largo, from Harpsichord Concerto no.5 in F minor, BWV 1056

I wanted here to celebrate the art of melody mastered by someone more readily considered a genius of counterpoint and polyphony. The art of the line, the art of the stroke, the art of the gesture, the phrasing of the sound. Since I started working with Violaine Cochard [Bach Plucked Unplucked], I have spent more time with the harpsichord and Baroque music, which has modified my use of the piano pedal and the way I consider the volume of sound produced by the instrument. Working on a harpsichord or clavichord teaches you how to return to primitive sound, more tenuous, and to a dynamic generated outside any notion of nuance. It is a bit like suddenly finding oneself in the dark: the points of reference, lost at the beginning, are perceived differently, amplified, once the pupils have dilated.