We spent a week at Montmajour Abbey. In the different spaces, I played. We listened to the acoustics carrying the phrases, marrying the timbres.

At the end of this search, each movement had found its own space… So we settled down, and movement by movement, we recorded, from where the sound would later be broadcast.

For this work, the most dramatic of Bach’s six suites, Alain Français chose to restore a sound inhabited by the physical presence of the performer. Perhaps we could say, like a sound hologram, or like the imprint of my presence…. A sound whose center you can feel by standing where I was sitting, or by circling around the speakers, but also by moving away, playing with the different acoustics of the space.