I mean to me, the harpsichord has a huge dynamic range. And I always say to people, come and listen to it. You know, come and listen. Come and actually experience this and realize there's good harpsichord playing, there's bad harpsichord playing. By the way, I am fun outside of this context.

I mean to me, the harpsichord has a huge dynamic range. And I always say to people, come and listen to it. You know, come and listen. Come and actually experience this and realize there's good harpsichord playing, there's bad harpsichord playing. By the way, I am fun outside of this context.

When I say that there's commonality, I mean more in terms of the sort of techniques by which we perceive Baroque and minimalist music rather than the techniques used to compose them. I know that's being sort of overly complicated.

Well, within a phrase. And with a series of phrases, you can certainly create the effect of diminuendo and crescendo, no question.

One of the tracks that I have is Carl Philipp Emanuel Bach - by the way, that's Bach's second son - Emanuel Bach's variations on "Le Folie." You'll definitely hear - I mean, I think if we listen to, say, the last couple of minutes of that track, there's a wide range of colors that the harpsichord is capable of. And I think, you know, that gives lie to the assumption that it doesn't have that kind of variety. And I think it very much speaks for itself.

I mean, already in the French Revolution, the harpsichord becomes identified with the aristocracy, with the ancien regime. Plus, hey, you know, I mean, harpsichord is a really easy target, isn't it? I mean, it's - it's just how it is.

The harpsichord was actually ideologically considered a very questionable instrument in that period, much like I think it's ideologically considered suspect today in some circles.