Well, harpsichord is kind of a big guitar, isn't it? I mean, it is plucked, after all.

And it totally has transformed my relationship with someone like, say, Bach. You know, Bach is born 330 years ago but, you know, gosh, he really is alive.

I think in Baroque music, especially in the case of Bach, what really transformed Bach's musical language, what changed it for him was hearing Vivaldi, hearing the sort of manipulation of small cells of information and patterns in order to generate sort of huge blocks of harmony.

As long as there's a place for sundials and gardening and beautiful things, there's a place for the harpsichord. I completely reject the idea that harpsichord is old. And I reject the idea that something old is therefore not good or not popular. Lots of things are old. Lots of traditions are old - cooking, art. I like it because it's beautiful.

Gorecki, you know, there's a kind of personal thing there for me. I had, you know, kind of become obsessed with that sort of Soviet Bloc period. And actually, a lot of composers in the Soviet Bloc - Gorecki's not the only one - are writing for the harpsichord as a sort of reaction against enforced Soviet realism, expressionism, sort of enforced modernism.

I played piano. I've always liked piano. My father played piano. Actually, to be fair, the sound of the harpsichord did annoy him a bit, and I thought, how can I annoy Dad? I'll play the harpsichord.

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.