Bach, of course, was my first love. He still is. I mean, he's the man of my life, that's for sure. And when I say that there's been a re-evaluation, look, to be perfectly honest, I think I have a re-evaluation of my relationship with Bach probably every day, and that will never stop. And that's probably why I still get up in the morning and I do this.

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.

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.

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

I think, you know, for someone who does play, let's say, old music or, you know, Baroque music or Renaissance music - and you know, and I do play a lot of that, obviously - engaging with new composers, engaging with young composers, is really exciting because it makes me look at people of the past in a very different way that they are also living, that there was a lot of subjectivity in the decisions that they were making.

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

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.