For me, playing Bach’s Suites is always at some point or another seeing the image of Giacometti’s hands tirelessly moulding clay until a face appears. (. . .) To get to grips with the Bach Suites is an experience very close to that. It’s a question of digging into the string until the phrase is born, as well as the right way to breathe it. (…) And then came the encounter with Sarah Moon. When my desire to record the Bach Suites was born I dreamt of her images. Because, when I look at them, I imagine the creation of the world, the separation of the waters, the appearance of the earth, before history begins.