A pianist, keyboards and a circular bench in a 17th-century cistern. Jeanne Bleuse brings 21st-century music into dialogue with the instrument’s classical repertoire.

“The piano, that vibrant black piece of furniture, so mysterious, so changeable, alternately cathedral, gargote or salon, makes us forget the pianist’s solitude. We remain fascinated to hear so many sounds and moods. We want to look inside to see if there’s cheating going on, as in the magician’s top hat, which never ceases to bring out chickens and rabbits. The piano is, par excellence, the place for introspective study and the fertile struggle between technique and dream. In its company, I savor the taste for risk, vertigo and prowess. I also like to invite humor and novelty into my concerts. I often associate the piano with its delicate ancestor, the harpsichord, and other stranger instruments.

In this new opus, we’ll hear, in no particular order, some of the great pages of piano and harpsichord with Chopin, Ligeti, Bach or Purcell, Satie, Louvier or Schumann… And new compositions by four composers: ghost studies, wobbly studies, choreographic studies, serious or fanciful studies, as they see fit, for piano, for harpsichord or both at the same time!” - Jeanne Bleuse