Harpsichordist Gustav Leonhardt said that Bach had written his Art of Fugue for himself, without thought of performing it on any instrument in particular. In the presence of a speculative work, every musician is free to chisel the perfect lines of polyphony as he or she chooses. Up to the final canon, which continues to pose the question of its incompletion. It is the Franco-Swiss pianist Cédric Pescia, with his subtle, understated playing, who will make this sublime score sing. But he will do so on an untempered piano, which is hardly banal! After a first Aeon album devoted to Cage, which created a tremendous stir, Cédric Pescia deploys a low-key art in Bach, a sense of rhythm combined with a rubato of extreme subtlety and an inventiveness in the phrasings and ornaments, both flowing and sharp, that have no equivalent in the discography. Such relief, such life!