 Suédoise par sa mère, allemande par son père (également pianiste), cette jeune artiste est d'une telle famille qu'elle aurait pu dire comme on respire : je suis musicienne, comme tout le monde. Elle a travaillé avec Ugorski, Glemser, Nina Tichman. Passée par les Etats-Unis, elle se livre volontiers aux improvisations (comme une Gabriela Montero). Et la musique de Bach, elle connaît, ayant déjà livré sa version des Variations Goldberg et de l'Art de la fugue. La valeur de ses notes n'attendant pas le nombre de ses années, son Clavier tempéré nous confirme dans une mélomanie de diariste : tous les matins heureux du monde, un petit prélude et fugue de Bach le patron (augmenté d'une petite sonate de Scarlatti le furet). Une fraîcheur sincère dont gît le sens au mystère du cœur. Elle rend justement l'intime (BWV 848) et la verve (BWV 850 et 851). Elle s'accorde au sublime qui sied (BWV 853-855-857), mais devrait peut-être modérer son péché mignon, cet ajout d'ornementations et trilles. Son éditeur musical, lui, mériterait trois coups de martinet : a) prise de son trop lointaine, réverbérée; b) chaque prélude et sa fugue partageant la même plage; c) aucune indication de la tonalité des morceaux. (Gilles-Daniel Percet) Being a pianist is a bit like being a lighting technician who uses light to direct people’s attention. What can I hear in Bach? Perhaps redemption, victory, triumph or liberation? Or can I hear everything in a single work? There is a big difference between playing and listening. This means that I need to focus more on listening than on doing. After all, the act of music-making is self-explanatory. I take my listeners into a world of their own, not my world. I take them into a world in which they discover and hear their own wonders, spaces, wishes and feelings. The pedal point of holiness that underlies Bach’s music is mixed with our world like a recurring ostinato in normal everyday life. His musical message is one of comfort. My work as a musician is based on experiences, memories and a sense of purpose; not on mere knowledge. Johann Sebastian is my role model; his works are based on goodness, energy, joy and patience. Music does not always open up itself; I like to open it carefully, without pushing or forcing it. Bach’s Wohltemperiertes Klavier extends to the heavens, always upward-looking, beckoning us at every cadence, at every fresh start, in every pause, constantly reiterating the invitation. The endings feed into the openings. Bach reveals and describes the life given to us by Jesus. Bach also expresses death and how to deal with suffering in this absolute, wordless music, just as he did in the St John and St Matthew Passions. Bach helps us through life: the clarity and purity of his musical expression make us yearn for inner strength and peace while giving us energy and hope. How unostentatious and majestic is the radiance of this cycle, which is never bloated or pretentious — a tender, jaunty invitation to relax and understand. Bach’s music is like a compass, a central point of departure from which we are constantly invited to set off in new directions, assured by knowledge of our origin, our identity and our ultimate destination.
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