I believe it is worth dwelling on this matter, taking into account some of the declarations the pianist-conductor made in conversation with Axel Brüggemann. "Performing Bach the way in which Bach’s music was performed during his time" is, according to Barenboim, "certainly important from the point of view of music history. But from that of the philosophy of music, I consider historical performance practice a big mistake. Why is looking back to the past considered progressive? It’s absurd performing Bach in the same way it was done 300 years ago".

Obviously, these declarations reflect Barenboim’s approach to Bach, which comes in stark contrast to the orthodoxy of someone like Gustav Leonhardt, for example, or, on the other hand, the innovativeness of Glenn Gould. Barenboim’s view is that of an artist, who after many years of performing a wide variety of music from different periods, including both popular and art music, has returned to Bach with a lifetime of experience.

While much of Western music is indebted to Bach, Barenboim proposes just the opposite: what could be termed an "alternative route", and invests the essence of his existence in his Bach, from the spirituality of composers like Bruckner or Messiaen to the emotional impact of Tristan und Isolde. This and much more, and even a certain frivolity!

His Bach contains a return influence, enriched with more than the future, although when all is said and done, his is a Bach that is possible today. Barenboim’s interpretation draws in the audience, as they are subjected to the music in a way that reinforces the beauty of the sound and is familiar at the same time.

Confidential complicity results in outbursts of intimacy alternating with light. The aim of his interpretation is not to imitate the harpsichord, nor is it romantic or radically different. Barenboim’s approach isn’t that of a perfectionist, although it does reflect conceptual clarity. Its proximity seduces. "Today we have to treat a new disease in music: specialisation. Music is treated with a high degree of professionalism.

But professionalism runs the risk of distancing us from responsibility itself. Professionalism, just as the politically correct and any ideology, paralyses the mind", concludes Barenboim. His discourse is lucid and at the same time disturbing. His manner of making music either fills you with passion or produces urticaria. It transfigures mathematics or Lutheranism with a redeeming fire. It touches that sense of being so near, or that sense of freedom. Perhaps there is a hint of excessive prominence, but not the slightest hint of demagogy.