- For a long time, it seemed that baroque music is so primitive in terms of the notation.

You're not given a lot of information, so you have to bring a lot to the table, but the idea of what you've got written on the page, has this changed?

Meaning, has there been so much research done now that there's becoming a certain practice, or is the joy of it to say you get to do more of what you want because it's an expressive period in history?

- Yeah, I would say definitely the latter, and we're getting more easy access to original sources all the time.

So, this Bach sonata that I'm playing with Elliot, I'm playing off of a manuscript copy.

It's not in Bach's hand, we don't have a version in Bach's hand, but it's one of his copyists that he worked with a lot, and then I compare that with other editions to see what might be missing, and, you know, like dynamics in the third movement in some of the editions, it's every phrase is marked fortepiano.

They trade off.

This one doesn't have that, and so, you know, you have to confer, was that actually meant to be in there?

Because they showed it the first time, or the first two times.

Is that establishing a pattern that, then, as a good musician, you would obviously follow?

- [Eric] Right.

- You know, or not.

I mean, those decisions are, it's just asking questions, constant questions, and I think that's so fascinating.

- Absolutely.

- Yeah, seeking.

The whole point is to seek.

The point is not the answer.