For this second part of his anthology of seventeenth-century German harpsichord music, Yoann Moulin takes as his starting point the famous competition organised when Weckmann and Froberger met at the court of Dresden. It was in the 1650s that the influences of the French style were grafted onto models drawn from Italian music. The compositions of this period appear to us in their infinite variety, as illustrated here by the notion of stylus luxurians.
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