For us players of historical instruments, dealing with the original sources of our music has become a matter of course. 

Whenever possible, we play directly from manuscripts or 

contemporary prints, or we transcribe them ourselves. 

In doing so, we often discover unknown pieces and 

make them available to other players. 

My projects and recordings always rely on this type of "source research."

An example is the recording of the solo and trio sonatas by 

Elisabeth Jacquet de la Guerre (a practical edition is in preparation) and their further integration into the exploration of the "Carte de Tendre" and its musical realization in concerts and recordings with an 

original Ruckers harpsichord from the Beurmann collection.