There are works that, as Riccardo Muti said in relation to the Solemn Mass Beethoven's works, when performed, represent a musical Everest for the artist who tackles them. This is what happens, for example, with the two books ofThe well-tempered harpsichord or with the fourteen counterpoints that make up The art of escape by Johann Sebastian Bach. Both are encyclopedic works, encapsulating the composer's greatness, his ethics and aesthetics, as well as his musical science. Perhaps due to this highly technical conception—not devoid of sensitivity—which makes them austere and ascetic pieces (inherent, moreover, in Bach's incorruptible Lutheranism), they are rarely programmed. Consequently, being able to hear them in their entirety live is a privilege for the viewer.