When did the idea for this “trilogy through time” come about?

Nine years ago, I did a triple marathon with the Bach, Beethoven and Brahms [cello] cycles, the latter two with [Australian pianist] Caroline Almonte, at Melbourne Recital Centre. That, for me, was an experience of a lifetime, not just because of the program but, above all, because of the exceptionally gorgeous acoustics of MRC. Genuinely, these were the best acoustics I have experienced in my career. They combine everything you hope for – ample natural amplification, warmth, transparency, a certain alchemistic transformation of the sound you produce as a player. It’s quite overwhelming and inspiring. It lifts you up.

Pieter Wispelwey. Photo © Caroline Sikkink

Coming back to MRC was a big wish, and so was teaming up with Piers. I met him for the first time about 30 years ago at the Huntington Festival where he played a spectacular recital. Over the next few decades, we have had a few very pleasant encounters but never played together. Now, in preparation for this series, we have – and it was exactly what I had expected. We don’t really need...