Since they first performed together at the Gstaad Menuhin Festival in July 2013, Hélène Grimaud and the Kammerorchesterbasel have repeated their pleasurable experience. In Basle, and soon in Lyon in a programme which Hélène Grimaud sees as a chamber music concert: “We play without a conductor. The orchestra doesn’t need a conductor for these works. For me, a concerto is nothing more than chamber music on a greater scale. The work is done during the rehearsals.” From Bach to Prokofiev, three centuries of music follow in succession. The modern works are happier than the older ones: Dumbarton Oaks and the “Classical” Symphony are sparkling tributes to musicians of the past, whereas the two concertos in D minor figure among the darkest works of their respective writers, with a rather introspective touch in Bach, and more dramatic in Mozart.