Jean Rondeau’s art flows instinctively from his boundless imagination, a place where a moment’s silence can prove as meaningful as a mighty flourish of virtuosity. The French harpsichordist, aptly described by the Washington Post as ‘one of the most natural performers one is likely to hear on a classical music stage these days’, begins his Wigmore Hall Residency with an excursion into the keyboard suites of Louis Couperin on the eve of the French Baroque composer’s 400th anniversary year.