For this second part of his anthology of seventeenth-century German harpsichord music, Yoann Moulin takes as his starting point the famous competition organized when Weckmann and Froberger met at the court of Dresden. It was in the 1650s that the influences of the French style were grafted onto models drawn from Italian music. The compositions of this period appear to us in their infinite variety, as illustrated here by the notion of stylus luxurians. Yoann Moulin began his apprenticeship in music with Robert Weddle at the Ma�trise de Caen. There he discovered the harpsichord and studied with Bibiane Lapointe and Thierry Maeder, and after a stint at the Villecroze academy with Ilton Wjuniski he continued his studies at the Conservatoire National Sup�rieur de Musique et de Danse in Paris in the classes of Olivier Baumont, Kenneth Weiss and Blandine Rannou. At the same time, he discovered the clavichord thanks to �tienne Baillot.