The first thing to note is that the keytar is not an instrument: it has no body, it has no sound. It is omnipotent, and to make things worse, even though it has no significant repertoire, it exists only as a relic of the 1980s.

I would have never approached such a monstrosity of my own will, if I weren’t encouraged to do so by Pierre Jodlowski. And even though I have no reason to doubt his good intentions, I believe that he bestowed it upon me mostly for logistical reasons.

Now, even though I act as if I am immune to its tacky charm, I must admit that it has completely seduced me. In fact, with time, I fell in love with it.

And maybe it now loves me back, because for me it abandoned its divine attributes, degrading itself to play sine waves, condemned to the fragility of its new lunar body.

Estoult (Astolfo) is the most absurd paladin of Charlemagne. He flies to the moon - accompanied by St. John, on the fire chariot of the Prophet Elijah - to retrieve the wits of Orlando contained in a bottle.

He is the hero of my piece, and he is equipped with a magic keytar.