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Anastasia Kobekina suggests the history of the cello through ellipses, jumps in time between pieces from the 18th century, among the very first written for this instrument alone (Boccherini, Fesch, Galliard), and others from our time (Thierry Escaich, Jules Matton) which draw their writing processes and their sound palettes from the ancient repertoire. Whether it is a question of nostalgia, sometimes ironic, of homage or of intellectual and artistic transmission between composers, the compositions for cello are never born ex-nihilo. By returning to the sources of the Baroque era, composers write the present and the future of the cello. Anastasia Kobekina blurs the boundaries by building indescribable bridges between their so diverse writings.