He was inspired by two pioneers in this field, Andreas Staier and above all Alexei Lubimov, with whom he has often developed joint projects. This style of playing, which Melnikov has presented in numerous concerts alongside Musica Aeterna, the Akademie für Alte Musik Berlin and the Freiburg Baroque Orchestra, shows him to be a master of elegant phrasing and trenchant articulation. His piano playing on historical instruments is also characterised by a highly individual poetry; he makes full use of the special sound of Salvatore Lagrassa’s fortepiano from the early 19th century, for example, which he will play at his second concert in Essen. Melnikov’s Mozart interpretations, for example, often even breathe the spirit of his middle and late operas (which is why we can look forward to his interpretation of the F major Sonata K332), the spirit of freedom and sometimes even that of anarchy, and this with simultaneous perfection in terms of touch culture. His Haydn is also glowing with the esprit of sensibility; this is paired with the humour that is so important for the piano works of this composer.