2025-07-04

Invention number 1: in C major

Each piece of music comprises three essential facets that warrant attention for a complete performance, as elucidated in Andras Schiff’s lecture on the Goldberg Variations: the intellectual, emotional, and physical dimensions. When Bach employs the term “cantabile,” he likely intends for how to sing through piano; as also Seymour Bernstein suggests, one might foster it with contrast with varying the music and make it like different singers are singing it. Bach’s manuscript hints at mimicking the ebb and flow of waves, urging performers to maintain consistency with key motifs while avoiding unnecessary abrupt transitions. My initial exploration involved listening to various renditions, with a focus on Andras Schiff and Glenn Gould’s interpretations.

Schiff’s rendition unfolds with a vibrant, narrative-driven motif, gradually intensifying into a crescendo of tension before subsiding into a moment of relaxation at the cadence. The subsequent return to the initial theme is marked by a shift in dynamics, with the tension somewhat alleviated as the theme transitions to a lower register. Nevertheless, the tension mounts once more, this time with a slower ascent towards the climax, followed by a gradual descent in the sequence.

But then The first concrete idea is composed of two smaller ideas. Namely a rising one and with an answer going down.

This continues with the second part of the idea or maybe even a response to it. The response can also be thought of as two parts . But it’s important to mention that the intention of dividing stuff is not valuable by itself . But just might be useful for understanding how Bach exploits these perfect divisions to create order and beauty. I’m very doubtful if he thought about them mathematically at all and he probably had gone with intuition.

The interesting part is that now the idea repeated itself with a syncopation in the left hand . I believe ( and many others ) that this syncopation makes the idea more clear and understandable. I perceive it as a result of not speaking simultaneously.

After this a sequence starts so the idea starts to develop and expands basically.

However, the initial three notes seem like an introduction to me. Similarly, if you wish to introduce a new idea in a conversation, it’s polite to establish a connection first rather than jumping in abruptly. The left hand in this context follows a sequential pattern as well, but it holds less significance.

Now that you grasp the concept, I won’t delve into the intricacies of each note individually, except for some overarching guidelines such as phrasing, sequences, and the climax of the piece. Much of the interpretation is subjective and influenced by my mood. However, there’s a particularly intriguing section for me, which begins at this point.

In this section, it appears that Bach adopts a gentle and refined approach. He endeavors to convey the idea with a delicate tone, almost akin to a plea or a prayer to God. However, this ultimately transitions into the final section, or the coda, which exudes a sense of pride and mastery once again.

In conclusion, consider drawing parallels between this musical piece and architecture. Unlike traditional architecture, where materials construct the building, here, the medium is sound. Much like how we perceive architecture through light and the overall atmospheric sensation, in this case, it is the sound that shapes everything. Bach demonstrates a profound understanding of eliciting specific emotions or better said experiences through sound. Whether this occurs consciously or subconsciously is ultimately inconsequential and likely not particularly practical.