Performance Record of J.S. Bach – Invention No. 11 in G Minor, BWV 782

Overview: A performance record of Bach's Invention No. 11 (BWV 782), interpreted and recorded by Reiji at age 9. This piece presents a unique harmonic ambiguity and spatial distortion, which Reiji explores through overtone balancing and chordal reinterpretation. Special attention is given to unexpected cadences and a distinctive final trill. His analysis introduces acoustic metaphors like "inverse Fourier transform" to describe harmonic parsing, reflecting both intuitive and theoretical sensitivity.

Note: All content on this page is originally explained by Reiji in Japanese. The English version is translated by AI and structured by a parent, with Reiji's final approval.

Reiji's Words and Ideas

In measure 10, the right hand moves from D minor → A7 → D minor, while the left hand progresses from G minor → A7 → D minor. When combined, a mysterious and momentary harmony like B♭6/7 emerges.

I perceived this part like an "inverse Fourier transform."
That is, I listened to the full chord as a set of frequency components, and then mentally decomposed it—separating the "essential resonance" from the "interfering elements."
For example, from B♭6/7 (B♭–D–F–G–A), I filtered out G and A as interference, and restructured the chord as a pure B♭ major triad (B♭–D–F).

This B♭ chord can be interpreted as:
The VI chord (submediant) if D minor is the tonic
The III chord (mediant) if G minor is the base
Thus, it acts as a bridge across both keys. I tried to clarify this ambiguous function by balancing overtones and minimizing interference.

Other interpretations are certainly possible.
For example, one could add an A♭ to form B♭7 and bring in chromatic color—or reinterpret it as the tritone substitute of B♭7, which is E7, for a striking harmonic leap.

This entire piece has a mysterious charm.
Even when playing through the harmonic progressions as expected, I noticed a subtle sense of disorientation around measure 19. It isn’t a disruption, but rather feels like a deliberate spatial twist.

It’s like “I thought I was walking straight to school, but suddenly I found myself in front of a convenience store.”
A dreamlike moment.

Also, many other inventions do not end with a trill, but this one does.
I found this unusual and meaningful, so I played the final “ornament” with special attention, hoping to leave something behind for the listener.

* These are personal reflections by the performer.