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

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.

Reiji's Observations

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.