INTRODUCTION [Apporformer breatheslifeintoa writen musical work, Iisalwaysa re-creatve experience, a personal one. Even composers who perform their own works tuen {nto personal interpreters, noc necessarily playing exactly what they wrote. Ifonly we could hear J.S. Bach's playing! He probably ereated anew, impro- vising, most likely changing his own writen notes and rarely, or probably never, played the same way ‘There was no clear set of rules that governed the Baroque period's performance prustices. Rather, whatever rules that were formulated by the ma writers of the Baroque were part of an attempe to bring out the guiding principles ofthe living art of performance in that period. ‘Those writings provide most valuable insights into the Baroque. However, since art could never be reduced to following rules tothe lecter, those rules SUITE NO. 5 su Cminor awy sors Dm D 640 Preude @ 81 Altemande Oxy Courante © 417 Sarabande © #38 Gavorte Oo Gigue I O SENZA B.should nor be seen as universal recipes for perfor- mance, Furthermore, without 2 real understanding ofthe composer's personal musical language, his text and its ideas and ofthe known stylistic charac teristics of his time, performance can curn ou to bbe somewhat meaningless. "The true art of playingis in breathing, using imag ination, offen breaking rules, flourishing with per sonal caste and use of colors and nuances which ould never be puron paper. This isthe case with the six solo suites by ].8. Bach. "And thisis the ease with Gavricl Lipking. Since he was a boy, his insatiable curiosity, his brilliane intellect, imagination and sensibility had co ‘know everything musically and technically, Probing {nto a composer's mind and ideas and exploring the instrument he turned into an extraordinary cellist and a unique musician. "The interpreter of Bach’s Suites for Cello Solo has to deal with four different old copies, none of which isthe manuseripe, and when one compares the copy ‘of the sonatas and parcitas for violin solo that was prepared by Anna Magdalena, Bach's wife and copyist his works, with J.S. Bach's manuscript, one finds many sips of he pen, incomplete ties eco— mistakes which probably existalsoin her copy ofthe Cello Suites. So there is no Ure ‘A performer such as Gavriel has to rely on his understanding ofthe text, his taste, his logical mu sical solutions and imagination. And fr thee long years sill in his owenties, he went inco seclusion ‘with Bach, He explored the written word mentioned above, tying to absor the stylistic spirit ofthe Ba rogue. He probed into Bach's language, ideas, text, ster, tempi, thecorie, phrasing, articulation et, in the ques to create his ow inner world of imagina tive lookinga the suites, ‘The result, the three disks and more to come, is unique. Itis phenomenal instrumental playing with a world of rich color variations of sound and full of Shades and nuances of dynamics and expression. ‘Though Gavriel’s performance may sometimes offend the purists, in that it goes against the grain, it is musically never boring. Always fseinating (onew- €er2 dull moments) hs playing isa unique, creative, {maginative, rich personal artistic expression of the ‘world of Buch and the Baroque. {Uz1 WIESEL, 2006 CCC EEE c SUITE No.5 C minor awy sos D sy 0 Oe se Oss Gav O SENZA PERSONAL REASSESSMENT ema tat a, morn fa be hae city bd so pet nd aoe ecco th se STR i cl ad Be ar rr ee inncledoie ao ‘The Suites for Cello Solo serve asa foundation for the edifice of cella literature and signify an unsur passed achievement of their kind inthe entire musi- cal patrimony: ‘The following lines presenta concise account of my very personal relestion on Bagh asi relates to ‘he recording achand. SUITE NO. 5 C minor nwy so41 O 640 @ ay Orn @rx One Ox Pr Alle Sar Gave Oo SENZ.TEXT PERSUS CONTEXT ‘Typically, in a booklet put together with a record ing, one would expect to read about the origin of the piece at hand, about the period in which it was composed, possibly about the approach co its per formance practices, about the general form or style they reflect, and soon. ‘Obviously, its useful to know about he piece one performs. Iris helpful co know the origin ofthe Ba- rogues a form and the evolution ofthe various ddance-focms.Ieis incresting to know that Bach was in Kéthen when composing the suites and was ble to devore more time to freely chosen forms of com- position. eis worth knowing the difficulties Bach faced during this period: the death ofhis wie, the responsibilities of fatherhood, and the challenges tsa music director, Also fascinating is the evidence ff Bach's temper and manners, his skills as a per former and improviser, and criticisms of his music. 'As the suites are among the most popular pieces fora solo string instrument, comes of literature with reference material are availabe to satisfy our incer est. However, would such information be vital for sunderstandinge the Bach suites? To which extent is ‘his informacion helpful? “To answer, letus rephrase the question altogether: Hoe old ee porsice a opy of Basb's famous Chaconne for von sol, fee did wat noe ‘Bhat it ad been criten by Bah, ie. fc only bad he mia tect self? “To make the answer to this question more useful, Jet us also imagine thac the abovementioned copy of the chaconne bas added words and misspelled titles, romantic expression and accentuation marks, ‘wrong slurs, and other inaccuracies —all added falsely by the copyit. ‘Many manuseripts have been recognized and later proven to be copies of Bach's masi solely chrough the review of the musical text, i.e. when the hand- ‘writing ofthe copyist was noc recognizable andthe origin of the copy was nor rraceable. Even in cases where titles of pieces and their movements were hanged, aecentuation and expression marks were added, keys transposed, pages missing, accomps- EEE SUITE No. C minat awe x0 Oo Or" Oew Oso @s%7 O SENiment added, et, the original text itself suecess- fully conveyed Bach's compositional fingerprint. ‘More often than nor (in the ease of Bach), when he original manuseripc did surface, iceontirmed the as- sumption thac the copy was of Bach's music. "Nowadays, conformity with what is commonly known abouts the musi often becomes the primary incerpretive starement whereby veon-text: becomes ‘more importan than the text ise 'At times, when listening to some performances or lectures, it seems to me that even if Bach gave us ‘blank piece of paper, with ate at the top and his ‘name and dat signed ac the hotom, without writing 8 single note in between, some would stil find the si storieally corsdte way to perform it SINGLE-VOICE POLYPHONY Outline “The present recordingisthe fist of several volumes tobe released under the title Single-Voice Polypho- fy. Also known as Latente (latent) or Ser (decep- tive) polyphony among German theorists, this term denotes the mental o-existence of multiple »voicese ‘within a single musical ine. This enéhanting qual- ity of our sinner ease—a quality that needs tobe de- ‘eloped and cultivated —isa prerequisite for contre ‘puntal awareness and polyphonic hearing. In fact, single-voice polyphony is an indivisible pare of ‘writing a good melody and an imminent aspect of linearity in music in general. This aspeét was one of ‘my main interests whigh led to this radical occups tion with the eelio suites. ‘The realization thatasingle melody contains poly: phonic aspects within ise was (and stil is) funds ‘mental eo the correet understanding of wice-Leading as the Bach dynasty of musicians learned and prac ticed it Iris also an invaluable tool for developing um SUITE NO. 5 Ciminor awe vor Oo ] @ bi al Oru c Ot os O SENZunified outlook on spolyphonyeasa musical aswellas global (eoeial, psychological, psycho-acoustica... phenomenon. ‘Single-voice polyphony or-as Vizhak Sadai terms it, melodic polyphony!, is more than a technical term. Iisa fundamental facet of any musical tissue. It ‘used tobe branch of musical analysis exploring the relationship between simultaneously present voices, which are innerly heard within one melody. The splieting, merging, interweaving, and clashing of those voices brought about the early study of coun- ‘expoint, In the early Renaissance period, artwas used to ‘convey plain accepeed statements about the world. Contradictions or even parallelism within a piece ‘were not acceptable and would be perceived as noise by allistener of those days. With the evolution of re- ligion and the advancement of science, doubt, plu- lism, and texture in music started co be considered. ‘rips ftom the aneient world were resurrected and cherished for their inquiring qualities. In music, the independence ofevery voice became significant, ‘Asa resule,polyphonicrichnese within singe ine was regarded asa measure ofbeauty. Linear Dynamic Itis my conviction that Bach's music s generated in alinetr way. ‘The first partern in apiece, be ita éhord,a single note, or any other primary element, contains the genomes (the seed) ofthe movement. Every single line in the musical tissue originates from this first patcern, and sled eo the end ofthe piece. “To my mind, the modera study of voice leading is not sificien for decoding the single ine of thoughte into which Bach's musi ean be summarized. Inthe ‘ase ofthe cello suites, general counterpoint is not helpful either, since most of the texture consists of ‘one line (one melody). Using single-voice polyphony a2 tool helps in rec onizing the concealed »voicese in the cello suites; both the imaginary and the sounding organ points, spike marks and tenor-bas Hines, a8 well as he splic ting of voices and their merging back into each other ‘become more easly apparent. ‘Bach's scores could never be reduced to harmony (iniestmodern,»verticel« sense). In this music, harmo- ny serves only as a general structural orientation and even then the hatmonie function is valid only oO SUITE No. pe a O64 Pre Oar Alles D 254 Com D par Sara @ #48. Gaver Os oe SENZA‘when derived from the natural evolution ofthe voic: ces which carry this function Functionality and the ‘Study of Harmony Fundtionality in musi refers othe feeling ofa home- base, which is commonly referred ro as tonal bases. In tonal music, the feeling of 2 tonal base and the functional orientation thac comes with ieare neces- sary conditions for comprehending the form and structure ofa piece Starting with Xt Rameau’ssTreatise on Harmo- nye? (in particular Book I), harmony began to be treated asa new thinking-model about music, Itcook ‘while for this mode! co become commonly appli- cable, However, musicians have been gradually led to the belief, that harmonie rationalization is essen- tial for comprehending functionality in musi Tn my opinion, nothing could be farther from the ruth. ‘Any melodie lines) partern, even if only con ing ofewo consecutive notes such asthe descending ‘quinta (falling interval of fh), carries conalfune- tion, Although not as powerful as that ofa chord calence,theineervals between the notes ina melody, and their placement in the temporal/chythmical atid, providean obvious functional stamp. Thisfunc- rionaliy is derived linearly Harmonic analysis (like the one which is common: ly practiced today ar music schools), when applied co ach's music, leads roan artificial, mostly fale sche rmacization, In fact, the application of this method slices musi into sfrozene vertical blocks, thereby taking the fundtion out of its musical (linea) eon- ‘The sri harmonized chorales and 69 chorale mefo- dies that Bach has left us serve as the main and only souree ofits kind forthe study of harmony. Ironical= |yLalaysthoughe tha this very material should be used as a proof hac harmonic analysis eannotthor- ‘oughly explain functionality. The endless functional ingerplay of the four voies inthe 371 chorales ean be only understood linearly, leading co amore meaning ful interpretation ofthe text. Single-voice polypho- ny and counterpoint, when applied to any musical tissue of any era or tradition, be it pentatonic, serial, atonal, or even electronic musi, reveal all ics qual a SUITE No. 5 minor nwy soa O 649 Pe O tig oo at Oa 0 O sep oo Sar Oa Cave O SENZ:ties naturally crystallizing each voice, and it rela tion to ofher voices. “Music isa line—a line of thought. flows in rime. Four Manifestations of Single-Voice Polyphony eéinical ‘The composer is able to wencode+ multiple voices into a melody, whereby the accompaniment and functional context become part of the melody itself. Aural “The aétoflistening and the operation ofthe hearing ‘organ becomes a more subtle, bidirecional percep tion. Specifically, this is the perception oan external ‘one-signal,zogether with is inner polyphonic syn- thesis of imaginary linear associations Semantic "The listener isan active participant in decoding the music, The music eould be seen as one voice or ‘many; some corner notes could stay in the listener's memory and create an addicional bass or treble ine, tenor-bass, or an imaginary organ point. Ina way, the listener, by consciously or unconsciouy process ing the musical eextute, chooses the escenatioe he or she wants to experience. Prydtegeal [Analogy to the multiple sinner voices« which exist ‘within us; we live with various mottos which eon- ‘tantly collide with each other. Yet we are able even tually o combine all those desires and intentions inco one ine ofaéton Ee ic. SUITE NO. 5 © minor awe sor Oop Pr © Pi Ate Or coy @ gop Sor @ 438 —- Gavo O SENZ.ENCRYPTION ‘The Cello Suites as Program Music Few would argue thatthe cello suites ean be enjoyed asabstradt musi i.e. without any attached program- maciet idea. Having been myselfa passionate ad- vocate ofthe vabstract vaidieys ofthe suites, it was especially shocking to discover the simple yet per ‘sisting presence ofa concrete programmatic ideain this eyele. ‘Bach's creations are indeed abstract statements about the world. Hovvever, this world is perceived ‘through anall-absorbing religious libretcos. ‘Bach’s conviction to and absorpcion in the Chris tian model ofthe world is so complete thas hard to see this model as a progeammatic idea in the mux sicological sense, However, ignoring this idea ato- tether when performing the various preludes and Gance-forms of the eella suites is comparable to make nga mavionette dance by holding itsarms, not real izing that itis to be moved by strings from above. For the modern specialized society in which we live, Bach’s unified view of the worlds hard co gras. ‘His Christianity is noc reducible co the common n0- tion about what ie means tobe a religious Christan today, Instead of the generally associated »Fear of ‘Gods, the love for Jesus, humility and compassion, Bach undertakes avery personal pro-active quest, as itwalking through the biblical time/space with ev- ery note he tains over the pages. The programmatic ‘lementis so total, chat ceases to exstas such and acquires a character of pan-spiritual, abstract state ‘ments ahout human existence. ‘Buchowis his unity expressed in the cello suites? ‘The macro-form (the eyele) and its subdivision, the selection of keys and struéture of each dance- form, the ethnical interplay (German, French, Ital ian sflavorse), the syntadtical, at cimes Gematrie (Cabbalistic) coding of each theme, pattern and in those technical means serve astory Primal Proportions ~ a *Dualistic Trilogy Forabarogue composer, mathematical proportions ‘represent both a structural technique and an expres SUITE NO. 5 O oe eB @ tig al @ 234 Co O asp sa @ sb GavChristianity is based on a dualistic philosophy. The (Old Testament opens:+In the beginning Gos created fe heavens and the earths!—dhus the worlds divi cd into two speres—generating a dual proportion ‘The"Tvinity,of course generates acriples proportion. For « Christian the clash between those primary proportions, as derived from this edualistc trilogy has an immense expressive potential, Bach’s entire ‘musical repertoire could be seen as an interrelation ‘of tiple and dual proportions. One finds hidden tr angular phrasing within 2 symmetric (dus!) Com- mon Time and vice versa. Infact, Bach’s musical {exture is never of a dual or ripe proportion alone. “The primary proportions of 2 (Dualism) and (triniey ean in curn be either mulkiplied or aed. seuuripiication of the primary proportions gen- ‘erates the frst (smallest) common denominator tix 2x36) which ean serve as common propor tional value of 2 and sin the piece. Apprtion of the primal proportions generates yet ‘another primary value of ive (2+3=s} which, in turn, has tobe multiplied by’ and sto create apr portional matrix with bots the dual and the triple proportions’. “hus Bach has two types of eycles/eompilations: “Those which are based on the sextuple maero-Pro portion and those which are based on a quintuple ‘macro-proportion. or reasons which should become evident through ‘the course of this writing, Bach writes the cello suites eye in a sextuple macro-proportion. ‘The Old Tradition ‘The following two chapters include numerous “quote rom Fritz Rowshild’s ‘The Lost Tradicionin ‘Musie (1982). Asfar asthe Old Tradition and its 2p plication othe study of Bach's musicare concerned, {found this forgotten book to be of much value ‘nlke other great creators, Bach made no attempts twbreakewith tradition. Hisgenie fered ein the mittions Tait dun bya paste. ‘The exyptic grammar of notation, shortly outlined below. was being followed by composers up until the dismissal of the complex practices of che Old ‘Tradition [Stile Grave) and the introduction of the Se cD Oo Prél Oey Alten Oem cons Orr Sara @ #38 Gaver‘simplified New ‘Tradition (Stile Galante) inthe rath century. Daring tbe Period of Enlightenment great changes ‘oo lac al branes ofr, ad ins Inger lingo abt to Be rgd aed pers ‘also Old Tradition.) Totem O14 Tradition refers alieralesand ences eit Bach and many of is contemporaries ffl ‘adhered. ‘The dismissal ofthe Old Tradition had grestimpli- cations on the interpretation of Bach's scores. One ofthe more importanc aspects of the old dis- cipline of writing was the ability of seneryptinge all the virtues ofa piece into its time and pitch values. Even the general character of apiece, its move- ‘ment", and its agogict wdialecte, were wo be derived without the use of excernal expression, tempo, 2¢- Centaaton (including drs nd bowingsv agg, sd dyna ara, "The reader migh protest this pin, hat many Baroque scores df ncude special marks forthe sSovemeationedfundions However, coer ook int the pradices ofthe OM ‘Tradition shows that, originally those marks, if'given, had only a comple mentary meaning [see sSiursand Bowings). Interrelation of Time Values Signifying Tempo ‘The cme signature together with the time values of the nores which appeared throughout the piece gave 4 concrete idea about the movement (pace) of the piece: [oe] Th sign © indicated Common Tine. In Be sys of Te semi-breve (0) Mere were 0 mocements of Common Time: a Sloe movement and a fast move ‘mort. Thi dicvon io too movement of ery old origin, and ring be 1b entry btb Common and Triple Time ere so divided. Inasmb as fe ‘ig used rbot sos and he ft mocement, Be only for dining ne movement fram te ber cas the diferencia te obligatory combination fore aes f..} Lon] Tbe obligatory noe calesof bess movement fie @ were J))). To derermine i movement present no dif ince many musians berscen os pa cr SUITE No. 5 © minor awe sors Oo Pre @ 817 Alten Ox Cour @ gap Sarl @© 438 Gaver O27 cu “4 O SENZAuso and 150 erate in reat deta abt be @ (4 ‘nda ared on one pt, nay, tof al be Signatures of Common Tine fe © (198) epee ‘Be sled mavemen (cide: Paford, Spon, Parcel, Mai, Brasard, Henin, Waltb ‘Tae decription of Brasard and Walbr cipecial, _jusify a comparison berceen ibe © (J.D) and ur present Adega.) os) The aligny mt ces bf mocement of ‘fe © were |). The } were amitted or appeared in ‘Be conpaition nly allan niga’ nnters racemes. he) (quer) cam fe fat notes, i.e, they toere treated like fhe (semi-quaver) in ‘the Mowe © (J) and su it follocs tbat fhe movement fe fe tec ai abe mcemen te Bere) GENESIS OF THE CELLO SUITES Chronology of Composing: Lute ~ Violin ~ Flute ~ Cello ‘Weknow of three pieces written for solo melodious instruments: he violin and cello cycles, and the Par rita for Flute. All those pieces are associated with Bach's stayin Kathen. There isno definite scientific ‘evidence asto the order in which those pieces where created and, more importantly, when each of them ‘vas completed. 1 find the violin eycle co be rawer than the cello sites in terms of programmatic structure as it ean be observed in all the later pieces by Bach includ: ng the 4 Riddle Canons, the Goldberg Variations, and the Arc of Fugue. The cello cycle seems be ‘mare complete in is overall structure and yet more ‘compact in the means used o achieve this structure, Tewould be also natural co assume tat Bach being primarily 2 player of keybosrd instruments and the violin, while having afree choice, decided to start with the instrument more familiar to him. $$ SSS SUITE NO. 5 C minor swy sot Ore @ ex Ox Ora @+8 Ow Pre Alle Cow Sara Gavo © O SENZAIna similar way, Thelieve that the Iute version of ‘he fifth suite was written before the cello version and not after. Bach wrote numerous suites for the lute before coming to Kathen. The idiomatic ature ‘of the lute was more familiar éo him than tha of the cello, especially when writing fugues as the one in the prelude ofthe fh suite. Typically also here one sees. progressive reduction of notes. The cello ver sons more condensed and encapsulated in terms of single voice polyphony, generating a more concise and refined, almost panying character ofthe polyphony in the lute ver sion. Therefore, in my mind, the lure version should ‘not be used to reflest on the cello suites bucrather the other way around. During the Age of Enlightenmencevery efforcwas sade to abandon and ignore the pas. The music of Bach, belonging tthe Old Tradition, fell into obiv ion. The cello eyele was srediscoverede much later than the violin eyele, and its analysis (especially by performers) was therefore based on the understand- ing ofthe alzeady familiar violin musi. find that one should be especially eareful no to apply he analysis of hese pieces to eachother. The Two Cycles ‘The Cello Suites are part ofa yer larger undertake 1g which includes the sextupleeyele of partitasand sonatas for violin wv 3003-1006) and the sexcuple tele of suites for cello (nw 1007-1012), each cycle consisting of 6 movements each. “The eyele for violin follows a division into three couples, consisting of one partita and one sonata each: Sonata 14 Part | Sonata « Pari | Sons «Partin In a corresponding way, a clser lok athe key sg- natures aswell asthe general form and Gharacter of cach alo suite, even without digging deeper inthe texture of every movement already evel primary Aivision fhe cto ele inc three pars Sutesa2 | Sutra. | Sukesse6 “Ths, the macro-orm of evo cycles is dusiticlly divided inc eo equl pares—one for violin and one for ello which correspond to each other in their general rudture : However, apart from thie general similarity, the wo cyeles seem oe quite deren eee SUITE NO. 5 O SEN Pré Alte con Sara GaveTOWARDS A UNIFYING IDEA Programmatic Reference to the Trinity When Iwas child, my teacher, Uzi Wiesel, drew zy ateention to the fact that a the culmination of ‘one of Bach’s cantatas, he basso continuo is playing the exact opening phrase ofthe third suite, while el three singers are singing in unison Jesus ist dal 1 did nor think muéh further about this informa: tion back then. However, when I started studying ‘other works by Bach, such direst programmatic as. sociations berween the Holy Trinity and the suites appeared more and more offen, Inall the many contradicting Christian views of the Trinity, the rarsieR is always the first one to bbe mentioned, followed by the sow and concluding with the novy sem, Let us apply this order co the abovementioned di- vision ofthe eye into three equal parts: Soites 12 | Suiterses | Suitersas Each of the three persons is introduced tothe lis tener a start with the opening ofthe corresponding prelude, Prelwder Preludes | Prelades: neh is docament do notalow fra hore compreonie ees Tied rete ie frre ard ned ots oeningoexceie {Stone keywods Ts ever wee ote peesby Dash eases le til qt, ete open mom Swale ndependomly cognizable ar wwofedteate ——_oOocjjj aS ic SUITE No. 5 C minor awe sors Oe P @ Big oo th O 234 0 D Far Sar O t38 Gave @o% ce O SENZ,‘Suites Suices| Seite ‘Suites Suites Suite Descriptioe keyword for ‘deopening ofeach sae sinmu/onatnsounney During the course ofeach couple of suites, the pro {grammatic idea evolves: Generally speaking, the first suite each coaple utes, 3,8) communicates the divine ide about each Person while the second suivein each coupe ets 240} conveysan earthy reflecion on hisien. “y ‘Since the fourth cencury, in both Eastern and West ‘en Cristianity, the doctrine ofthe Trinity has been stated as »One God in Three Persons all three of ‘whom sharea singe divine essence. The widely dis- puted Filioque Clause claims that only the rari is sunbegotten and non-proceedings. The sox is begotten fom (or generatedby) the marion and the woty spinrr oproceeds from the raHER and Ahrough the sons. "This docrine is represented by the selection of keys: @ Major (site 1, rariten) being fhe »nar- fal origine—te dominant function of ~C Major {Guite3, sos) and C minor (sites, nota sernrt) Selection of Keys and Their ‘Meaning in the Cycle Suites 142 areina relation ofa guanre {a fourth between G and D), whereby D minor isa ‘arrvontzeDe dominantof G Major. Suites 34 areina relation ofa ren zat la third between C and Eb), whereby C Major is 2 uuagonrznns parallel key of E> Major. ‘Suites $6 areina relation ofasgeuwp {asccond between Cand D), whereby the keys ofthe ‘isch and fith suites neutralizes he arvoniz¢7s0N and niazonrzariox actions which were deseribed above respectively (see accompying »mape). "The progression of relations (quart forth], fersa [third secunde (second) fils the space berween the » SUITE NO. 5 Cominar awy ron @ow @Qex Oru Our Pré Alles Cou Sara SENZ:forbidden relation ofa Tritamas(eritone) and the rts tion of Prima (unison). © (suite » B* (ues) onetime | saya a ‘As mentioned in the previous éh evious chapter, the dodtrine of te Trinity states that Goo isa single Being who exists, simultaneously and eternally as a perichore: sis of three persons: che rarHer, the son, and the Suites ‘Connoaton SnebeSures Inerval | Relation Cnndiecater onion (Prima) rma S66 | cD SOE og D fesomd) scent HOLY seimiT fea |Cap| rd care tit sens soN Trt 142 Gad Ey Quran) ‘Furbiddey?s | tone | Diab | svn (Trtanw inmatce | oc ATAN,, “Thus, the cyele asawhole ean be seen as moving to- wards God, in thaeicresolves into kind of Primal Relation« that i only meaningful asa result ofthe progression through the other relations. ‘A.unified perception of the Trinity by te listener is achieved lineuely by seeing the cycle through ‘The Golden Ratio, the Fugue, and the Gallancries A reference tothe golden ratio, also ealled Der Gor