He gives so much of himself to his music that it translates into the performer’s personal maturity and musicality. each as the Progressive Composer J. S. Bach was truly ahead of his time. This poses a unique quagmire in reference to his concerns with preserving the traditions of the past. Perhaps he was so preoccupied with maintaining the life of the past that he never truly came to the realization that he had successfully incorporated his predecessors into a new design that was all his own.
With his devotion based in the roots of his ancestors, “It is not he who lives, – it is the spirit of the time that lives in He created a masterpiece within the Cinchona in which shattered the barriers of time in that he demanded the impossible and implemented versatility within his composition. The Cinchona is impossible in terms of “true polyphony’ on the violin.  Bach was revolutionary in his design of the Cinchona because he incorporated the influences of other instruments, such as the organ and keyboard.
Beginning on measure 161, Bach Initializes a recurring (and unrelenting) repeated figure of three ‘as in sixteenth note succession that occur in each of the first groups of sixteenth notes. Bach even emphasizes these ‘as by writing in a separate stem so as to suggest a difference in singular articulation versus double articulation. Example 4: measures 165-167 of the Cinchona.  he re-articulation of note ‘a’ can almost be treated as a continuous drone against the moving melodic line, which could often be accomplished on the organ.
The violin, therefore, does not represent a single unit, but the capabilities of an entire ensemble. However, from a truly polyphonic standpoint, if this work were written for the organ, “the organ version would beat out the best violin version every single time lust because it can actually sustain all of the voices all of the time. “ Bach is essentially doing the impossible, “which is to say that he is creating, at times, four- part motion on an instrument that cannot actually do DRP.
Williams also mentions the ability of Bach’s music to go beyond the restrictions of time in terms of the individual’s lifetime, as well as throughout history. I think it’s kind of dangerous to try to impose certain emotions or a certain time and place of your Interpretation of Bach. For me, performance is always a time capsule, or a snapshot, and a way to mark where you are as a technician – as a violinist – that day and that time. It is a way to really gauge how you are emotionally… At that point in your life. Bach is always ‘living in the moment’. What I do that day is where I am at that