Dr. Ivona Kaminska expanded her pianistic knowledge under such Bach and Baroque performance practice experts as Dr. George Ritchie, Dr. Quentin Faulkner, and Dr. Gregory Butler and performance on harpsichord and organ. This fascination led her to publish her dissertation on applying such techniques to the modern piano.

In this clip, Dr. Kaminska presents Bach's Invention No. 4 in D minor, BWV 775 on a modern Steinway model D.

Notes:

Many aspects of Baroque performance practice are possible on the modern piano. These aspects get us closer to the way Bach heard, understood, and performed the music himself.

* the 3/8 meter suggests a lively tempo and a dance-like character
* natural emphasis of dance stems from keeping eighth-notes detached in a strong-weak-weak articulation
* "strong" notes may be played slightly louder, but even more importantly, longer in duration; this does not mean that every "strong" note to be played equally forte; adjust according to the line
* sixteenth-notes may be practiced by grouping into strong/weak pairs as prescribed in all baroque treatises; such grouping helps preserve a steady tempo; in a faster tempo results in better finger control
* possible dynamic shading is easy to interpret from analysis of melodic contour and sequential treatment
* this work is easily punctuated by clear cadences, which according to treatises should always clearly be depicted
* younger students may find it easier to play measured trills (starting from the upper neighbor as was the custom); more advanced performers should indulge in more freedom in trill velocity to highlight brilliance
* it is customary on piano to bring out the main motive; however, this was not the case on harpsichord or organ, so such shading was not possible

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