This Paper looks at J.S. Bach’s French Overture in B minor, BWV 831 as the subject to explore the Baroque period, Bach’s biography and concept of creation, the origins and music styles of overtures and suites, and lastly, I will examine the backdrop of this specific overture, as well as its analysis and the interpretation. I hope that through studying the various aspects mentioned above, one would be well equipped with all the materials and basics to enter the next phase: performing the music.

Firstly, the paper studies and organizes existing literatures and documents of the Baroque period, including a few contemporary works of the time. This allows us to reflect on what baroque music might originally sound like from the perspective of a person in the Baroque era. At the same time, we will also look at documents related to the performance practice of Baroque keyboard music and the writings and speeches given by the Bach authorities to build a multi-faceted data base of the piece and the Baroque era.

However, in the end, all the music-related narrations and descriptions cannot be separated from the music itself. Therefore, the writer also listened to other music pieces that are related to the subject, for example, other overtures written by composers of the Baroque period, Bach’s three major keyboard suites and orchestral suites, and other related instrumental suites. By studying these works, the author compares the different musical features and characteristics among them, and furthermore, discovers the uniqueness of Bach’s “French Overture”.As to the “French Overture” itself, the author studies the commonality and technique to perform Bach’s music by listening to a few outstanding contemporary pianist, such as Rosalyn Tureck(1914-2003), Tatiana Nikolayeva(1924-1993), András Schiff(1953-), and Angela Hewitt(1958-). From this, we learned how to appreciate and interpret Bach’s keyboard composition.

As a performer, the most important thing when encountering a piece of music is to be equipped with a keen sense of observation and to be profoundly sensitive to sound. Through the process of observing, brainstorming and practicing, one should re-discover the inspiration that once stroke the composter, and “re-create” the music via one’s performance. Bach’s music is unquestionably sincere and genuine. The further you excavate, the more meaningful and spiritual you can find with his music, which originates from his faith. His gift of music talents from God can be well documented through his works. Bach once said that there are no other motivation and purpose behind his works other than to praise God and give glory to the Almighty. Hopefully, the study conducted in this paper can help more people to open their minds to Bach’s music, to have a new and refreshing understanding, as well as to be inspired by his works.