Beethoven said that Bach was not a stream but a sea. Bach’s music is to a small film like an ocean is to a nutshell: as it cannot be contained in any way, only its abstraction can be grasped. The art of the fugue, without apparent instrumental destination and without a name, is left unfinished by Bach and constitutes, together with the last, in some enigmatic ways, works (The musical offering, the Goldberg Variations, the Canonical Variations …), a conscious testament for the future, for eternity. Escape, by its musical nature, is a perpetual engine, which has no end, so only an abrupt interruption can end it. Its incompleteness is an indication of its boundless completeness. The thought that is transferred to paper and returns to the mind of the “reader” thus becomes the perfect synthesis of Bach’s genius and of the music itself. And as if by magic it can be enclosed in that small vase which is the magic lantern of cinema, where the many events and the many places lived by Bach will also find a place. The other challenge is to lower this musical thought, probably destined only for the keyboard, in the materially and concreteness of the colors of all possible instruments, such as a gigantic keyboard of colors, as if to make it tangibly and overwhelmingly visible to everyone.