This composition of this piece was based on the first stanzas of Bach’s Goldberg Variation 27, translating the notes to colored filters by way of Isaac Newton’s theory of colored music, where each of the seven colors of the visible spectrum is linked to one of the seven pitches in the diatonic scale. The top lamp refers to notes played by the left hand, and the bottom lamp to the right hand. The length of each color filter refers to the duration of the corresponding musical note. The light temperature of the fluorescent lamps is such that the piece emits light the same color as that recorded using a colorimeter at St. Thomas Church in Leipzig, Germany, the site of Bach’s grave.