In default of documentary evidence that Bach had Hungarian blood, Casals would play Bach’s improvisational preludes in such a manner as to persuade one that a cymbalom accompaniment, changing harmonies every so often, was intended. Casals did not play the piano well, but well enough for his purposes, which were more prayerful than self-glorifying. Every morning at the piano he made his reacquaintance with Bach: the revent daily launching of a supremely dedicated life.