Both versions have not a shake but a mordent on the C sixteenth note. When you play E in the left hand your right hand plays C ,B,C. Sounds like you have been playing too many notes. Some people play the Inventions without the ornaments. I usually play them. This often means a slightly slower tempo for the whole piece.
Paul Johnr wrote July 2, Thanks for your help, James. I don't have time to try the mordent right now, but I'm sure it will work fine. I can already hear it in my mind. I also try to be as faithful as I can to the ornaments, although I find myself questioning where some of them belong. I've used a critical edition published by Alfred, which takes all of the manuscripts into consideration.
But still in some cases, who knows? I guess that's part of what makes Bach an interesting figure.
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Bach Inventions and Sinfonias for four hands? Recently, I acquired a stack of Bach Inventions and Sinfonias with added parts for a second piano some are one piano, four hands; others, two pianos, four hands. Has anyone here acquired similar editions, who may be able to compare versions? Some appear to be taken from identical plates. James Whisleychan wrote July 24, Who wrote the secondo parts?
If so, where can I have a look? I might want to buy them mjseyers wrote July 31, James Whisleychan wrote July 31, I have heard of them. When I was taking lessons one teacher used highly edited scores. Another got me started buying Urtexts. Any comments on the Busoni? Digest Number Derrick Johnson wrote November 2, As someone who is just beginning to get a grasp on polyphonic playing, are there any of Bachs works that someone might recommend James Whisleychan wrote November 3, You can't go wrong with these. Many teachers have good students learn them all before advancing to the 3 Part Inventions.
I have learned all of the 2 and many of the 3. The next step is the WTC. Most of the fugues are beastly difficult to play. If you don't have part playing in your fingers they are immpossilbe. Michael Wright wrote November 22, Definitely start with the 2 part inventions, then the 3 part. But when you move on to the WTC, start with book one. Book two is different, and far more complex for the most part.
Some favourites of mine for the 2 parters are the B-flat major, the E major and the d minor the C major is a lot of fun too. Of the 3 parts, the g minor, b minor, D major and E-flat major are good. That might give you some ideas After the 3 part inventions, you might also want to try some of the easier French Suites concurrently with Well Tempered Clavier Book I. The G major and E-flat major are excellent choices from the French Suites.
Good luck with your exploration! Derrick Johnson wrote November 22, I have begun concentrating on the 2 part inventions and memorized the invention in c along with the triplet variant. Also I am studying a book called: Einfuhrung in das polyphone spiel introduction to polyphonic playing with little pieces by Klemm, Frescobldi, Couperin Froberger, Buxtehude, Walther,.. Might you please recommend a recording of the two part inventions?.
I understand Glenn Gould released one, but he seemed prone to suunusual tempos and interpetations sometimes, I just want a conventional listen to them at first. Thank you all so very much Michael Wright wrote November 30, I would avoid using Gould as a reference, since his playing is for the most part anything but 'mainstream'.
They are interesting to look at after you have formulated how you personally want to play the piece, but not as a point of departure. Angela Hewitt 's playing is good, but she takes her tempi quite fast. I find this a little disarming and intimidating from the learner's perspective , since in all likelyhood you won't be approaching tempi that quick in your studies yet.
You might want to try and look for a recording by Andras Schiff. He's probably one of the best Bach players around currently. These would be good choices for a piano recording. I'm not sure if either of them have recorded the Inventions, but Colin has a great recording on Hyperion of the entire WTC on both clavichord and harpsichord. I would strongly recommend this recording to any player, pianist or harpsichordist. Derrick Johnson wrote December 2, Andras Schiff is one of my favorites in any case.
3 thoughts on “The mapped out manuscript for Bach Invention No. 1 in C”
It looks as though I may have to special order his two-part inventions, as none of the local music shops have it on hand. I appreciate your suggestion very much. Even though his technique in general seems so odd, his rendition is just fascinating. In an avant-garde sense of course. How would you contrast Gould whith Schiff?
Please tell me your opinion regarding both their abilities and approach to Bach's music. Is there something even the novus can learn from them? Francine Renee Hall wrote: It's beautiful, like crystal, played with sensitivity. It has a feminine' touch, but I don't see that as 'bad' at all. In the first invention, he writes that the student should play with a definite 'masculine' touch.
I believe you're referring to his footnote about the final chord: We wish to warn students, in particular, against effeminization of this kind, here and in analogous places. That preface also says: The expression marks, meant to serve as a guide to the correct conception of Bach's style, which is characterized, above all, by virility, energy, breadth and grandeur. The soft shadings, the use of the pedal, the arpeggiando , the tempo rubato , even too smooth a legato and too frequent a piano --since they are not in keeping with the character of Bach's music--should be avoided, generally speaking.
I must warn the student against seeking to carry out my 'interpretations' too literally. It is here that the moment and the individual may lay claim to rights of their own. My conception may be used as a reliable guide which those to whom some other valid path is known need not employ.
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- The mapped out manuscript for Bach Invention No. 1 in C – Arioso7's Blog (Shirley Kirsten).
- Shaping a J.S. Bach Two-Part Invention?
I no longer devote too much attention to unimportant details and incidental features, and consider the expression of a face more important than the cut of its features. It is part of basic harpsichord technique, to keep that final chord from being too loud in context.
Teaching J.S. Bach Invention 1 in C (BWV 772)
The piece has been in two voices throughout, and suddenly there are five notes struck together at that final chord: I'd spread the chord slightly on clavichord, too, maybe also on organ. Bach didn't notate this spread because it's unnecessary to do so; it's an understood part of practical performance tradition, common sense. Busoni, of course, was writing that footnote for students who have exposure to only a single instrument, the piano; and on the piano a suitable amount of weighting can be done without the arpeggiation or with some.
I'm curious what Busoni's original word there was]. Francine Renee Hall wrote December 17, If you look at the Carl Fischer's Preface, though, the footnotes, Busoni states: The signs of execution which are to serve as guide to a proper comprehension of style. This style is characterized above all others by manliness emphasis is mine , energy, breadth and loftiness. You used the phrase "charming and elegant" which Hewitt's WTC certainly is! I can see your viewpoint as Hewitt not being perhaps more serious and substantial and lofty. But, to me, I feel I've lucked out even with the hefty price.
Hewitt's interpretation is just beautiful! I will be getting a harpsichord version soon!
Shaping a J.S. Bach Two-Part Invention – Arioso7's Blog (Shirley Kirsten)
Bradley Lehman wrote December 17, That's the same passage I cited this morning as: Who did the one for Carl Fischer, and when? In interpretation of the spirit of the music, the word "manliness" doesn't say quite the same thing to me as the word "virility" I would take the description "virility" as more generally "energetic and driving, lively", and would take "manly" as sort of a "hammer-hands" heavy touch, like Ton Koopman's and Glenn Gould 's general approach to the harpsichord. Bash those jacks into the rail! Make that instrument beg for mercy! Add all that percussive noise to the tone!
Tote that barge, lift that bale! I haven't met Koopman or heard him play; just reporting what I hear on many of his harpsichord recordings.
Some opposite of "dainty," I'd suppose. Pete Blue wrote December 17, I would take the description "virility" as more generally energetic and driving, lively", would take "manly" as sort of a "hammer-hands" heavy touch, like Ton Koopman's and Glenn Gould 's general approach to the harpsichord. Or maybe Jimmy Durante? No, the Schnoz was subtler. Learn how your comment data is processed. Skip to content December 18, August 5, arioso7: Play through on the Steinway grand: Previous post A taboo subject: Leave a Reply Cancel reply Enter your comment here Fill in your details below or click an icon to log in: Email required Address never made public.
The visit resulted in Das Musikalische Opfer , parts of which may have been intended for the new instrument. Several of Bach's works for keyboard were published in print in his own lifetime. Bach was not the first to use that name, for example Bach's Leipzig predecessor Johann Kuhnau had used it for two volumes published in the late 17th century. The first volume, Bach's Opus 1, was published in , while the last was published a decade later. The first, second and last volume contain music written for harpsichord, while the third was written for the organ, only four duets contained in that volume ending up in the BWV — range.
The Well-Tempered Clavier , a collection of forty-eight Preludes and Fugues , was not printed until half a century after Bach's death, although it had circulated in manuscript form before that. Before the extensive rediscovery of his works in the nineteenth century, Bach was known almost exclusively through his music for the keyboard, in particular his highly influential Well-Tempered Clavier, which were regularly assigned as part of musicians' training.
Modern composers have continued to draw inspiration from Bach's keyboard output. Dmitri Shostakovich , for example, wrote his own set of Preludes and Fugues after the Bach model. Jazz musicians and composers, in particular, have been drawn to the contrapuntal style, harmonic expansion and rhythmic expression of Bach's compositions, especially the works for keyboard.
The first section below lists all compositions in the BWV — range, then follows a section listing other compositions for keyboard instruments, excluding the organ. After the composer's death most of his keyboard compositions, and many others, are, or were, often performed on the piano , played either directly from a score for the instruments as the composer knew them, or from a score that was a transcription for piano. The latter is sometimes needed even for harpsichord scores while for instance a composition intended for a two-manual harpsichord like the Goldberg Variations can present difficulties for the crossing of hands when performed on a single-keyboard instrument like the piano.
The fourth section of this list refers to such transcriptions and arrangements for the piano.