Johann Sebastian Bach (1685-1750)
(RE)inventio
Two-part Inventions, BWV772-786 (arranged and recomposed by Chiahu Lee)
Duo Vershinina/Lee (pianos)
rec. 2023, Carole Nash Recital Room, Royal Northern College of Music, Manchester, UK
Divine Art DDV24172 [28]

These arrangements (or (re)inventions) of Bach’s fifteen two-part Inventions for two pianos stemmed from Duo Vershinina/Lee (comprising Yulia Vershinina-Mukhopadhay and Chiahu Lee) wanting to have a suitable encore after their performance of the Goldberg Variations (in the arrangement for two pianos by Josef Rheinberger). The Invention chosen for this purpose was No 8, which is apparently in “every” beginner’s repertoire. From there, there was a slow realisation that all fifteen could be similarly reworked.

Now, you did read correctly: the disc’s duration of 28 minutes is not a typo, though it should be noted that the original works are only around 20 minutes, so these re-inventions have not only added an extra piano but a significant amount of music. However, it makes for fairly poor value for money, as the CD is only somewhat discounted compared to a well-filled one.

The notes describe Chiahu Lee’s reworkings as arrangements and compositions, and within and outside the world of classical music. To help with this review, I set up a playlist that alternated the originals (as played by Angela Hewitt) with these re-inventions. It made for often fascinating comparisons, with a number where traces of the original were hard to find. For example, Lee’s D minor (No 4) has a definite jazz sensibility (as has No 7), and a much slower tempo than Hewitt’s Bach, so that they almost sound like two unrelated pieces of music, both excellent. By contrast, the two that follow (E-flat major and E major) are versions that Bach would have recognised (and applauded). So the G major (No 10) that follows the gentle E major is quite a shock. It begins as though someone has thrown a piano down a hill, full of dissonance and seemingly random notes, slowly returning to something resembling tonality by the end. The G minor has one of the pianist using the case of the piano as a percussion instrument (again, I’m not entirely enthused). The most substantial of the set at almost four minutes is No 12 in A major (another well-distanced from the original), and I think it is perhaps the most satisfying. Bach’s ordering of the pieces is slightly rejigged so that No 8, the original inspiration, is placed last. It is a delightfully playful version, retaining the flavour of the original, and I can certainly see it working as an encore. Whether one is needed after the Goldbergs is another matter though; certainly Víkingur Ólafsson, who I saw play them in Melbourne a few weeks ago, felt that one wasn’t necessary, for as he said, “Bach built an encore into the work”.

This has really grown on me with repeated listens (a couple of pieces excepted), but I fear for its commercial success because of the per-minute cost. I realise that one should focus purely on the musical qualities, but in the current economic environment, it is an issue. It may be that the success of this recording is measured by the number of times it is streamed, and that Divine Art is sufficiently encouraged to record the duo playing the Rheinberger arrangement of the Goldbergs. I certainly would be keen to hear this, as their playing is excellent. The booklet notes are limited to some brief and rather general comments by the two performers, and I would certainly have liked a little more specific information on individual pieces. The sound quality is all one could want.

David Barker

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