Johann Sebastian Bach (1685-1750)
Inventions BWV 772-786 (1720-1723)
Sinfonias BWV 787-801 (1720-1723)
Inventions/Sinfonias BWV772a, 789, 790,793,795,797,799 (embellished versions)
Yuan Sheng (piano)
rec. 2023, Beijing Film Academy Recording Studio, Beijing, China
Piano Classics PCL10327 [69]
Like countless hopeful pianists stuck somewhere around Grade 5¾, I have battled my way through the complex counterpoint of a few of Bach’s Inventions and Sinfonias. Among the tyros, the conventional wisdom or the word on the street is that the Inventions are easier or less daunting to play than the Sinfonias. In fact, only a handful of the former are within the gift of the determined amateur. And even then, there is an enormous difference between simply plonking out the notes and giving a calculated performance that fully respects Bach’s genius.
Bach wrote the fifteen two-part Inventions and the fifteen three-part Sinfonias for his son Wilhelm Friedemann. The original titles were Praeambulum and Fantasias, respectively. Bach later revised them into a unified cycle arranged in ascending keys. The famous Bach scholar Spitta wrote: “The form of the Sinfonias in their barest outline is founded on that of the Italian instrumental trio, as settled by Corelli and diligently cultivated by Albinoni, Vivaldi, and many others: it had also become widely known throughout Germany.” In his view, the Inventions “have a remote resemblance to the form of the Italian [Da Capo form] aria”.
Bach stated that his overall ambition was to “show a plain way to lovers of the clavier to play clearly and well in two and three parts, and to attain above all to a cantabile manner of playing”.
I remember the introduction to an edition of Bach’s Inventions and Sinfonias that I once owned. It said that playing them well is not simply a matter of technical skill. The greatest challenge lies in the way Bach writes several independent parts at once. Each line needs to speak clearly, like people talking together rather than merging into a vague wash of sound. The rhythm must carry the music forward with steady momentum, but it should never sound mechanical: players must avoid the “sewing-machine effect”. The music needs room to breathe.
In terms of touch, Bach’s style often calls for notes to be played with a light separation rather than smoothly joined, though one plays legato when the phrase demands it. Ornamentation – those pesky trills, mordants and turns woven into the melody – must be added with historical accuracy, precision and taste, to become part of the expressive fabric rather than mere decoration. Above all, each Invention and Sinfonia has its own mood and personality: there is a danger that they all begin to sound alike. A successful performance makes the music feel alive and integrated. In this way, the player moves beyond mere execution of notes to discover the deeper structure and dramatic power that make these pieces such enduring treasures.
Yuan Sheng’s performance satisfies these criteria. His playing is restrained, clear and nuanced – a style that critics say reflects his training under the celebrated Bach specialist, Rosalyn Tureck. Sheng uses the modern piano’s tonal palette and mechanical articulation without compromising the integrity of the Baroque style.
As added value, Sheng has included embellished versions of seven selected Inventions and Sinfonias. These are likely to be based on historical variants found in 18th-century manuscripts, specifically those by Bach’s student Heinrich Gerber.
Yuan Sheng was born in Beijing. He began piano lessons with his mother at the age of five. He went on to study at the Central Conservatory of Music before continuing his training at the Manhattan School of Music, where he completed Bachelor’s and Master’s degrees. He has won prizes at international competitions in Marsala, Erice, Jaén and Havana, and in 2004 received the Artist International’s Rubinstein Memorial Award. He debuted at Carnegie Hall’s Weill Recital Hall. Since then, he has performed worldwide, and collaborated with leading orchestras and conductors. He teaches at the Central Conservatory of Music in Beijing, his alma mater.
Raymond Erickson’s liner notes give a major essay on the Inventions and Sinfonias from a historical and analytical perspective. They conclude by reminding us that these works should not be viewed simply as instructional pieces. This music deserves a place on the concert stage more prominent than in presently enjoys.
John France
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