Inventions and Symphonies BWV 772 - 801 Two and Three Part Inventions 巴赫約翰‧瑟巴斯提安 創意曲 創意曲 鋼琴獨奏 維也納原典版
翰-塞巴斯蒂安-巴赫的 "發明曲 "和 "小品"，也就是人們熟知的 "二部曲 "和 "三部曲"，是作曲家鋼琴課教學曲目中不可或缺的一部分。現在依然如此！對於鋼琴學生來說，他們無法擺脫這些曲目，因為這些曲目的基本要求，即 "學會按調子彈奏 "和 "達到康塔貝風格"，仍然有效。新版維納Urtext版一直沿用巴赫的親筆簽名版本。從巴赫學生的複製品中選取的裝飾音版本單獨印刷，以深入瞭解巴赫的裝飾音；刻意避免了不同版本的混合。通過示例，對如何實現第 5 號小交響曲的裝飾符號提出了建議。詮釋注釋和評論意見提供了有關演奏實踐的更多資訊。這些注釋和評論為演奏實踐提供了更多方面的資訊，可被視為建議和鼓勵，以研究那些尚未落實到最後細節的作品，從而為教學開闢廣泛的創造性可能性"
作曲家: Bach, Johann Sebastian
編者: Leisinger, Ulrich
校訂者: Jonas, Oswald
樂器: piano
出版社: Wiener Urtext Edition
曲目:
Contents - Preface - Notes on interpretation - Facsimilia - Inventions - Two part Inventions - Inventio 1 BWV 772 Earlier Version - Inventio 1 BWV 772a Later Version - Inventio 2 BWV 773 - Inventio 3 BWV 774 - Inventio 4 BWV 775 - Inventio 5 BWV 776 - Inventio 6 BWV 777 - Inventio 7 BWV 778 - Inventio 8 BWV 779 - Inventio 9 BWV 780 - Inventio 10 BWV 781 - Inventio 11 BWV 782 - Inventio 12 BWV 783 - Inventio 13 BWV 784 - Inventio 14 BWV 785 - Inventio 15 BWV 786 - Sinfonias - Three part Inventions - Sinfonia 1 BWV 787 - Sinfonia 2 BWV 788 - Sinfonia 3 BWV 789 - Sinfonia 4 BWV 790 - Sinfonia 5 BWV 791 - Sinfonia 6 BWV 792 - Sinfonia 7 BWV 793 - Sinfonia 8 BWV 794 - Sinfonia 9 BWV 795 - Sinfonia 10 BWV 796 - Sinfonia 11 BWV 797 - Sinfonia 12 BWV 798 - Sinfonia 13 BWV 799 - Sinfonia 14 BWV 800 - Sinfonia 15 BWV 801 - Appendix - Embellished Versions - Inventio 7 BWV 778 - Sinfonia 3 BWV 789 - Sinfonia 4 BWV 790 - Sinfonia 7 BWV 793 - Sinfonia 9 BWV 795 - Sinfonia 11 BWV 797 - Sinfonia 13 BWV 799 - Suggestion for the execution of Sinfonia 5 BWV 791 - Critical Notes
Johann Sebastian Bach’s Inventions and Sinfonias, better known as two- and three-part inventions, were an integral part of the teaching repertoire used in the composer’s piano lessons. And they still are! For piano pupils, there is no getting away from them, for their basic demands, that is ‘to learn to play in tune’ and ‘to achieve to play in a cantabile style’, are still valid. The new edition of the Wiener Urtext Edition follows consistently Bach’s autograph fair copy. Ornamented versions from copies by Bach’s pupils providing an insight into Bach’s ornamentation have been printed separately; any mixing of the different versions has been deliberately avoided. A suggestion has been made, by means of an example, for the realization of the ornament signs of Sinfonia No. 5. The notes on interpretation and the critical remarks provide information on further aspects of the performance practice. They are to be considered as suggestions and encouragement to study works the execution of which had not been laid down to the last detail, thus opening up a wide range of creative possibilities for teaching.