Inventions and Symphonies BWV 772 - 801 Two and Three Part Inventions 巴赫约翰‧瑟巴斯提安 创意曲 创意曲 钢琴独奏 维也纳原典版
翰-塞巴斯蒂安-巴赫的 "发明曲 "和 "小品"，也就是人们熟知的 "二部曲 "和 "三部曲"，是作曲家钢琴课教学曲目中不可或缺的一部分。现在依然如此！对于钢琴学生来说，他们无法摆脱这些曲目，因为这些曲目的基本要求，即 "学会按调子弹奏 "和 "达到康塔贝风格"，仍然有效。新版维纳Urtext版一直沿用巴赫的亲笔签名版本。从巴赫学生的复制品中选取的装饰音版本单独印刷，以深入了解巴赫的装饰音；刻意避免了不同版本的混合。通过示例，对如何实现第 5 号小交响曲的装饰符号提出了建议。诠释注释和评论意见提供了有关演奏实践的更多信息。这些注释和评论为演奏实践提供了更多方面的信息，可被视为建议和鼓励，以研究那些尚未落实到最后细节的作品，从而为教学开辟广泛的创造性可能性"
作曲家: Bach, Johann Sebastian
编者: Leisinger, Ulrich
校订者: Jonas, Oswald
乐器: 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.