In the third and fourth measures of the piece, the rising fourth is expressed in the left hand as B, C, D, E and then as G, A, B, C, now rendered as eight notes instead of sixteenth-notes, hence twice as slow as at the outset. Against this figure we hear as counterpoint in the right hand the falling fourths A, G, F, E and then F, E, D, C, but now written as sixteenths, the same rhythmic pacing as the initial figure of the piece. Bach absorbs such relations into the broader rhythmic flow, leaving it to the player to nuance the interactions of the voices in dialogue. In shaping this piece, Bach supplies two internal articulations or cadences: to the dominant G major measure 7 , and to the submediant A minor measure This strategy lends to this first invention a formal contour in three parts, but a sense of development and climax is present as well.
Glenn Gould joue Bach. Sor - Six divertissements pour la guitare Opus 2. The Virtuoso Pianist. Latest Recording. Fugue Organ Sonata No.
Bach reserves a denser texture with sixteenth-notes in both hands for the passage in mm. Since this invention focuses so consistently on the interval of the fourth, Bach can effectively utilize the elongation of this pattern to the fifth—hence C, D, E, F, G—in the bass—as the springboard to the final measure, as added voices reinforce the closing sonority.
A mysterious inner causality endows even the most straightforward features of this music with a luminous quality. All of these marvelous inventions embody such ingenious musical conversations, while surveying a wide range of musical character. In the Invention No. Born in Berkeley, California in , pianist Karin Kei Nagano began studying piano at the age of three and has worked with a number of internationally celebrated pianists, including the late Germaine [ Johann Sebastian Bach.
Karin Kei Nagano. Release date March 10, Periods Baroque.
Genres Piano. Download the booklet. Buy the album. Archambault — CD.
ArkivMusic — CD. Choose your streaming platform. They spoke about it. Very beautiful […] New recordings of these works come to be rare.
John Sharon Azrieli. Find out more. Tempered Klavier.
The modern concert piano from the point of view of sound, however, has little in common with the world of Bach. The word "piano" in connection with music by J.
Bach, merely means that the composer intended the player to use any one of the instruments which have a keyboard. These include the organ, harpsichord, clavichord or, in keeping with the latest research, also the pianoforte or Hammerklavier, which Bach evidently discovered through Gottfried Silbermann, the well-known builder of organs and other keyboard instruments. If we wish to interpret the Inventions and Sinfonias or similar works by Bach so that we render a faithful account of the composer's aims from the point of view of period practices, the use of the clavichord appears to be particularly appropriate.
The clavichord reigned during the course of the century as an instrument exceedingly suitable for beginners and intermediate students of music. It was the most simple of the keyboards from a structural point of view and therefore also the cheapest and did not require any special maintenance.
It was thus much more accessible than theharpsichord, let alone the organ which, in view of its location in churches, was not comfortable to use during the winter months. Furthermore, the organ bellows had to be pedalled. The clavichord has its ancient precursor in Pythagoras's monochord which, of course, had only one string and served for measuring acoustics. It was not until the Middle Ages that more strings appeared and the instrument was given the keyboard familiar at that time from the organ.
If we hear a performance on a Renaissance clavichord today, it may help us to uncover the many mysteries surrounding period interpretation. Unlike the harpsichord or the organ, but similar to the contemporary piano, we can influence the strength of tone or musical phrasing on the clavichord by striking the keys accordingly, enabling crescendo or diminuendo, or even dynamically differentiating two or more notes played together in a chord.
Furthermore, unlike the piano, the clavichord allows us to produce gentle vibrato. The vibration of the notes, and even tuning the notes of a chord with the fingers is not possible with any other keyboard instrument. The experience which all musicians acquired at that time, thanks to the clavichord's qualities described here, necessarily paid off in their further professional life.
Thus our experiences today help us to explain even the more generally valid subtle style nuances of historical interpretation since the principles of musical expression which could be applied to one instrument could certainly be transferred, for example, to ensemble or vocal performance. The suggested virtues of the clavichord are given by the simplest possible construction of its mechanics.
In the true sense of the word, there simply aren't any.
Sinfonia No. 12 in A Major, BWV by Marcelle Meyer (piano) on Amazon Music. From the Album gestvirbhandgast.tk Three-Part Inventions (Sinfonias). October 6. sinfonias. For the earlier set of 15 Inventions (2-parts), see 15 Inventions, BWV N/!N/!N - ×⇩ - MP3 - Carolus Sinfonia in C minor, BWV • 3. Sinfonia in D Sinfonia in G minor, BWV • Sinfonia in A major, BWV • Sinfonia in . Performer Pages, Randolph Hokanson (piano). Publisher .
The string vibrates as long as the key is depressed. Then the tangent moves away and the whole string is silenced by a felt damper on the left hand side where it is secured to the main body of the instrument. The player's finger can alter the pressure of the tangent on the strings while they are vibrating, thus the measure of vibration is controlled and, in fact, also the purity of the tuning of two or more notes sounding together.