Bach Inventions
RELEASED: July 5, 2020
ARTIST: Rosalinde Haas
PRODUCER: Michael Krams
Max Reger – Schule des Triospiels, Rosalinde Haas, harpsichord

Bach’s two part inventions, in two versions: an arrangement by Max Reger (with added third voice), and the original, on clavichord – ordered with a twist: B-a-c-h… Number One in Yellow Frame
Published on Jul 16, 2017
Johann Sebastian Bach – Two voiced Inventions. BWV 772-786
Max Reger – Schule des Triospiels.

To download:…

We present each of Bach’s inventions in two versions:
1. in Reger’s arrangement, with added middle voice, on a Neupert Blanchet pedal harpsichord
2. Bach’s original version, on a Sperrhake clavichord

ordered with a twist:
B – a – c – h – Es – d – f – e – F – E – G – C – A – D – g
14-13-2-15 – 5 – 4 – 9 -7- 8 – 6 -10 – 1 – 12 – 3 –11

Rosalinde Haas (2017): “20 years ago I recorded Reger’s arrangements of Bach’s Inventions on the organ. Great instrument (Albiez), great recording (Dabringhaus & Grimm), great acoustics: a rapture of sound. Here we are on to something quite different. The objective: total concentration on polyphony and transparency of sound. That’s the thrill in playing the ‘Inventions’ on a harpsichord. My role model: a string quartet or trio, where you can clearly listen to each voice and how each voice interacts with the others. No flattery of sound. The result: uncompromising honesty. On the Blanchet harpsichord, with three voices (1st and 2nd keyboard, pedal), there is no possibility to hide anything. Each and every smallest movement of muscle translates into a particular articulation of motives and themes. Same on the pedal: if you do anything more than barely touch the pedal keys, you immediately create bangs and noises… ”

Max Reger (1903) used Bach’s two voiced inventions to create a “Schule des Triospiels” (an instruction on how to play in three voices): 15 two voiced inventions by Johann Sebastian Bach. Max Reger added a third voice, the third voice “mainly imitating in a free manner, written to enhance the sense of polyphony… The objective is to achieve absolute independence of the two hands of each other, as well as of the voice played by the feet… The right hand always leads with the original upper voice, the pedal always plays the lower voice. The left hand adds the newly composed third voice on the 2nd keyboard.”

Johann Sebastian Bach (1723): “Honest method, by which the amateurs of the keyboard –especially, however, those wanting to learn – are shown a clear way not only (1) to learn to play cleanly in two parts, but also, after further progress, (2) to handle three obligate parts correctly and well; and along with this not only to obtain good inventions (ideas) but to develop the same well; above all, however, to achieve a cantabile style in playing and – at the same time – acquire a strong foretaste of composition.”

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