The fifteen two-part Inventions and the fifteen three-part Sinfonias were written for JSB’s son Wilhelm Friedemann between 1720 and 1723. They were originally titled Praeambulum and Fantasias, respectively. Bach later revised them into a unified cycle arranged in ascending keys. The famous Bach scholar Spitta explains, "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." Whereas, 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 reading in the introduction to an edition of Bach’s Inventions and Sinfonias that I once owned, 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 legato is used 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, becoming 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 characterised by a restrained, clear, and nuanced approach - a style that critics see as reflecting 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 on this disc, 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 where 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 both bachelor’s and master’s degrees. Sheng has won prizes at international competitions in Marsala, Erice, Jaén, and Havana. In 2004, he received the Artist International’s Rubinstein Memorial Award, debuting at Carnegie Hall’s Weill Recital Hall. Since then, he has performed worldwide, collaborating with leading orchestras and conductors. At present he teaches at the Central Conservatory of Music in Beijing, his alma mater.
The liner notes, by Raymond Erickson, provide a major essay on the Inventions and Sinfonias from a historical and analytical perspective. They conclude by reminding the listener that they should not be viewed simply as instructional pieces but as music deserving a more prominent place on the concert stage than they presently enjoy.
Track Listing:Johann Sebastian Bach (1685-1750)
Inventions BWV 772-786 (1720-23)
Sinfonias BWV 787-801 (1720-23)
Inventions/Sinfonias BWV772a; 789; 790;793;795;797;799 (Embellished versions).
Yuan Sheng (piano)
rec. 12-13 August 2023, Beijing Film Academy Recording Studio, Beijing, China.
Piano Classics PCL10327