Analysis of Bach's invention in C major. Stylistic analysis of I.S. inventions

The original version of the two-voice inventions called « preambulum» (preludes) was placed by J. S. Bach in the “Notebook of W. F. Bach” in 1720. Then, having reworked these plays, J. S. Bach called them “inventions.” What is the reason for this renaming?

« Invention - a rhetorical category that denoted the section “On invention” in the doctrine of oratory. The proximity of the laws of the “art of eloquence” and the laws musical composition well known and studied in detail. In particular, in the term « invention meanings such as “discovery”, “invention”, “innovation” are emphasized. The invention genre has been known in music since 1555 (C. Janequin).

Evidence of J. S. Bach's interest in this genre can be the fact that he himself rewrote the cycle of inventions for solo violin by F. A. Bonporti (1713). The invention “was seen as a genre of discovery or something new in the old, or a new task, or new technology. The invention concealed a certain mystery, something wonderful, funny, strange and whimsical, as well as skillful, dexterous, cunning, skillful, sophisticated and masterful. The invention was part of the “poetics of the miraculous.” In the inventions, tasks were set and riddles were solved, instructive tasks and funny riddles. To teach and find - these didactic and entertaining goals, sharpening the natural abilities of a witty mind, were emphasized in every possible way" [Lobanova M. Western European musical baroque: problems of aesthetics and poetics. - M., 1994., p. 46-47].

V. Golovanov writes about this property of the genre in his work: “The very name of the cycle - inventions - must be understood as riddles that Bach gave to his students to solve” [Golovanov V. Structural and polyphonic features of J. S. Bach’s two-voice inventions. - M., 1998., p. 85-86]. F. Busoni, in the preface to the edition of the inventions, wrote: “The artist in his creation followed a well-thought-out plan.... Each individual combination contains its own secret and its own certain meaning» [ Busoni F. Preface to the collection: J. S. Bach Inventions for piano. - M, 1968, p. 10].

In terms of melodic similarity - Alta Aria in F-sharp minor (B-do#-re-do#-B-A#), in the aria there is the second phrase. Aria’s words are as follows: “I repent, I’m sorry, sin has cut my heart, let the drops - my tears - become incense to You, faithful Jesus.” The aria is sung in response to strife among Christ's disciples over the precious fragrant oil that one woman poured on Jesus' head. Seeing this, the disciples were indignant and said: Why such extravagance? After all, it was possible to sell this oil for a lot of money and distribute it to the poor. But Jesus, noticing everything, said to them: “Why are you troubling the woman? ... Having poured incense on My body, she did this for My burial.”

By tonality, by melody (B - C# - A# - B) - Soprano Arias in B minor No. 8 (12). The words of the aria are as follows: “Heart, cry, bleed! That child that you raised, warmed on your chest, wants to let the breadwinner, the nurse appeared like a snake.” The aria is sung as a reaction to the betrayal of Christ by Judas Iscariot, who received thirty silver coins from the high priests for this.

Bach inventions

Invention

Bach compiled several collections of simple pieces from those he composed while teaching his eldest son, Wilhelm Friedemann. In one of these collections he placed fifteen two-voice polyphonic pieces in fifteen keys and called them “inventions.” Translated from Latin, the word “invention” means “invention”, “invention”. Bach's two-voice inventions, which can be performed by beginning musicians, are truly remarkable for their polyphonic inventiveness and at the same time for their artistic expressiveness.

So, the first two-voice invention in C major is born from a short, smooth and leisurely theme of a calm, reasonable nature. It is sung by the upper voice and immediately imitated and repeated in another octave by the lower one:

Bach - Invention in C Dur

During repetition (imitation), the upper voice continues the melodic movement. This creates a counterposition to the theme sounding in the bass. Next is counter-addition- with the same melodic pattern - sometimes sounds when the theme appears again in one voice or another (bars 2-3,7-8,8-9). In such cases, the counteraddition is called withheld(in contrast to unrestrained ones, which are composed anew each time the topic is taught). As in other polyphonic works, in this invention there are sections where the theme is not heard in its full form, but only some of its turns are used. Such sections are placed between topics and are called interludes. The overall integrity of the C major invention is given by the development based on one theme, which is typical for polyphonic music. In the middle of the play there is a departure from main key, and towards the end she comes back. Listening to this introduction, one can imagine that two students are diligently repeating the lesson, trying to tell each other better, with greater expression.

Bach - Invention in F major

In this play, similar in structure to the C-Major invention, big role belongs to a special technique. Following the initial introduction of the theme in the upper voice, the lower voice imitates not only it, but also its continuation (opposition). So for some time there is a continuous canonical imitation, or canon.

Simultaneously with the two-voice inventions, Bach composed fifteen three-voice polyphonic pieces in the same keys. He called them “symphonies” (translated from Greek as “consonance”). For in the old days this was often called polyphonic instrumental works. But later it became customary to call these plays three-part inventions. They use more complex techniques of polyphonic development.

The most striking example is the three-voice invention in F minor (ninth). It begins by presenting two contrasting topics simultaneously. The basis of one of them, sounding in the bass voice, is a measured, intense descent through chromatic semitones. Similar moves are common in tragic arias from ancient operas. It's like a dark voice evil rock, fate. The second theme in the middle, alto voice is permeated with mournful motives-sighs:

Sinfonia Bach №9-f minor

Subsequently, these two themes are closely intertwined with a third theme with even more heartfelt pleading exclamations. Until the very end of the play, the voice of evil fate remains inexorable. But the voices of human sorrow do not cease. They contain an inextinguishable spark of human hope. And for a moment it seems to flare up in the final F major chord.

Bach's "symphony" is also distinguished by its lyrical insight B minor (three-part invention No. 15) .

In the preface to the manuscript of his inventions and “symphonies,” Bach indicated that they should help develop a “singing manner of playing.” This was difficult to achieve on the harpsichord. Therefore, Bach preferred to use another stringed keyboard instrument, the clavichord, at home, including in classes with students. Its weak sound is unsuitable for concert performance. But, as already mentioned, unlike the harpsichord, the strings of the clavichord are not plucked, but are gently clamped with metal plates. This contributes to the melodiousness of the sound and allows you to do dynamic shades. Thus, Bach, as it were, foresaw the possibilities of melodious and coherent voice performance on the piano - an instrument that in his time was still imperfect in design. And this wish of the great musician should be remembered by all modern pianists.

Bach - Inventions & Sinfonias

Introduction.

Inventions I.S. Bach, written almost three centuries ago, are to this day an excellent, in their own way unsurpassed, source musical ideas and inspiration for everyone who is starting to get acquainted with polyphony. The truly amazing fact is that by creating these genuine artistic masterpieces musical art, Bach set himself modest “technical” tasks.

On title page facsimile edition published by the Peters publishing house in Leipzig (1933), Bach included a lengthy title: “A sincere manual in which clavier lovers, especially those who are eager to learn, are shown a clear way, firstly, to learn to play cleanly in two voices and, secondly, secondly, with further improvement, handle the three obligatory voices correctly and well, while learning not only to invent good topics, but also to develop them correctly; The main thing is to develop a melodious manner of playing and acquire a taste for composition.”

Against the background of “The Well-Tempered Clavier,” this recognized encyclopedia of images of Bach’s work, written in the same years as the two-part inventions and symphonies, the latter undeservedly remained in the shadows. Meanwhile, one cannot but agree with the opinion famous musician Alexandra Maikapara, who writes: “Even earlier, in 1722, ...Bach completed the first volume of The Well-Tempered Clavier.” No special proof is needed that the inventions and symphonies bear the stamp of the same skill as the Well-Tempered Clavier. The inspiration in the inventions and symphonies is no less than in other recognized Bach masterpieces created at the same time. Thesis about complete creative maturity Bach during the period of creation of inventions and symphonies will be completely obvious if we remember that during these years Bach created suites for solo cello, sonatas for violin and clavier, Brandenburg concertos, and many cantatas.”

In the eyes of the general musical community, Glenn Gould largely reversed the attitude towards inventions and symphonies as works that were not quite mature. Without exaggeration, his brilliant performance of inventions and symphonies demonstrated the highest artistic level of these plays.

In pedagogical practice, a certain order of studying Bach’s keyboard works has developed. In it, inventions and symphonies immediately follow Little Preludes and Fugues from Music book Anna Magdalena Bach. Thus, almost everyone who studies in music school playing the piano.

Performing polyphonic music always poses special challenges for the musician. Here it is not enough to learn the text and play all the written notes correctly - you must constantly be aware of the content of each voice: is it a theme or an antithesis, whether it sounds in its original form or in a transformed form (increased, decreased, scaled, or mirror image, etc.). Without a correct understanding of the structure of a polyphonic piece, without this continuous monitoring of the life of the voices within it, the performance is largely devoid of meaning.

The difficulty in approaching the performance of Bach's works also lies in the fact that he wrote “bare” notes, without accompanying the musical text with indications of strokes, shades, even tempos. Therefore, the performer faces the need for thoughtful analytical work, which he must do independently. Only in this case can its execution become convincing or at least competent .

Given Toolkit has three goals:

1. A brief summary of information about the history of creation, editions of J. S. Bach’s inventions and symphonies, dynamics, articulation and decoding of decorations in Bach’s works, which is contained in scattered form in various sources. The first chapter of the manual is devoted to these issues.

2.Present more or less detailed analysis several interventions in order to facilitate the work of teachers (especially beginners) with these plays. And also, in the hope that the above analysis will serve as an algorithm for further independent work to everyone who wants it.

3. Recall polyphonic techniques and principles, without knowledge of which it is impossible to comprehend Bach’s inventions. The basic concepts of polyphony and a general understanding of this subject are necessary for every musician, just like knowledge of harmony or elementary music theory.

The presented methodological manual can be used in the widest possible way by teachers of Children's music schools, secondary specialized music educational institutions in the course of piano, musical literature, methods of teaching piano and polyphony.

Chapter 1. History of the creation and edition of J. S. Bach's inventions.

The first recording of 15 two-voice inventions that has come down to us is contained in a keyboard book, which was intended for teaching J. S. Bach’s eldest son, Wilhelm Friedemann. This notebook, according to updated data, was started in 1720. It contained plays various shapes and varying degrees of difficulty, including 15 two-voice inventions. They had another name here - preambles, were arranged in a different order and differed from the now widespread version of the inventions in a number of details of the musical text. Some of the inventions in the keyboard book were written in the hand of Wilhelm Friedemann, but most of plays - by Johann Sebastian Bach himself. This autograph is currently kept in the library of the Yale University School of Music in New Haven, Connecticut (USA). Until 1932, it was in a private collection and therefore could not be widely used by researchers.

A later version of the inventions and symphonies is also known - this is an autograph from 1723, which is entirely written in Bach’s hand. Neither version was published during the composer's lifetime. This was the tradition of the time. At the beginning of the 18th century, pedagogical works were almost never published, but were distributed through correspondence. This copy, apparently, was supposed to serve as an original for subsequent copying by students - this is evidenced by the accuracy and thoroughness with which it was written.

In addition, the inventions and symphonies have come down to us in several copies made by Bach's students or members of his family. These copies sometimes provide insight into how the execution should be performed, such as embellishments or touches in cases where the autograph record is not clear enough. Some of them were made during Bach's lifetime. They are of particular value. Analyzing the description of the autographs of Bach's inventions and symphonies, it can be assumed that Bach did not finish his work, hence the inaccuracies and negligence in music text. It is possible that what we know is only one of the stages of work on this cycle of plays.

For a long time, almost to this day, all researchers of Bach’s work have discussed and are discussing the question of the meaning of Bach’s words, written by him on the title page of a notebook of 1723. Heated discussions also took place in connection with the renaming of the plays in the notebooks of 1720 into inventions and symphonies.

The term “invention” in relation to music was first used by Clement Jeannequin in 1555 in relation to chanson complex shape. Then, a number of composers used the same term, which in general is used quite rarely in relation to music. For example, it was used by F.A. Bonporti in the cycle of pieces “The World: two-voice inventions for violin and continuo”, 1714. Interestingly, Bach rewrote four of these inventions for himself.

Concept "Invention" - used in the teaching on oratory, in the section “On Invention.” As M. Lobanova writes, the invention “was seen as a genre of discovery or something new in the old, or a new task, or a new technique. The invention concealed a certain mystery, something wonderful, funny, strange and whimsical, as well as skillful, dexterous, cunning, skillful, sophisticated and masterful. The invention was part of the “poetics of the miraculous.” In the inventions, tasks were set and riddles were solved, instructive tasks and funny riddles. To teach and find - these didactic and entertaining goals, sharpening the natural abilities of a witty mind, were emphasized in every possible way.”

V. Golovanov writes about the same thing: “The very name of the cycle - inventions - must be understood as the riddles that Bach gave his students to solve.” F. Busoni, in the preface to the edition of the inventions, wrote: “The artist in his creation followed a well-thought-out plan... Each individual combination has its own secret and its own specific meaning.”

Be that as it may, the term “invention” is well known to every musician precisely thanks to the inventions of J. S. Bach. And as N. Forkel, Bach’s first biographer, wrote, an invention is “a musical structure written in such a way that an entire piece could be produced from it by imitation and rearrangement of voices.” Of course, by such “musical construction” Forkel means the theme of a polyphonic work.

It is interesting to observe how the order of inventions has changed. In the “Wilhelm Friedemann Notebook” the first half of them were located on the steps up to the major scale: C, d, e, F, G, and then on descending and altered steps in the keys of the second degree of kinship: h, B, A, g, f, E, Es, D, c. The order of three-voice inventions (called fantasies here) is similar. In the final version, Bach arranges them differently: C, c, D, d, Es, E, e, F, f, G, g, A, a, B, h. As we see, they are located this time regardless of the relationship of tonalities, simply in an ascending sequence with the filling of a number of chromatic steps. Apparently, Bach applied here - with the necessary modifications - the principle of arrangement that he had already found for the Well-Tempered Clavier a year earlier (in 1722).

In Bahama’s “message” one can discern three main tasks that he associated with the study of these plays.

1) instilling the skills of polyphonic playing, first in two and then in three voices

2) learning to play and at the same time composition skills;

3) the desire to develop a melodious, cantabile style of playing the instrument.

It is interesting to note that in the time of Bach, music education was of a synthetic nature; then a professional performer could not exist who was not at the same time a composer who could compose in various genres and forms and improvise on your instrument. Nowadays, the activity of a musician looks different. But, nevertheless, the need to develop the student’s inner hearing, his initiative and independence, activity in search of the correct performance solutions based on understanding the form of the composition - as in close-up, and in detail (the division of phrases, motives and the articulation and dynamic plan associated with this) - all this is as relevant as in the distant times of Bach.

In comparison with the relatively simple pieces from the “Note Book of Anna Magdalena Bach,” inventions place more complex demands on the student - here the polyphony is imitative, that is, both voices are equal in their role, the theme is imitated in the other voice at a certain interval. It is the associated features, such as the discrepancy in timing of reference points in the development of different voices, the beginnings and endings of the theme and counterpoints, that significantly complicate the performance, requiring extreme concentration of attention.

J. S. Bach’s thesis about the desire to develop a cantilena, melodious manner of playing the clavier requires special consideration. It is in this that one sees the manifestation of the very essence of the great composer’s music, its ability to convey deep human feelings, embody a living emotional principle. One should not completely identify the cantabile style of playing with the concept of legato. Bach’s music is characterized by such touches as legato, especially dissected, with a clear pronunciation of each tone; and, nonlegato,portamente,staccato.

The thematic nature of the inventions reveals a connection with various musical genres– dance, instrumental, vocal. Therefore, the execution of Bach's inventions in accordance with the techniques of playing the various instruments, with the very nature of the music, presupposes a well-dissected, variedly articulated touch on the keyboard.

Questions of Bach articulation studied in detail by I.A. Braudo, a professor at the Leningrad Conservatory. Based on the analysis of manuscript texts and the study of the practice of performing Bach's works, he formulated two rules regarding articulation: the eighth rule and the fanfare rule. I.A. Braudo drew attention to the fact that the fabric of Bach's inventions, as a rule, consists of adjacent rhythmic durations. It follows that if Bach has one voice in fourths and the other in eighths, then the quarters are performed with separate articulation, and the eighths are connected and vice versa. This is rule eight. Fanfare rule: the general pattern of melodic movement is that jumps alternate with smooth step-by-step movement; and when there is a large interval jump in the melody, its sounds require a change in articulation.

In a relationship speakers When performing Bach's music, it is extremely important to understand that nuanced diversity is impossible in his compositions. The dynamics are built in large formations, consistent in the same sound plane; there are logical long build-ups, bright climaxes, and juxtapositions of contrasting sections with different timbre colors. Such dynamics, determined by the architectonics of large sections of the form, are called terrace-like. This also includes instrumental, register dynamics (one voice forte, another piano). But smaller dynamics within the melody itself, based on natural intonation, are also important. Compliance with these rules requires the performer to have a well-developed musical taste and sense of proportion.

Important property Bach's style is that the work, as a rule, must maintain a single tempo, with the exception of those changes indicated by the author. In general, as regards pace, then it must be taken into account that in Bach’s time all fast tempos were slower, and slow tempos were faster.

Briefly touching on the issue of pedaling, it should be noted that using the pedal requires great care. Basically, it can only be used where there is not enough hand to connect the sounds of a single melodic line or in cadences.

Huge means of expression Bach's music - ornamentation. There is a lot of controversy around this issue. The decoding of melismas varies significantly among different performers. Bach himself included a table of decoding of a number of decorations in the “Wilhelm Friedemann Notebook”. Here it is published in the “Notebook of Anna Magdalena Bach”.

The most common Bach inventions are:

§ Grace note - most often it is performed due to the duration of the main sound and only sometimes due to the previous tone.

§ Trill - as a rule, deciphered from the upper auxiliary sound. From the main one in the following cases:

· when the upper auxiliary tone has just sounded in the melody;

· when a long trill stands over an organ point to preserve the harmonic basis;

· when the piece begins with a trill.

As a rule, the entire duration is filled with decoration. The trill can be performed in both fast and slow durations. It is important that it does not merge with the rhythm of the leading voice at that moment.

§ Mordent crossed out is always performed due to the sound over which it is placed. Consists of three sounds: main – lower auxiliary – main. Whether the move will be down a tone or a semitone depends on the structure of the dominant mode in a given episode.

§ The uncrossed mordent is a kind of short trill. It usually consists of four sounds, starting with the upper auxiliary tone. A three-voiced version is possible: main - upper auxiliary - main. It is more logical in the case when the note above which the uncrossed mordent is written already has an upper auxiliary sound in the text, as well as at moving tempos.

§ Gruppetto: upper auxiliary sound - main - lower auxiliary - main.

There are many editions of J. S. Bach's inventions and symphonies, which dealt with the problems outlined above in different ways. Let's look at the most famous of them.

Edited by K. Cherny, a prominent representative of the era of romanticism, one of the features of which is the flourishing of virtuoso art. His edition of Bach's inventions contains a clear exaggeration of tempos, undulating dynamics, and a passion for continuous articulation. At the same time, there is also a lot of convincing in it. In particular, the desire to reveal the melodious capabilities of the instrument, which fully corresponds to the author’s intention.

Perhaps the most common and widely recognized is the edition of the famous musician F. Busoni. Its indisputable advantage is the large accompanying explanatory texts, in which much attention is paid to the analysis of the form and structure of each work. Busoni's edition is much more detailed, thorough and artistically meaningful than Czerny's edition. He uses terrace-like dynamics, includes explanations of all the decorations in the text, indicates in detail the shades and fingerings, and reveals the character of the work. His interpretation is distinguished by masculinity, energy, and breadth of dynamics. In general, it is closer to our ideas about Bach's style. But sometimes, in his desire to reveal the courageous principle in the composer’s work, Busoni loses his sense of proportion. Sometimes he exaggerates the meaning of nonlegato. It is also not entirely convenient that all the decorations are included directly in the text, because ornamentation is the area that allows freedom, and one interpretation, even by a major specialist, is often not the only possible and best in a particular case.

The edition of L. Roizman is widely used in educational practice. This is an instructive pedagogical edition. In it, the editor actively reveals the melodious beginning, makes extensive use of various articulations of voices in accordance with the rules of “fanfare” and “eighth”. This edition traces careful attitude to all surviving Bach notations and wishes.

In A. Goldenweiser's edition, the capabilities of students are not sufficiently taken into account. Decoding the decorations is too complex in terms of tempo; the fingering does not always correspond to the capabilities of a child’s hand. A. B. Goldenweiser first of all sought to provide the author’s text verified according to the original source. This was important because Czerny's widespread version contained a number of textual inaccuracies, including incorrect notes. In this edition, the fingering is written out in detail and a description of the decorations is given. The nature of the execution is indicated in general terms.

The textual editions include the edition of S. Didenko. In it, the author, based on exact manuscripts, collected the author's instructions regarding dynamics, articulation, and tempos. And also, I summarized this material and tried to find general patterns characteristic of Bach’s style.

6 inventions were edited by I.A. Braudo, which he placed in the “Polyphonic Notebook of J.S. Bach.” This notebook is preceded by a meaningful introductory article and interesting comments. Overall, this is a very good instructional edition. On its basis, you can get acquainted with the principles of terrace-like and melodic dynamics. In addition to the fact that each voice has separate dynamic letter designations, in full– the dynamics of an entire section are indicated throughout the fabric. Also, in this edition special symbols are used that indicate the structure of the motifs.

The edition of L. Hernadi (Hungary) is very valuable, but unfortunately not yet widely used. It consists of two notebooks. One contains the original Bach text, where apart from the fingering there are no notations. The other contains the author's methodological comments on each invention. Correspond to the modern understanding of the author’s position on issues of tempo, dynamics, and articulation. Hernadi gives a very detailed analysis of the form, finds and explains all controversial places, gives a lot of practical advice, additional exercises for overcoming polyphonic and technical difficulties, fingering options and decoding of decorations.

IN Lately In our country, the edition of the famous musician, harpsichordist, organist, and musicologist A.E. is also becoming widespread. Maikapara. He also in more detail analyzes the form of each invention, provides their diagrams, accompanying the plays with interesting comments. Bach's text is shown in black, the editor's instructions are given in red.

Chapter 2.

Studying and working on polyphonic music is one of the most difficult areas of education and training for students already with junior classes Children's Art School and successfully influences overall musical development. Meaningfulness and melodiousness are the key to the artistic performance of Bach's music. And this skill is developed from the first lessons: the student’s maximum attention to the quality of the piano sound, even if he is given an exercise, scale or etude.

The student should feel any change in the strength of sound as a natural necessity arising from the development of the muses. phrases: increasing dynamics towards the culminating sound of a phrase, weakening sonority towards its end, as in colloquial speech. From the first steps, the student’s attention is focused on a melody, which he first sings expressively, and then learns to also “sing” expressively on the piano.

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OPEN LESSON PLAN

“Intonation and stylistic features of J. S. Bach’s inventions using the example of analysis of two-voice invention No. 13”

piano teacher

Kruglova Elena Ivanovna

MBOU DO "Nizhnesortymsk Children's Art School"

Surgutsky district

OPEN LESSON on the topic:

Intonation and stylistic features of J. S. Bach’s inventions using the example of analysis of two-voice invention No. 13.

Lesson Plan

Introductory part:

The main goal of studying a polyphonic work.
Analysis and advantages of the edition of Ferruccio Busoni “Inventions” by I.S. Bach.
Stages of image-representation formation.
Tasks in the study of polyphonic pieces.
Ways to work on two-voices for the development of polyphonic hearing.

Work and analysis of two-voice invention No. 13.
Conclusions, discussions.

Studying and working on polyphonic music is one of the most difficult areas of education and training for students already from the junior grades of the Children's Art School and successfully influences the overall musical development. Meaningfulness and melodiousness are the key to the artistic performance of Bach's music. And this skill is developed from the first lessons: the student’s maximum attention to the quality of the piano sound, even if he is given an exercise, scale or etude.

Instill a meaningful attitude towards legato means, first of all, to teach how to listen to extension (that is, to hear the sound at the moment the finger presses the key, and after that to hear the continuation of the sound “flowing from under the finger”). The expressive and melodious performance of single-voice melodic songs is subsequently transferred to the combination of two of the same melodies in light polyphonic pieces. It is important that from the very beginning of work, when the student plays with each hand separately, he hears not only the combination of two voices in the ensemble, but also their different colors. Based on the material of canons, fuguettes, and inventions, often built on the basis of folk songs, children perceive with natural spontaneity the elementary structure of imitative two-voices. The difficulty of mastering imitative polyphony is explained by the whole nature of this music, the voices of which are independent, often equal in their musical and semantic meaning, musical structures are less clearly divided, and the melodic movement of the voices is characterized by continuous fluidity.

the main objective studying a polyphonic work - development musical thinking student. Polyphonic thinking is the ability to hear in one’s mind the parallel sound of two or more voices, an indicator of a musician’s skill.

Analysis of Ferruccio Busoni's edition of “Inventions” by I.S. Bach

In contrast to the edition of Bach's inventions by composer K. Czerny (1840), F. Busoni's edition (1891) is much closer to the performance XVII style- XVIII centuries

The etude-mechanical stamp, characteristic of K. Czerny’s edition, is visible V

exaggeratedly fast tempo indications;
abuse of continuous legato;
preoccupation with frequent slowdowns of tempo, artistically unjustified;
the absence of all the richness of phrasing;
lack of dynamic contrasts and abuse of moving shades within phrases.

Ferruccio Busoni. The priority of this talented musician lies in the fact that, along with F. Mendelssohn, he rediscovered (after a long period of oblivion) the genius of J.S. Bach. Both romantic composers did everything to make the name “BACH” shine unfading a star on the musical horizon of “all times and peoples.” F. Busoni owns a number of transcriptions of Bach’s works: chorale preludes, organ preludes and fugues, toccatas.

The editions of “15 two-voice inventions” and “15 three-voice inventions”, as well as “The Well-Tempered Clavier”, according to Busoni’s plan, were to form a “Higher School of Piano Playing”. This is a colossal work and only such a versatile musician, teacher, art critic and scientist as F. Busoni could do it.

What advantage of the editors of Busoni's Inventions?

He supplied the collection of "Inventions"executive instructions:phrasing, dynamics, fingering, deciphered decorations.
Gave extensive form analysis notes. By studying Busoniev's version, the performer receives a lesson in composition and form-building, which corresponds to the wishes of I.S. himself. Bach. In his preface to the inventions, the composer writes: “The true manual... offers a clear way not only to learn to play two voices, not only to get acquainted with good inventions, but also to master them decently.” develop , and most importantly - to achieve a melodious manner in the game.” From these words of his it is clearly clear that for I.S. Bach's basis for polyphony is melody , i.e. vocal start, cantilena , but at the same time various typesspeech recitation. This is confirmed by his works for choir, solo vocal works, musical texture which are completely permeated with polyphonic “patterns”.

In Busoniev’s edition, leagues, dots, accents, pauses, grouping of durations - everything is aimed at expressive “singing” of the melody, revealing figurative and emotional content inventions

The main intention of these notes is to establish a performing style characteristic of the great master’s music, a courageous style, alien to pretentiousness.

Fingering Busoni's instructions are varied: he gives several fingering options. His notes are aimed at reviving what was widespread in the 17th century. Technique of shifting fingers (for example, from 5th to 4th; from 4th to 3rd, etc.)

Formation of image-representationin work on polyphonic work includes several stages.

Stage 1 - definition artistic form works: the nature of the sound, sound production techniques. (At this stage, the main burden falls on the teacher: play, demonstration, verbal analysis).

Stage 2 – work on voices (includes intonation and articulation techniques). After the student can perform the theme in an organized manner, the question-and-answer relationship between the leader and the companion should be introduced into his understanding. Then move on to two-voice playing and get acquainted with counter-addition. Now the student can watch how the first voice to enter, having completed the topic, moves from its execution to the presentation of the counterposition. It is in the organization of the connection of two different melodies that the main technical difficulty of performance is rooted. It is very useful to play in an ensemble with a teacher, first in sections, then as a whole.

Stage 3 – connection of voices (attention to vertical hearing with the timbre uniqueness of voices). Memorizing each voice is mandatory, since work on polyphony is, first of all, work on a single-voice melodic line, saturated with its own special inner life. You need to think about it all, get used to it, feel everything, and only then begin to unite the voices.

Stage 4 – creation of a holistic piece of music. No matter how confidently a student plays with both hands, careful work on each voice should not stop for a single day. 5. From many tasks , getting in the way of studying polyphonic pieces, the main thing remains work onmelodiousness, intonation expressiveness and independence of each voice.

One of the first tasks is to understand the form of the work and the melodic material contained in it. In the general structureInventions are dominated by a three-part presentation - expositional, middle and reprisal parts. In its editionBusoni's inventions with double bar lines indicate the edges of parts of the form and even its individual episodes. For themes of developed polyphonic fabric, the presence of two interlocking expressive began . One of the main tasks of the teacher is to teach the child to use different strokes, to teach him to hear how he articulates and understand that the nature of the hand removal has its own expressive meaning. Before starting to study an intervention, it is advisable for the student to have an idea about it. It is known that by asking new play, Bach played it to his student. The first lesson should begin with an analysis of the form, thematic material, determining the nature of the piece, and choosing pianistic techniques for the desired sound.

Articulation - this is the connection and division of sounds depending on the behavior of each finger pressing and releasing the key. Speaking about dynamics, it should be recalled that all of Bach’s works were not written for the piano, but in the 18th century they were written for the harpsichord, clavichord, and organ. Dynamics on the piano in Bach's pieces should be aimed at highlighting more clearly the independence of each voice, while avoiding dynamic exaggeration. For a piece to be truly polyphonic, the student needs to understand the development and inner life individual voices.

Ways to work on two-voice for development

polyphonic hearing:

6. The student plays both voices with a restrained sound - mp , but listens very carefully to one of the voices, guiding him with his inner hearing. Experienced teacher will always hear which of the voices the student leads with his inner hearing. It’s good if there are two students in the class who play the same invention and can sing it in two voices.Two-part invention No. 13 in a minorBusoni interprets thisan invention of a lyrical-philosophical nature as a two-part one, with each part in turn divided into two sections. However, he also admits the possibility of considering it tripartite.

Stage 1 - in this invention more than in others, a harmonic basis emerges. Movement along the tones of the chords is clearly audible. Harmony is made up of 4.8 sounds. Hence the chanting of broad melodic turns. To give the sound melodiousness and softness, you should play as if caressing, stroking the keys. The invention has 4 sentences - parts. The first modulates in C-dur, in the second - after sequential deviations, modulation in e-moll. The third movement is based on diminished chords, and the fourth movement begins with an A minor return.

Stage 2 - The strokes are traditional: “eighths” – non legato , "sixteenths" - legato Pay special attention to the dismemberment of phrases where the theme begins on the second “sixteenth” after the “sixteenth” (l. p. 2 bar). After the sound “la”, the beginning of the topic must be separated.

Stage 3 – working on the vertical coincidence of voices, we begin with pulsation in “quarter notes”, then to “half notes” (main pulsation), while very close attention pay attention to the bound notes. These sounds must be mentally extended to the next strong beat, and only after hearing how the sustained sound coincides with the sound of another voice can you play further.

Stage 4 – transition involves Fluency text by heart. Without this, it is impossible to work on a sound performance. You should work a lot without tools and without musical notation, mentally creating the integrity of the sound of each part. The tempo is determined based on the continuity of the sentence, and the dynamics will appear when the parts are combined. So, the 2nd part will sound brighter than the 1st, and in the 3rd (diminished chords) there will be some hidden sound, the 4th part will be the culmination of the entire invention.In it I heard a duet of female and male voices: melodiousness, flexibility of voice delivery of their main thematic echo; different timbre colors (minor and 1st octaves).

Musical image Topics carries a charge of vivacity, a bright attitude through the elastic quarto-fifth, offensive move of the beginning Topics.

This mood, feeling is supported by dynamics mf and a clear quadruple meter. The feeling of continuous movement, fluidity supports movement from the weak beat and aspiration to the top (up to the 2nd octave). In one “breath” it sounds smoothly and directed upwards. subject in a 4-fold presentation. Except on legato I can't imagine her. Must listen topic in end-to-end development at the very first acquaintance - performance, in order to generally “draw her portrait”, to know her character in development (registers, dynamics, articulation).

Counterposition is independent melody, independent image. Subject counter-addition requires careful study, because This is the most changing element of the invention. It is purely emotional opposition that creates the image of playfulness, scherzo, thanks to wide, sharp leaps in the octave range (staccato touch). When studying counterposition with students, you need to monitor the evenness, the execution of a not very sharp staccato (close to partamento) and not allow the hand to become loose. It is useful at first to perform P. at a slow tempo with a non legato technique with good support on the mf. Then, in the process of studying the invention, come to a tempo allegro already to finger staccato, without losing support in the keyboard.

From the 3rd bar the initial presentation Topics and the counter-addition ends. Development begins Topics using various techniques, it is modified: it sounds in circulation, abbreviation, “encrypted” in arpeggiated sequences, alternately in a “female”, then in a “male” voice. Technologically achieve smooth vocal performance such Topics difficult, especially in the lower voice (left hand technique always leaves much to be desired), fingering It makes quality execution with the left hand even more difficult, since Busoni builds it on the ancient technique of “shifting” the fingers; close proximity of inconveniently combined 1 - 4; 5 - 2 fingers.

Our task, like a clavier player of the 17th - 18th centuries: “...to clearly highlight each phrase, each sound, while monitoring the smoothness of the performance.” Smoothness of performance, evenness, sound fullness of voice guidance, melodic horizontality are the most important aesthetic tasks of the performer. After all, the evenness of sound is an auditory illusion. And it is achieved through painstaking work of the auditory, pianistic, and technological apparatus, initially at a working pace, then gradually approaching the original, allegro.

We will monitor student performance in detail. Topics in 1st lessons:

Already in the original presentation Topics 1 p. “threatens to hit” weak share and stick it out, disrupting the general aspiration to the top, the 4th and 5th fingers can “fail” the sound.

Here are the techniques I try to even out the sound:

First of all, I myself periodically perform as topic, and parts of the intervention so that students develop a sound and auditory pattern.
Purely technologically, I suggest trying to collect the melodic line into intervals with simultaneous or sequential performance; then into a chord; you can use “singing” of the vertices of the phrase. Do all this in at a slow pace deep rich legato ; control the weight of the arm from the shoulder; the direction of movement of the hand is from 1 to 5 in the right hand (and from 5 to 1, respectively, in the left hand). To a more agile pace, gradually reduce the weight of the hand so that the hand does not “get stuck” in the keyboard and is calm (not shaking). All this hard work carry out with fine auditory control and then, regardless of the natural specificity of the fingers, the strength of the hands of the left and right hands, regardless of the inconvenience of fingering - the vocal performance will level out and will be equally saturated with melodious sound. This work is purposefully carried out with topic throughout the work at different dynamics.
While carefully working on the clear pronunciation of each individual sound, we must constantly remember that it is only a letter, a syllable big phrases; those. hear the phrase behind the sound. In this phrase (theme), the clear pronunciation of each sixteenth note should not obscure the unit of movement of the phrase as a half-beat due to the tendency of the movement at a fast tempo to the upper “B, C”, their more intense singing.

Along with the problem of sound evenness Topics, opposition, no less acute is the problem of figurative and emotional comprehension of phrases, their internal culminations, and the dynamic development of a duet of voices. This is simultaneously working on architectonics investments and dynamic development its motives, phrases and constructions.

The phrase is formed using living natural breathing (as in singing). The pianist's apparatus must also “breathe.” Here it is important to take into account all pauses, beats, endings of phrasing lines, accents - all signs of articulation.

It is appropriate to once again recall Meyerhold’s words that the faster the text, the clearer the “transitions - partitions” from one motive to another should be. In the invention a-moll such rapid episodes in which “transitions - partitions” in bars No. 11, 12,13 are important.

In the bass (t. 11, 12, 13), the dynamic peak of each phrase occurs on the lowest sound.Counteradditionin these episodes reaches a melodic peak, emphasized accent . Sounding simultaneously (duet) topic and anti-addition- they reach their peaks and climax points at different times. This work takes place throughout (from measures 3 to 12). In these measures, there may be a miss (“dirt”) at wide intervals of counter-addition, at the moment when the student’s attention is occupied by the topic.

Technological techniques for “preventing” misses are as follows: it is useful to assemble the counterposition into a chord, into intervals, feeling the good support and “spring” of the hand in them. It’s also good to learn the counterposition in the right hand “blindly”: then more attention can be switched to playing the theme in the bass line; in addition, the student will stop “shaking” his head, trying to visually control the upper and lower register at the same time.

It is necessary to pay attention to accents (from t. No. 5). This emphasis must be felt as overcoming a wide interval and climbing to its peak. But at first the student puts on a formal accent and it sounds unexpectedly rude and harsh. When bringing together two voices with climax points at different times, you should not overuse the indicated Busoni crescendo and accent. It is important to carry out everything with a deep, full sound without “screams” and “failures”.

General dynamic plan of investment a - moll:

Exposure - smooth dynamic sound on mf, climax smoothed out.
Development - rich gradation of shades from Piano to Forte and from Forte to subito Piano.The climax is very vivid; it is further emphasized by the 4-bar episode subito Piano.

Movable shades(creshendo) are interpreted by me as a feeling of internal emotional development phrases. This is a combination of expressive, but at the same time strict style execution. Busoni's interpretation of the dynamics is as follows: the end of 3-4 measures - the development of counter-addition in them takes place in moving shades, with an accentuated peak, syncopations. This creates a feeling of wavy shades.

But we know that moving shades are not typical for Bach’s era and, trying to maintain Busoni’s dynamics, the student switches all his attention and emotions to increasing the sound and emphasis in opposition in the upper voice. As a result, the evenness of voice production suffers. themes in the bass.

As a rule, the student begins to increase the sound immediately, too roughly and as a result subject forced to “shout out” the roughly executed counter-addition. The performance becomes noisy, chaotic, forcing the sound.

To avoid this, all episodes similar to measures from the 5th, etc. I teach with my students this way:

First of all, let's understand that subject it immediately starts from the top and our task is to give a dense, full sound from the first sound, which fades away towards the bottom sound.

Having achieved clear understanding and presentation Topics, natural aspiration of its sound, it is possible to redistribute the student’s attention to the counterposition and achieve evenness of its presentation from the lower steps to the top on Creshendo.

This way you can achieve constant auditory control over two voices with climaxes (peaks) developing at different times. But in polyphony this is the most important task - to find the peak of each voice and bring the voice to it with an evenly increasing sound with natural ease.

Conclusion

The teacher will use any methods for developing the ability to hear polyphony in increasing difficulty throughout the work on the invention. The question of the dosage of knowledge and skills presented by the teacher requires a sensitive understanding of musical and intellectual capabilities student and pedagogical flexibility. However, this applies not only to work on polyphony, but to all of our difficult but beloved pedagogical work. Introduction to the world of polyphonic music, the pinnacle of which is the work of I. Bach, is an indispensable condition for the harmonious development of a musician of any specialty, including a pianist. How close we are now to reading the keyboard music of I. Bach in its true form can hardly be answered with complete certainty.

The nature of Bach's keyboard works is such that without the active participation of the intellect, their expressive performance is impossible. They can become an indispensable material for the development of musical thinking, for nurturing the student’s initiative and independence, and the key to understanding other musical styles.

To convey to your students an interested, inquisitive attitude towards creativity genius composer and to reveal to them the artistic charm of his music is the honorable duty of a teacher. But achieving this goal is unthinkable without a solid assimilation of the fundamentals of the theory of polyphony, without knowledge of the patterns and properties musical language Bach, and also performing traditions his era.

Bibliography

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3. Braudo I.A. On the study of the keyboard works of J. S. Bach in a music school. M.: Classics, 2001. 205 p.

4. Alekseev A.D. Methods of learning to play the piano. 3rd edition. M.: Muzyka, 1978. 288 p.

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M.: Publishing house "Classics-XXIv", 2006. 144s.

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