Two-part Inventions BWV 772-786 for Piano Cover Image

Two-part Inventions BWV 772-786 for Piano: Piano (Solo)

$11.95 USD
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Two-part Inventions BWV 772-786 for Piano Cover Image
Two-part Inventions BWV 772-786 for Piano: Piano (Solo)

Two-part Inventions BWV 772-786 for Piano: Piano (Solo)

By Johann Sebastian Bach / ed. Ulrich Bartels

Item: 98-EP11242
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Description
Urtext edition of Bach's Two-part Inventions for piano (BWV 772-786), edited by Ulrich Bartels. The 15 Two-part Inventions were practical pieces written for instructional purposes and Bach's autograph manuscript of 1723 contains a preface by the composer himself, in which he lays out his intentions for the works. He stresses the importance of "achieving a cantabile style of playing", showing that these were not conceived merely as technique exercises but as works of art that should be played expressively.

This Urtext edition by Ulrich Bartels presents an authoritative musical text for this core piece of piano repertoire, incorporating the latest research and referring to Bach's original 1723 autograph. 

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Additional Details
Series: Edition Peters
Publisher: Edition Peters
ISBN10: 0-01-411126-8
ISBN13: 979-0-0141-1126-7
SKU: 98-EP11242

More about this title

About the Composer: Johann Sebastian Bach

Johann Sebastian Bach (1685, 1750) shaped keyboard music as we know it. His systematic exploration of musical forms, fugues, inventions, variations, suites, established templates that composers still follow. Bach wrote the Two-part Inventions as teaching pieces, yet they contain the same intellectual rigor and expressive depth that define his greatest works.

For music educators, Bach matters because his music trains the ear and hand simultaneously. Students who work through these inventions learn to think polyphonically, to balance independent lines, and to hear harmony as a consequence of melodic writing rather than a layer imposed on top of it.

Why we love this

These 15 inventions occupy a unique pedagogical space: they're genuinely rewarding to play while being intellectually honest. Bach's own preface about achieving a cantabile style pushes students beyond mechanical finger work into real music-making. This Urtext edition anchors students to Bach's original intentions, letting them experience the pieces as he conceived them rather than through layers of editorial interpretation.

What to expect

Two voices weaving in and out of each other, sometimes racing ahead, sometimes holding back, always equal partners in a conversation. The texture is transparent and direct; every note matters because there's nowhere to hide. Playing them brings a clarity that can feel almost meditative once the fingers find their way.

Who it's for

Intermediate to advanced pianists building contrapuntal literacy and expressive control. These inventions suit students preparing for music theory exams, those exploring Baroque keyboard writing, or pianists looking for repertoire that challenges musicianship without requiring virtuosic flash.

How to get the most out of it

  • Shape each voice as if it were a separate melody, even when one hand carries both parts. The listener should hear two singers in conversation, not a melody with accompaniment.
  • Listen for where the two voices exchange or mirror ideas; these structural moments deserve subtle emphasis so the architecture becomes audible.
  • Work out the harmonic implications before worrying about tempo. Knowing where tension and resolution sit will make the phrasing decisions easier.
  • Resist the urge to speed up. Many students play these faster than Bach would have intended; a moderate tempo reveals the counterpoint more clearly.

How to use it

These inventions fit naturally into a student recital showcasing Baroque exploration, either as standalone pieces or clustered in a Bach-focused group. They also anchor a practice sequence leading toward the Three-part Inventions or a broader survey of Bach's keyboard output.

Skills your students will build

  • Voice independence and equal importance of melodic lines
  • Reading and executing contrapuntal textures
  • Cantabile phrasing without pedal support
  • Recognition of subject statements, answers, and episode structures
  • Harmonic clarity through linear thinking rather than chord-based analysis
  • Baroque articulation and ornamentation practices

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