Order to learn Bach pieces

Hi,

Although I was first introduced to Bach's Two-Part Inventions as a youngster, I have recently returned to learning. I am certainly enjoying them much more this time around! I read that Bach presented these to his students in the following order: C, Dm, Em, F, G, Am, Bm, Bb, A, Gm, Fm, E, Eb, D, Cm. Does anyone know if the same order holds for the Three-Part Inventions (Sinfonias)?

On a related topic, I recently visited a friend who had the Well-Tempered Clavier Books I & II edited by Bartok, where the Preludes and Fugues were ordered by difficulty. Unfortunately, I didn't write down the order at the time. Does anyone else have the edition who can share the supposed order of difficulty?

Any information would be appreciated,

This does not seem to be the way they were published. The scheme is easier, C, c minor, D, d minor, E b, E , e minor, and so forth. The 3 part sinfonias follow the same scheme.

For what it's worth, I learned the one in C first, then tried the Bb and kind of broke my neck a bit, so I chose Dm, which is now coming along nicely and which also happens to be second on your list. I will consider doing the Em next.

I guess the OP rather asked for somehting like an order of difficulty. I can't tell from my own experience, but the list I have here from rmmp is exactly the order that Christopher stated. The order of publishing on the other hand is as you mentioned (at least in my edition).

Bye, Christof

With the two-part inventions my teacher started me with Bflat first and then F major, then A minor, after that I can't remember the others.

Elena http://www.concertpianist.com

Mark,

Thanks for your reply. The order you describe is (I read ) the order they appeared in the Autograph of 1723. I read in the Alfred edition that the order I described was how in which they were presented to his son Wilhelm Friedermann:

'The first three Two-Part Inventions (C major, D minor and E minor) are based on scales or portions of scales; the next three (F major, G major and A minr) are derived from broken chords. The next (B minor) uses a combination of both ideas, but emphasizes contrapuntal development, and is, essentially, a two-voice fugue. The pieces that follow, in descending order of keys, continue to show that Bach was a well-organized teacher.'

(Hopefully the publisher will overlook my plagiarism of the text given the following endorsement...) The Alfred editions of Bach are full of in-depth information like this, and have really rekindled my interest in Bach's keyboard music! Does that give you more insight into the Inventions? It sure did for me!

Chris, thanks for your reply. I hadn't read that passage before. When I sit down to play the Inventions, I play through all of them. I love them. I think they are the essence of Bach.

Elena, you are a professional concert pianist. You CAN'T REMEMBER the other ones? Didn't you like them? As a whole work, they are great music. I play through all of them at least once a week. The 3 part ones, also. To digress, do you play any Cabezon, Cabanilles, Seixas, Soler or Scarlatti? Just curious.

Haven't played them since I was 11. I think I did the C major one at some point and didn't like it (this was back then, of course, now I like them all). You've just reminded me that I did play a couple of Scarlatti Sonatas.

When I was a youngster my teacher had to tread on eggshells with me (is this just a Spanish saying?) to keep me happy so I wouldn't quit, the result was a lot of music by some composers and virtually none of others, as is evident from the repertoire page in my website. It wasn't until I went to NEC that I began expanding my knowledge and rounding out some of those holes. Anyway, I'm perfectly happy to recognize that Bach, Mozart and Scarlatti are not my fortes, much as I like to listen to them, and play them for my own personal enjoyment. I'm much more in my element with Rachmaninoff, Beethoven, Brahms, Ravel, Debussy, Prokofiev, Bartok, Stravinsky and most contemporary music.

I have not played Cabezon, Cabanilles, Seixas, or Soler. I'm actually not acquainted with the first 3, are they early Spanish as well? I learn something new every day.

Elena http://www.concertpianist.com

I can't see any problem with walking on eggshells. On the other hand, walking on eggs , without making an omlette, might be difficult (unless , of course, you practiced your daily Czernys)

Brendel did not play Bach until his 'advanced' years.

Horowitz did not play Mozart until he was 'ripe'

Nobody plays Scarlatti....

I see... kids stuff....

No, they are late OstroGoths

As we say here, in Tierra del Fuego, today is the first day of the rest of your life ....

Cabezon and Cabanilles are 17th century. Seixas and Soler are 18th century. All Iberian.