Our “Johann Sebastian Bach: Two-Part Inventions”, specially arranged for the nyckelharpa, invite you to look at Bach’s works in a new light. Originally composed as teaching material for his son Wilhelm Friedemann, Bach’s Inventions stand for music that is not only to be performed, but understood and shaped as craftsmanship. In this tradition, our additional bass part not only adds another layer to the inventions, but also encourages an experimental approach to the music.
Bach’s musical duality: the nyckelharpa as a bridge between keyboard and string instruments
Johann Sebastian Bach, a master of the keyboard, was equally adept on string instruments. His music, originally composed for the piano, unfolds a unique magic on string instruments. The nyckelharpa, an instrument that was probably forgotten in Germany in Bach’s time, wonderfully embodies the duality of his musical soul. The variety of articulation through the bow and the precision of the keyboard with its tangents make it possible to rediscover the complexity of Bach’s harmonic structures. Not forgetting the resonance strings, which make the harmonic connections even more intense.
Why play “Johann Sebastian Bach: Two-Part Inventions” on the nyckelharpa?
The nyckelharpa, once forgotten in the German-speaking world, is fascinating again today with its unique sound. The variety of its musical expression, from melody to harmonic support, makes it the ideal instrument for the performance of Bach’s music. Our arrangements of the inventions for the nyckelharpa open up new perspectives on these timeless masterpieces by taking up and expanding the musical diversity and deep emotional resonance of these compositions.
Invitation to a creative experiment
The arrangements in “Johann Sebastian Bach: Two-Part Inventions” offer a unique opportunity to explore and deepen the art of playing the nyckelharpa. By adding an additional bass part, we invite you to reinterpret Bach’s inventions and go your own musical way. This edition aims to offer musicians a framework for creative experimentation and to experience the complexity of Bach’s compositions in a new light.
For whom is “Johann Sebastian Bach: Two-Part Inventions” intended?
This publication is aimed at all those who wish to expand their musical expressiveness and immerse themselves in the fascinating world of Baroque music. Whether beginner or advanced, the arrangements are designed to be accessible for different levels of playing. They are ideal for musicians who are looking for new challenges and want to test the limits of their instrument.
Experience Bach’s inventions in a new way: The nyckelharpa opens up musical horizons
Discover “Johann Sebastian Bach: Two-part Inventions” in a completely new way with our compositions specially arranged for the nyckelharpa. Be inspired by the unique combination of melodic beauty and harmonic depth and expand your musical horizons. Immerse yourself in the world of Baroque music and experience the timeless genius of Johann Sebastian Bach’s works anew – played on one of the most fascinating instruments in music history.
Texts in German and English
VIDEO: Final concert Nyckelharpatage at Fürsteneck Castle in October 2018 (Performers: Marco Ambrosini, Jule Bauer, Anette Osann and Eva-Maria Rusche)
Bach’s inventions were originally part of his “Klavierbüchlein” for his son Wilhelm Friedemann Bach as teaching and practice pieces and were revised and rearranged in 1723.
Hardly any other composer in Western music history has the reputation of having produced such perfect and self-contained works as Bach, and not only transposing his music or altering it in detail, but even adding a completely independent voice to it, should actually be a pointless undertaking.
Judging by Bach’s own “Auffrichtige Anleitung”, he is evidently not only interested in “performing” the works he has composed, but also in “getting a strong foretaste of the composition”. This approach, essential to Baroque music, that music-making is first and foremost about understanding music as a craft that can be (co-)created, contradicts the idea, still (latently) present today from the Romantic period, of the untouchable perfection of works of genius that must be performed as “historically correct” as possible. It is worth becoming aware of the fact that we often unconsciously still carry around this romantic notion of art as something museum-like and thus view all other past epochs as if through 19th century glasses, if we do not want our alterations, transpositions, recompositions or re-compositions to be accompanied by a guilty conscience, like a sacrilege to the sanctuary.
Against this background, the additional bass part we have added is not intended to supplement anything that the original composition would lack, but rather to be understood as a kind of invitation to experiment.
In contrast to the three-part inventions, the two-part inventions stand as a bicinium between polyphonic counterpoint (which has its origins in the Renaissance), in which each voice is of equal importance, and baroque continuo, which presupposes the harmonic-vertical structure as the framework of polyphony and thus gives fundamental priority to the lower voice as the foundation of harmony. The second voice therefore has a double function in the two-part inventions: (1) as an equivalent counterpart to the first voice and (2) as a harmonic bass in the Baroque sense. The latter function is particularly evident in the cadences.
In this respect alone, the inventions are surprisingly colorful and varied: Depending on the character or compositional structure of the inventions, the addition of an extra bass part is more or less satisfying. In one invention, for example, a third voice emerges as if by itself, whereas in the other it is almost impossible to find even one possibility that functions as a bass and yet obeys all baroque part-writing rules
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The variety in Bach’s music is also noticeable in the details when composing additional works: for example, sequences of notes or recurring themes usually appear to be constructed according to the same pattern at first glance, but on second glance one often realizes that this applies to the melodic tone sequences, but not at all to the underlying harmonic scheme.
Basically, we did not start from the idea of a polyphonic three-part texture, but rather from the harmonic fields already implicitly floating “between the lines”, which are only made more audible by an explicit continuo part. The voice realized in our edition is thus of course only one possibility among countless others, whereby one should always keep in mind that every real sounding note is always also a decision that reduces the variety of harmonic possibilities contained in the music to one: By adding a continuo part, the fascinating ambiguities and the blurred transitions between the harmonic fields, which are so frequent in the two-part inventions in particular and which give the music its typical character of the undulating and yet so conclusively incomprehensible, disappear.
The multitude of harmonic possibilities is bundled into one at certain anchor points: in the (authentic) cadenzas that formally structure the pieces. There is only one possibility here, namely V – I (the bass cadence). Since the second part composed by Bach has to take over the harmonic bass function, the only possibility for our added bass part (if we do not want to interfere with the original second part) is to let the continuo run partly parallel with the second part. As far as possible, we have set the continuo part an octave lower in these cases, comparable to a violon amplification of the bass part in four-part chorale movements.
It is up to each player to understand our changes as suggestions and to continue their own research, which will certainly lead to at least one worthwhile gain in knowledge about the original.
Since the two aspects of the continuo (bass part and chords) are inextricably linked, two sides of the same coin as it were, they should ideally always be considered and played together during the performance. However, the bass part can also be played without chords to the two upper parts, but you should be aware that it only has a harmonic bass function: We have kept the melodic part as low as possible in the setting in order to make the bass part supportive but not too urgent, i.e. to keep the whole thing as simple as possible and as varied as necessary.
Similarly, a harmony-playing accompanying instrument (e.g. lute or guitar) can take over the chords without an additional bass instrument, ideally including the bass part to a greater or lesser extent depending on the technical possibilities.
A keyboard instrument (e.g. harpsichord or piano) can either play the partially transposed original parts obbligato. An experienced continuo player can use the existing original parts on the one hand and our bass part on the other to create an accompaniment which, depending on taste, is more oriented towards baroque basso continuo playing or modern chordal thinking. For reasons of clarity, we have dispensed with additional basso continuo figures.
Why play Bach’s inventions on the nyckelharpa/keyed fiddle/viola d’amore a chiavi?
In recent years we have seen a great deal of interest in the performance of early music among nyckelharpa players. Our beloved instrument, not only as a more or less historically correct reconstruction, e.g. of the so-called “sienaharpa” or the “moraharpa”, but also in its modern four-row “continental” version, and its sound fit perfectly with music from the Middle Ages to the Baroque.
Bach’s inventions have an impressive sound when played with Nyckelharpor. Some time ago, we started arranging them for our students. After improving, testing and performing them again and again over a long period of time, we finally decided to make our work accessible to the wider public through this publication.
Johann Sebastian was certainly primarily a keyboard instrumentalist, but he is also said to have been an excellent string player. Many of his works for keyboard instruments are wonderfully suited to being performed by string instruments as well, and his requirement to strive for a “cantable” kind of musical performance on the “clavier” certainly refers to the phrasing possibilities of the human voice and the wind and string instruments of his time.
The keyed fiddle, which in all probability was no longer known in the German-speaking world at the time, unites precisely these two musical souls of Bach: The bow, with its special articulation possibilities, leads through the melodic and rhythmic turns of the individual voices, the keyboard with its keys and tangents enables precise intonation, an empty string sound with every note played, and ultimately also a perhaps unique transparency in the complex harmonic structure of his works – not to forget the resonance strings of the instrument, which can serve to better sense the harmonic relationships through the longer sounding of the notes played.
This edition of the inventions is specially designed for four-row keyed fiddles in fifths tuning, although the first part can also be played by three-row instruments in traditional and fifths tuning in almost all cases.
One question that arises when arranging music for the various instruments of the nyckelharpa family concerns the use of different clefs in the score. In this case, it is a relatively new debate, stimulated by the greater prevalence of four-row instruments on the continent and rather unknown in Scandinavia. For the traditional Swedish instrument with its specific tuning, the three rows of keys and the use of the fourth string as a drone, it is not necessary to write notes that are lower than the third empty string (G). This is why the Swedish repertoire can normally also be notated in treble clef.
The four-row keyed fiddle is of course very different. How can notes be written for the keys of the fourth (low) string? In this case, we have decided to use three different notations: Treble clef, transposed treble clef and bass clef.
For the chord symbols, we have kept to an internationally generally understandable spelling (here “B” refers to the English B, i.e. the German Bb, whereas Bb stands for the German Bb) and reduced the information beyond triads and tetrachords to a minimum (where “Oif”=C half diminished, “Co”=C fully diminished). Only in the case of clear suspensions in the upper voices on the difficult time were these indicated in the chord symbol in order to prevent unintentional dissonance, e.g. “C7( 4-3)”. Of course, every performer is free to include additional lead-ins, option tones and alterations.
“Slash chords” (e.g. C/G) have been avoided in favor of clarity: If the chord player accompanies without an additional bass instrument, we suggest that they take the notated bass part into account instead. If no symbol is assigned to a bass tone, the previous one still applies.
We have arranged this edition of the inventions primarily for two keyed fiddles and continuo, not only transposing some of them, but also altering them so that the compositions sound both sensible and, in our opinion, aesthetically valuable on such instruments.
The score view (which is less intended for playing) is used to get an overview of the changes we have made.
However, other line-ups are also possible and have been considered. The parts we have arranged are of course not only suitable for keyed fiddles, but also excellent for other string instruments:
1st part
Soprano-keyed fiddle (violin tuning)
Alto-keyed fiddle
3-row traditional nyckelharpa
Treble viol
Violin
2nd part
Alto keyed fiddle (4-row in viola tuning)
4-row traditional nyckelharpa
Alto or partly tenor viol
Viola
This results in the following examples of possible appointments:
two keyed fiddles or other string instruments playing the arranged original parts
three keyed fiddles or other string instruments playing the arranged original parts and the added bass part
two keyed fiddles or other string instruments playing the arranged original parts + one keyboard instrument playing the original parts
two keyed fiddles or other string instruments playing the arranged original parts + a keyboard instrument or guitar/lute playing the chords
two keyed fiddles or other string instruments playing the arranged original parts + a continuo group playing the bass part and chords (e.g. cello/bass viol and harpsichord/lute/guitar)
We have tried to take all these different possibilities into account in our arrangements, primarily to enable a creative and pleasurable approach to this most impressive treasure of Western musical culture.
Have fun playing!
Marco Ambrosini, Caterina Other & Eva-Maria Rusche
September 2018
Content
Content
Sincere instructions – Foreword
Why play Bach’s inventions on the nyckelharpa/keyed fiddle/viola d’amore a chiavi?
Straightforward Instruction – Preface
Why should Johann Sebastian Bach’s Inventions be performed on the Nyckelharpa?
Inventio 1 (BWV772)
Inventio 2 (BWV773)
Inventio 3 (BWV774)
Inventio 4 (BWV775)
Inventio 5 (BWV776)
Inventio 6 (BWV777)
Inventio 7 (BWV778)
Inventio 8 (BWV779)
Inventio 9 (BWV780)
Inventio 10 (BWV781)
Inventio 11 (BWV782)
Inventio 12 (BWV783)
Inventio 13 (BWV784)
Inventio 14 (BWV785)
Inventio 15 (BWV786)
Text on the back of the book
Johann Sebastian Bach was certainly ostensibly a keyboard instrumentalist, but he is also said to have been an excellent string player. Many of his works for keyboard instruments are wonderfully suited to be performed by string instruments as well. The nyckelharpa, which in all probability was no longer known in the German-speaking world at the time, unites precisely these two musical souls of Bach: The bow, with its special articulation possibilities, leads through the melodic and rhythmic turns of the individual voices, the keyboard with its keys and tangents enables precise intonation, an empty string sound with every note played, and ultimately also a perhaps unique transparency in the complex harmonic structure of his works – not to forget the resonance strings of the instrument, which can serve to better sense the harmonic relationships through the longer sounding of the notes played.
Author:inside
Marco Ambrosini
Marco Ambrosini, born in 1964 in Forlì, Italy, is an outstanding musician, composer and arranger who began his musical journey in the world of classical music. He studied violin and composition and played in various orchestras and ensembles before his career took a fascinating turn.
His passion led him to the nyckelharpa, an almost forgotten but fascinating keyed fiddle. This instrument, which is a kind of violin with keys, inspired Marco, and he became one of the first to use the nyckelharpa outside Scandinavia, not only in Swedish folk music, but also in early and contemporary music.
Ambrosini is known for its artistic diversity. He has worked with renowned ensembles such as L’Arpeggiata, Oni Wytars and Supersonus and has conquered stages around the world. His talent also extends to jazz, where he has played with artists such as Michael Riessler and Jean-Louis Matinier.
With over 160 CDs recorded and released by prestigious labels such as Sony Classical, Deutsche Harmonia Mundi and ECM, Marco Ambrosini has firmly established his influence in the music world.
Marco also shares his passion and knowledge by teaching at various universities in Europe. He has also launched educational initiatives such as the European Nyckelharpa Training Course and is the artistic director of the Summer Master Classes for Early Music.
Marco Ambrosini is a world-class musician and a master of his craft. His music inspires and enriches the world of traditional music, and his influence extends across borders and ages.
Caterina Other
Caterina Other is an exceptional artist who has been immersed in the world of music since she was a child. She received her basic musical training on the violin, but her passion led her into the fascinating world of the Swedish nyckelharpa. Training at the Fürsteneck Castle Academy enabled her to discover the secrets of this unique instrument.
As a graduate of the European Nyckelharpa Advanced Training, Caterina now shares her knowledge and skills by giving courses and lessons for the nyckelharpa. Her passion for music extends to early music projects such as “bach transparent” as well as folk music with bands such as “Strömkarlen” and “Fröken Schultze”.
What sets Caterina apart is her deep connection to her own musical tradition and the way in which she lives it out in all its diversity. The nyckelharpa, a violin with 16 strings, has a very special meaning in her hands. It changes the pitch of the melody strings at the touch of a button, and the twelve additional resonance strings give its playing an unmistakable sound.
Caterina grew up in a musical family, but she made a conscious decision to follow her own musical path. After a successful career as a dressmaker in the Semper Opera and at medieval markets, a stroke of fate led her to devote herself entirely to music over ten years ago. The nyckelharpa became her new path, and she began a three-year training course that deepened her passion for this fascinating instrument.
Their music is a powerful crossover between old music and modern chanson. Caterina is a member of the Nyckelharpa Quartet and is constantly expanding her creative horizons. She is not only an outstanding musician, but also an inspiring teacher and has even introduced pupils to the art of the nyckelharpa in Dresden.
Caterina lives in Quohren near Dresden and is one of the few artists who are helping the nyckelharpa to flourish in Germany. Her music is characterized by melancholy, mysticism and mystery, and she is able to touch the soul of her listeners.
Eva-Maria Rusche
Eva-Maria Rusche, born in Tübingen, Germany, is an extraordinary artist whose life has been shaped by a fascination for playing the piano. She began learning to play the piano at the tender age of 5 and continued this passion with dedication and ambition. Her musical journey took her from Tübingen into the wide world of keyboard instruments.
Her musical training included piano, organ and historical keyboard instruments, which she studied at renowned music academies in Lübeck, Vienna and Stuttgart. Her teachers, including professors such as Jürgen Essl, Arvid Gast, Michael Radulescu, Franz Danksagmüller and Jon Laukvik, contributed significantly to her becoming a master of the keyboard. But master classes and international workshops also shaped her artistic development and gave her music a deep and varied dimension.
Eva-Maria Rusche is not only a virtuoso pianist, but also a passionate organist and harpsichordist. Her musical journey regularly takes her all over Europe, where she performs both as a soloist and as a chamber music partner with international ensembles. Whether on the harpsichord, piano, organ or pianoforte, her musicality and technical brilliance delight her audience.
Eva-Maria Rusche is also a committed music teacher. During her studies, she taught harpsichord at the Stuttgart University of Music and passed on her knowledge and passion for keyboard instruments to the next generation. In Constance, she has established herself in the areas of piano, organ and harpsichord and has been inspiring students in the areas of piano, theory, improvisation, ensemble and band playing since 2009.
Her musical versatility is reflected in her collaboration with various ensembles, including Ensemble Supersonus, Ensemble Oni Wytars, Ensemble Metamorphonica, Quatuor Ardeo and many more. Her artistic palette ranges from baroque music to contemporary interpretations. She is in demand as a continuo player and chamber musician and enriches the stage with her virtuosity.
Eva-Maria Rusche is not only a talented musician, but also a researcher and scientist. Her studies include the examination of an organ built in 1700 and research into emotions in the early modern period. Her academic work is further evidence of her deep connection to music and her intellectual curiosity.
As co-author of music editions and as a contributor to research projects such as “Nordhessische Orgellandschaft”, Eva-Maria Rusche has enriched the musical world with her knowledge and skills. Her CDs, including “Resonances” with Ensemble Supersonus and “Alfedans” with Marco Ambrosini, are testimony to her artistic excellence.
