Among J. S. Bach keyboard works, Two-part Inventions are probably some of the most inflated little pieces by all kinds of pianists all around the world. Young and less young musicians, keyboard players of any sort are likely the main practitioners, but also several other musicians play them in various transcriptions and arrangements. Music institutions at various levels do include some of these pieces in their examination programs and syllabuses, and often the performance of at least one Invention is a requirement in piano competitions, especially for youngsters.

Several methodologies have been utilized to teach, learn, analyze and practice Inventions, some of them influenced from recent discoveries in historically informed practice. The approach I do propose in the workshop – explained extensively in my last publication A methodo-logical approach to J. S. Bach Inventions, published by Da Vinci Publishing”, is new and innovative under many points.

Taking its roots in the study of historical counterpoint - intended as compositional technique - and baroque improvisation, the driving force that have pushed me in creating it, does consist in an attempt to make visible and accessible deepness and density of this music. I believe knowledge everyone can get from the study of Inventions is an absolutely essential prerequisite to disclose the secret marvelous garden of Bach music, and a necessary preparation to struggle with his fugues. Moreover this approach, once digested, will ignite new sparks for the study of other works by other great composers. Last but not least, my method is in strong disagreement with the common idea of intending Inventions as merely technical exercises to be practice with metronomic evenness. This idea inevitably mutilates Bach music precisely because it prevents any possible understanding of it. In short it consists in a dissociation between sound and music, which means between sound and its meaning.

Practically, during the workshop participants will realize how Inventions work and are constructed in their essence, how it is possible to compose and to build them up, or I better should say to re-compose them (following Bach’s guidelines) through exercises I will propose. Starting from an historical perspective based on the knowledge of counterpoint and basso continuo – often sadly missing in traditional piano class - I will step back into music intervals (mostly a perfect 5th) and through the use of diminutions I will show how we could re-create the SUBJECT. Once SUBJECT is created, I will illustrate how ANSWER can be found, when necessary. As a next step, the first exposition and other parts of the Invention will be created. Different compositional/contrapuntal possibilities will be explored alongside participants, included some that has not chosen by Bach.

During the workshop I will provide a series of exercises:

1) Incomplete music scores to be filled, with the intention to let participants analyze all elements of the Inventions and find out the missing parts through a process of reasoning and understanding – another crucial aspect often missing during traditional piano class.

2) Reductions and Cadences, through which participants will develop their cognitive and logical skills and be able to create their own compositions.

To give to the topic a valid historical reference, I will also explain the importance of the instructions that Bach himself wrote to his Inventions, highlighting two significant aspects: cantabile style and foretaste in composition.

Finally, some general notion about Baroque improvisation will be provided to participants as well. Historical evidence proves that for Bach there was no a real distinction among improvisation, composition and the study of repertoire, and that all these mentioned topic were regularly part of his teaching, therefore the workshop will be an attempt to create the proper environment for a long lasting learning.