Wolfgang Rübsam - J.S. Bach: Inventions & Sinfonias (2026)

Tracklist

01. Invention in C Major, BWV 772a
02. Invention in C Minor, BWV 773
03. Invention in D Major, BWV 774
04. Invention in D Minor, BWV 775
05. Invention in E-Flat Major, BWV 776
06. Invention in E Major, BWV 777
07. Invention in E Minor, BWV 778
08. Invention in F Major, BWV 779
09. Invention in F Minor, BWV 780
10. Invention in G Major, BWV 781
11. Invention in G Minor, BWV 782
12. Invention in A Major, BWV 783
13. Invention in A Minor, BWV 784
14. Invention in B-Flat Major, BWV 785
15. Invention in B Minor, BWV 786
16. Sinfonia in C Major, BWV 787
17. Sinfonia in C Minor, BWV 788
18. Sinfonia in D Major, BWV 789
19. Sinfonia in D Minor, BWV 790
20. Sinfonia in E-Flat Major, BWV 791
21. Sinfonia in E Major, BWV 792
22. Sinfonia in E Minor, BWV 793
23. Sinfonia in F Major, BWV 794
24. Sinfonia in F Minor, BWV 795
25. Sinfonia in G Major, BWV 796
26. Sinfonia in G Minor, BWV 797
27. Sinfonia in A Major, BWV 798
28. Sinfonia in A Minor, BWV 799
29. Sinfonia in B-Flat Major, BWV 800
30. Sinfonia in B Minor, BWV 801

Bach’s 15 two-part Inventions and the 15 three-part Sinfonias played an important role in Bach's teaching. These pieces, although today mainly associated with basic keyboard training, are not at all easy and in fact are sophisticated, small-scale masterpieces. They were not composed simply to provide technical training in keyboard playing but, perhaps more important, to teach keyboard players how to compose.
In 1720 Bach's oldest son Wilhelm Friedemann (1710-84) was already of an age appropriate for introducing him into the family trade of musician. So Bach started for him a music notebook: a Clavierbüchlein which included these Inventions and Sinfonias.
In learning and playing these works, Bach affirmed, a diligent student would be taught ‘a clear manner for playing not only in two voices but also in three obbligato parts and, furthermore, not only how to invent good musical ideas [inventiones] but also how to develop these well. And above all, how to achieve a cantabile manner of playing, and additionally to obtain a strong foretaste of Composition.’
Wolfgang Rübsam is internationally known as an authoritative Bach interpreter, from recordings of the organ and harpsichord on several different labels. This new recording is played on a lute-harpsichord, an instrument that Bach would have had at home for both music-making in the family and for teaching. The touch required and the sonority produced is delicate, subtly shaded and closely related in its effect to the music of Bach’s French contemporaries, whose music he knew well, such as François Couperin, Jean-Philippe Rameau and Louis Marchand. The sound is warmer, as it has gut strings and no dampers.
“These lovely performances memorably showcase Rübsam’s sensitive and poetic side. Recommended. Performance: 9” wrote Jed Distler of Classicstoday.com about the earlier issue of Rübsam’s recording of Bach’s French Suites (BC 96227).