Three Part Inventions in E flat major, E major, and E minor - The E flat
major invention, in Kahane's hands, represents an awakening of the senses.
His tempo is the fastest of the group, and he's the only one who brings
out fully the coming to life aspect and with an infectious quality of
playfulness.  But, all the other versions are equally good, as they
highlight a serenity to the music mixed with some pathos.  This invention
is in trio form and is a wonderful piece of music.

The E major invention is a thoroughly happy/joyous piece right down to
your little toes.  The music is not, for listening purposes, complicated
or deep.  This is "feel good" music, and it doesn't get any better.  It
sways, it goes up, it goes down, it's all around.  The "tangy" quality of
the harpsichord is particularly effective here.  Frankly, I think the piano
is not well suited at all for this piece.  There are two versions which
essentially bomb out; Schiff pulls the rhythm about, subverts the tempo,
and his piano sounds totally inapproprite.  Hewitt is back to her tendency
for fast speeds and little feeling.  Five other versions do much better,
but only one has it all, Laberge.  He provides such a great performance
that I felt like I had just filled myself up at the gas tank with super
premium, and he does it with just a moderate tempo.  Also, his harpsichord
sounds perfect for the music.  Just a mention concerning Gould; although
Hewitt is mighty fast, Gould blows by her.  But, he handles it well.
Getting back to Laberge, he is playing so well in the three part
inventions, while he had many less than distinctive moments in the two
part inventions.  Perhaps better music elicits better performances from
him.  Then again, the music might not be better.  Anyone out there who
has a preference for the earlier fifteen inventions?

The E minor invention begins in a poignant and soft manner, but with the
repeat of the initial theme the music turns more intense and brooding.
All the versions are very good except for Schiff and Kahane who are just
a little less insightful.  Gould and Hewitt are most incisive with Serkin
and Suzuki highlighting the emotional depth of the piece.

As an aside, I just received Joseph Payne's set on Hanssler of the
Klavierbuchlein.  It's too late to include this set in the survey of
inventions, but I wanted to relate that Payne uses a clavichord for many
of them.  It has a very different sound and impact than the harpsichord,
and it was an interesting listen.  But I do prefer the harpsichord.
Payne uses the organ for some of the other works in the Klavierbuchlein.

Three Part Inventions in F major and F minor - The F major is a delightful
and joyous piece which most of the versions do very well.  Gould's is the
most joyous and exciting, and his couterpoint is stunning.  Suzuki takes a
reflective approach which works well.  Kanhane provides the most forward
momentum and is memorable.  Serkin highlights the counterpoint and is very
distinctive.  Two versions, Schiff and Hewitt, have problems.  Hewitt's has
a heavy quality, little joy, and very little excitement for a fast reading.
Schiff's displays inconsistencies in the pulse of the music and a fussiness
that's irritating.

If I were to sum up the F minor invention with one word, it would
be "relentless".  This piece is slow, very sad, powerful, and grabs
the listener and won't let go.  This is unusual for Bach; most of his
sad/gloomy music has a few rays of light.  I must admit I admire the music
more than enjoy it; it just might have been my mood at listening time.  The
music would be perfect for a scenario of "Doctor Death" coming into your
bedroom to perform an assisted suicide.  If any of the description sounds
appealing, this invention's for you.  And each of the versions should well
satisfy your expectations.  Although the timings range from 3 to 5 minutes,
the interpretations are quite similar.  I felt the same impact from each
version.

Three Part Inventions in G major and G minor - With the G major invention,
we go back to a positive outlook on life.  A "safe" timing for this fast
piece is about 1 minute and 20 seconds; but it works well at 1 minute if
the interpretation is a playful one.  Another fine feature is a series of
cascading notes toward the completion.  Suzuki, Hewitt, and Kahane play the
piece quickly, but there isn't much sense of playfulness - just too heavy.
Schiff is also quick but a little helter-skelter.  The other four versions
are excellent.  Laberge and Koopman choose the "safe" tempo and fully bring
out the work's playfulness and provide a lovely cascading toward the end.
Serkin is quick and playful, emphasizing the couterpoint.  Gould is fast
and playful - works well.

The G minor invention is a beautifully sad and relective piece of music.
There is much to think about, and a great performance provides just that
to the listener.  Slower tempos help, and the three slow versions (Gould,
Serkin, Suzuki) are stunning.  But Laberge who uses a faster tempo is also
in their company, since he also maximizes the work's impact.  Koopman,
Schiff, and Hewitt do well but are less incisive than the best.  That
leaves Kahane who gives a pleasant but lightweight rendition exacerbated
by a tempo just fast enough to erase any reflections.

At this point I feel that I'm getting close to the finish line.  Earlier I
had raised the issue of which set of inventions might contain the better
music.  Instead of hearing from me, here's what Jeffrey Kahane has to say:

   "I feel strongly that in virtually every respect the sinfonias
   represent an exponential advance over the two-part inventions -which
   I hasten to add is not to suggest that the two-part inventions are
   not wonderful music."

Don Satz
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