Bach’s prefatory note to his Inventions and Sinfonias (compiled 1723), the first of which I started learning last Saturday:
by which the amateurs of the keyboard—especially, however, those desirous of learning—are shown a clear way not only (1) to learn to play cleanly in two parts, but also, after further progress, (2) to handle three obbligato parts correctly and well; and along with this not only to obtain good inventions but to develop the same well; above all, however, to achieve a cantabile style in playing and at the same time acquire a strong foretaste of composition.
Anthony Tommasini on some recordings of these pedagogical works:
Virtually every youngster who has taken piano lessons has been taught Bach’s Two-Part Invention in C Major. It’s the first of 15 inventions that Bach composed as instructional pieces for his first-born son, and if the composer’s descendants held the rights to these works they could be living in comfort off the royalties. The C Major Invention, no doubt the world’s most played piece, is ideal for beginners: it lasts less than two minutes (even at a practice room tempo), mostly lies on the white keys and involves just two lines of ambling counterpoint, one per hand. Never is either hand asked to play more than one note at a time.
Given their pedagogical function and wide familiarity, almost no one thinks of programming the inventions for a recital. But several major pianists have recorded them notably, including Walter Gieseking, Glenn Gould and, more recently, Andras Schiff. A new RCA Red Seal recording by Peter Serkin (09026-68594-2) may be the most intriguing of all.
The header “honest method” reminds me of Russell, in the Introduction to Mathematical Philosophy:
The method of “postulating” what we want has many advantages; they are the same as the advantages of theft over honest toil.