J.S. Bach, Taneyev: Inventio Valentina Danelon, Yulia Berinskaya & Anna Serova

• Sergei Taneyev (1856 - 1915), Johann Sebastian Bach (1685 - 1750): Sinfonia in C Major, BWV 787:
• 1 Taneyev, Bach: Sinfonia in C Major, BWV 787 01:01
• Sinfonia in C Minor, BWV 788:
• 2 Taneyev, Bach: Sinfonia in C Minor, BWV 788 01:43
• Sinfonia in D Major, BWV 789:
• 3 Taneyev, Bach: Sinfonia in D Major, BWV 789 01:05
• Sinfonia in D Minor, BWV 790:
• 4 Taneyev, Bach: Sinfonia in D Minor, BWV 790 02:35
• Sinfonia in E-Flat Major, BWV 791:
• 5 Taneyev, Bach: Sinfonia in E-Flat Major, BWV 791 02:21
• Sinfonia in E Major, BWV 792:
• 6 Taneyev, Bach: Sinfonia in E Major, BWV 792 01:04
• Sinfonia in E Minor, BWV 793:
• 7 Taneyev, Bach: Sinfonia in E Minor, BWV 793 01:51
• Sinfonia in F Major, BWV 794:
• 8 Taneyev, Bach: Sinfonia in F Major, BWV 794 01:05
• Sinfonia in F Minor, BWV 795:
• 9 Taneyev, Bach: Sinfonia in F Minor, BWV 795 03:12
• Sinfonia in G Major, BWV 796:
• 10 Taneyev, Bach: Sinfonia in G Major, BWV 796 01:01
• Sinfonia in G Minor, BWV 797:
• 11 Taneyev, Bach: Sinfonia in G Minor, BWV 797 01:34
• Sinfonia in A Major, BWV 798:
• 12 Taneyev, Bach: Sinfonia in A Major, BWV 798 01:22
• Sinfonia in A Minor, BWV 799:
• 13 Taneyev, Bach: Sinfonia in A Minor, BWV 799 01:16
• Sinfonia B-Flat Major, BWV 800:
• 14 Taneyev, Bach: Sinfonia B-Flat Major, BWV 800 01:12
• Sinfonia in B Minor, BWV 801:
• 15 Taneyev, Bach: Sinfonia in B Minor, BWV 801 01:21
• Invention in C Major, BWV 772:
• 16 Taneyev, Bach: Invention in C Major, BWV 772 01:17
• Invention in C Minor, BWV 773:
• 17 Taneyev, Bach: Invention in C Minor, BWV 773 01:34
• Invention in D Major, BWV 774:
• 18 Taneyev, Bach: Invention in D Major, BWV 774 01:00
• Invention in D Minor, BWV 775:
• 19 Taneyev, Bach: Invention in D Minor, BWV 775 01:22
• Invention in E-Flat Major, BWV 776:
• 20 Taneyev, Bach: Invention in E-Flat Major, BWV 776 01:22
• Invention in E Major, BWV 777:
• 21 Taneyev, Bach: Invention in E Major, BWV 777 02:58
• Invention in E Minor, BWV 778:
• 22 Taneyev, Bach: Invention in E Minor, BWV 778 01:52
• Invention in F Major, BWV 779:
• 23 Taneyev, Bach: Invention in F Major, BWV 779 00:53
• Invention in F Minor, BWV 780:
• 24 Taneyev, Bach: Invention in F Minor, BWV 780 02:24
• Invention in G Major, BWV 781:
• 25 Taneyev, Bach: Invention in G Major, BWV 781 00:45
• Invention in G Minor, BWV 782:
• 26 Taneyev, Bach: Invention in G Minor, BWV 782 01:45
• Invention in A Major, BWV 783:
• 27 Taneyev, Bach: Invention in A Major, BWV 783 01:10
• Invention in A Minor, BWV 784:
• 28 Taneyev, Bach: Invention in A Minor, BWV 784 02:00
• Invention in B-Flat Major, BWV 785:
• 29 Taneyev, Bach: Invention in B-Flat Major, BWV 785 01:14
• Invention in B Minor, BWV 786:
• 30 Taneyev, Bach: Invention in B Minor, BWV 786 01:08
• Trio in D Major, Op. 21:
• 31 Taneyev, Bach: Trio in D Major, Op. 21: I. Allegro giocoso e semplice 07:06
• 32 Taneyev, Bach: Trio in D Major, Op. 21: II. Menuetto. Allegro ma non troppo 05:48
• 33 Taneyev, Bach: Trio in D Major, Op. 21: III. Andante 04:27
• 34 Taneyev, Bach: Trio in D Major, Op. 21: IV. Vivace 03:13
• Total Runtime 01:07:01

Info for J.S. Bach, Taneyev: Inventio

The pure polyphonic quality of J.S. Bach’s Inventions and Sinfonias cannot be overstated – simple yet bursting with ideas, they offer an agile introduction to late-baroque musical forms and imitative writing in general, while retaining a cantabile feel. These exquisite miniatures, transcendent of the didactic purpose to which they were relegated for too long, provide an orderly and at once concise and comprehensive survey of Bach’s soundscape. The purity and density of their musical substance, distilled in a sort of abstract and universal language, has naturally encouraged numerous arrangements from the 19th century onwards for vast array of other instruments.

Here we have the two-part Inventions arranged for two violins by the performers, Yulia Berinskaya and Valentina Danelon, where Bach’s aim of encouraging ‘a cantabile style of playing’ through the independence of the parts is admirably achieved in the natural expressiveness of the two stringed instruments. The three-part Sinfonias are given in the existing 19th-century arrangement for two violins and viola by Ferdinand David (1810–73), not only one of the leading violinists of his era but also a musician with very close links to Felix Mendelssohn, a composer who spearheaded a revival of interest in Bach’s music.

The pairing of these arrangements of Bach with a similarly-scored string trio by Taneyev is an apt one on a deeper level, too. The Russian composer was affectionately known by his composition teacher, Tchaikovsky, as the ‘Russian Bach’ on account of his deep knowledge and expert application of the art of counterpoint. Taneyev drew on his deep mathematical knowledge to seek out all possible combinations in his compositions, exploring and analysing areas of polyphony like none other in his day. His Trio for two violins and viola Op.21 (1907) offers an original pairing of classical forms and language with his beloved baroque counterpoint, a combination enhanced in places by harmonic solutions and atmospheres typical of late 19th-century Europe.

Johann Sebastian Bach (1685-1750) wrote his 2-part Inventions and 3-part Sinfonias for a keyboard instrument, composed for his family’s musical education, initially to improve the technique of his eldest son Wilhelm Friedemann.

This purity and density of the music, distilled in an abstract and universal language, invited numerous arrangements from the nineteenth century onwards, allowing the Inventions and Sinfonias to be performed in many different settings. Bach himself, a fervent reuser and arranger of both his own and other people’s compositions (consider for example his reworking of music by Vivaldi, Marcello and Albinoni) would probably have had no objections to these numerous ‘translations’ of his music.

This recording presents an unusual version of the two-part Inventions for two violins arranged by the performers Yulia Berinskaya and Valentina Danelon themselves, where Bach’s aim to pursue ‘a cantabile style of playing’ through the independence of the parts is achieved admirably in the natural expressiveness of the two stringed instruments. The three-part Sinfonias were arranged for two violins and viola by Ferdinand David (1810–73). He was not only one of the leading violinists of his era but also, most importantly, had very close links to Felix Mendelssohn, and so was heavily involved in the early nineteenth-century ‘Bach renaissance’, inspiring him to arrange various Bach works.

As well as the works chosen for this recording being scored for the same instruments, the pairing of Bach and Sergey Ivanovich Taneyev (1856–1915) is a logical one: Taneyev was affectionately known by Tchaikovsky as the ‘Russian Bach’ due to his deep knowledge and expert application of the art of counterpoint. This recording presents his beautiful String Trio for 2 violins and viola Op. 21.

Played with genuine affection and warmth by Yulia Berinskaya, Valentina Danelon and Anna Serova, all three pursuing a thriving international career.

Yulia Berinskaya, violin
Valentina Danelon, violin
Anna Serova, viola

Valentina Danelon
Born in 1985 and graduated in Violin with full marks at the Conservatory of Music of Castelfranco Veneto with Michele Lot, she continued her studies at the University of Music of Lugano with Valeri Gradow, graduating brilliantly in Music Pedagogy – Violin. She has specialized particularly with Yulia Berinskaya and Renato Zanettovich.

Regarding chamber music she graduated with Honor at the International Chamber Music School of Trio di Trieste in duo with the pianist Beatrice Orlandi, under the guidance of Renato Zanettovich, Dario De Rosa, Maureen Jones and Trio di Parma.

She has played as soloist with I Solisti Veneti, conducted by Claudio Scimone, Nuova Orchestra da Camera Busoni di Trieste, Naonis Symphonic Orchestra and others.

She has won several prizes, such as the first prize in XVIII Rospigliosi International Chamber Music Competition, XXVI Caraian Chamber Music Award and XI Canetti International Music Festival (France), in addition to other awards and scholarships.

She has performed as chamber musician in many festivals and she has given concerts in Europe, Russia, the United States, South America, China and Japan.

Concerning contemporary music she has collaborated with Sentieri Selvaggi, Ensemble '900 and FuturQuartetto, performing also for Radio Svizzera Italiana and for Radio3.

As a result of auditions, she started collaborating with renowed orchestras including Gran Teatro La Fenice (Venice), Italian National Symphonic Orchestra RAI, I Solisti Veneti, and others, collaborating with conductors such as Chung, Gardiner, Temirkanov, Valčuha.

Since 2020 she shares with Stefan Milenkovich the artistic direction of International Music Festival Nei suoni dei luoghi and she is the artistic directorof Orchestra Sinfonica della Versilia. Since particularly fond of chamber music, she is currently participating in several ensemble projects, with harpist Nicoletta Sanzin, with violinist Yulia Berinskaya and violist Anna Serova, and with pianist Cristina Santin.

Yulia Berinskaya
was born into an artistic and musical environment; her precocious talent was discovered at an early age by her father Sergey Berinsky, among the greatest composers of the 20th century in Moskow, and he encouraged her to study violin.

Her training and her extraordinary musical potential were encouraged and cultivated by internationally renowned artists such as E. Tchugaeva and V. Tretiakov, the Borodin Quartet, the Moskov Trio, who guided Yulia to graduate with honors from the Moscow Tchaikovsky Conservatory.

She then continued her studies at the Hochschule für Musik in Vienna under the tuition of D. Schwarzberg. Afterward, Yulia began a brilliant career as a soloist, chamber musician, and teacher, acclaimed in Italy and abroad: Netherlands, Switzerland, France, Germany, the former Yugoslavia, USA, Israel, Russia.

Her recitals represent her quality as a versatile artist, and her virtuosity accompanies many diverse styles. She has had prestigious collaborations with several orchestras: Verdi Orchestra in Milan, The Milan Conservatory Orchestra, Moskow Amadeus Orchestra, Sverdlovsk Philharmonic Orchestra and I Musici di Parma ensemble.

Being a passionate chamber musician, she has being invited to some of the major Italian and European festivals, performing alongside artists including: S. Krilov, Y Bashmet, D. Cohen, V. Mendelssohn, F. Lips. Yulia regularly gives masterclasses in Mendrisio (Switzerland), Timisoara (Romania), Rhodes (Greece), Mulin de Andee (France), Portogruaro (Italy), Venice (Italy); she ha also founded her own violin course at the Milano Music Masterschool academy and is regularly a jury member of the international violin competition.

Yulia has performed as a guest leader with the following orchestras: Teatro SanCarlo in Naples, Orchestra of Trento and Bolzano, Orchestra Earl (Austria), Teatro La Fenice in Venice, The Philharmonic Orchestra of Ljubljana.

She records for the record labels: Koch Records (Germany) and Gramsapis ArtClassic (Russia), Sonart Studio, Playing News, ClassicaViva, LimenMusic (Italy). Yulia recorded the CDs Red Violin, Violin in Blue, Violin in White and Violin in Bach, and with Limen Records she has released a double CD and a live DVD box set: Bear in the Sky – Unconditional Music. Her recordings are regularly broadcasted by Radio Vaticana, Radio Classica, Radio della Svizzera Italiana.

Anna Serova
A unique figure on the international scene both as soloist and chamber musician, the violist Anna Serova has several compositions dedicated to her in recent years by some of the most important contemporary composers. In fact, by writing for her they have created a new genre in composition uniting the form of the concert piece with the action of the theatre.

She has been collaborating for years with Roberto Molinelli, an Italian composer who has dedicated to her several pieces, such as “Milonga y Chacarera” for viola & orchestra, “Aeraqua” for viola and violin, and the project “Tango all’Opera”. In 2017, Anna Serova played the world premiere of “Lady Walton’s Garden”, Concerto for Viola, Orchestra and Tanguero by R.Molinelli, with the New Zealand Symphony Orchestra in Wellington. The piece was selected as “Premiere of the month” by the English magazine “The Strad” in September 2017. After studying with Vladimir Stopicev at the Conservatory of St Petersburg, with Bruno Giuranna at the Acacdemy of Cremona and with Juri Bashmet at the Acacdemy of Chigiana in Sienna, she began a brilliant career as a concert musician which saw her starring in some of the most important concert seasons and festivals in Italy and abroad.

The warm, shining beauty of her sound makes her very much in demand as a chamber musician and she has collaborated with artists like Ivry Gitils, Bruno Giuranna, Salvatore Accardo, Rocco Filippini, Filippo Faes, Toby Hoffman, Rainer Honeck, Remus Azoitei and others.

She has performed as a soloist with orchestras such as Moscow State Symphony, Siberian Symphony, Karelian Symphony, Krasnoyarsk Chamber Orchestra, Orchestra di Padova e del Veneto, Orchestra del Teatro Olimpico, Belgrade Philharmonic, Amazonas Philharmonica, Orchestra Sinfonica di Roma, Orchestra dell’Arena di Verona, Croation Radio Television, New Zealand Symphony etc…

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