This is a collection of fifteen works for piano that usesa series of songs and dances that belong to the traditional Costa Ricanimaginary, as well as the Two-voice inventions (BWV 772-786) by JohannSebastian Bach. In a stricter sense, these pieces are parodies since they usefragments of existing works as the starting point for the creation of newcompositions. In this case it is a double parody process because they emulatenational melodies, and they are stylized in light of other compositions and musicalpatterns of the Baroque period. These inventions (understood essentially asnovel creations) do not follow a formal, harmonic or strictly scholasticcontrapuntal scheme and they are rather free reconstructions of the originalmelodies, with some fundamental features of the two-part Baroque works. As forthe thematic material, the original melodies correspond to anonymous works ofCosta Rican folklore and others whose authors are known -such as Pasi�nAcevedo, Rafael Chavez Torres, Julio Fonseca Alberto G�mez and H�ctor Z��iga,among others- all of them found in printed versions or sound recordings. Thetonal scheme of the compilation traces the order established by Bach in hiscollection of inventions. The purpose of the works does not go beyond offering anapproach for the pianists in training to different musical styles of theCentral European tradition from melodies of the Costa Rican own popularrepertoire.

"C'est la Vie", a charming and nostalgic piece by Karen Biehl, is composed in the minimalistic neo-classical style for felted or traditional piano.

Karen Biehl / Maestra Music's piano pieces are composed with students in mind, in keys and patterns that are easy and fun to play, yet invoke the evocative spirit and soul of Romantic/Classical music, in a form that is accessible to all. Just as the soundtrack sets the tone of the scene in a movie, the compositions of Maestra Music intend to set the stage for the creative mind to flourish.