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Arrangements & Transcriptions of Bach's Works
Works using the Name Bach (The BACH Motif)
Part 2: A-E |
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A Bach | A | B | C | D | E | F | G | H | I | J | K | L | M | N | O | P | Q | R | S | T | U | V | W | X | Y | Z |
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Composer |
Work |
Year |
Works
Recordings |
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Dieter Acker (1940-2006)
Kanonische Phantasie über B-A-C-H, for flute, alto flute, bass flute, violin, viola, cello & harpsichord (1977) | Works |
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Samuel Adler (b 1928)"
In praise of Bach: a fantasy for organ on BACH (2001) [King of Prussia, PA: T. Presser, 2003] | Works |
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Kalevi Aho (b 1949):
Sonata, for violin (1973) [Helsinki: Edition Fazer 1974] | Works |
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Joseph Ahrens (1904-1997):
Triptychon über B-A-C-H, for organ (1949) [Mainz: B. Schott's Söhne; New York/London: Schott Music Corp., 1952] | Works |
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Eugen d'Albert (1864-1932):
Präludium und Fuge über B-A-C-H: B, Si = Prélude et fugue sur le nom Bach, for piano (1912) [Leipzig: Forberg, 1912] | Works |
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Johann Georg Albrechtsberger (1736-1809):
Fugue über B-A-C-H in G minor, for piano (c1781) [Amsterdam um 1781], [In: "Denkmaler der Tonkunst in Österreich," Vol. 33], [Vienna: Artaria and Co., 1909], [In: Douce Préludes et une fugue pour le clavecin ou l'orgue . . . op. III], [Amsterdam: J.J. Hummel 1781], [Vienna: Denkmäler der Tonkunst in Österreich, Jg. XVI/2. 1909], [Neuausgabe: J.G. Albrechtsberger, Vier Fugen, hrsg. von Otto Biba], [Vienna: Doblinger, Diletto Musicale Nr. 432, 1972] | Works |
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Hilarion Alfeyev (b 1966):
Fugue on the BACH motif, for orchestra (2012) | Works | Recordings of Works for Orchestra |
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Liana Alexandra (1947-2011) |
Allegro veloce e caratteristico in honorem J. S. Bach , for organ
[Bucharest: Ed. Muzicalã a Uniunii Compozitorilor şi Muzicologilor din România, 1991] |
1985 |
Works |
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Henk Alkema (b 1944) |
Sunset Jericho, for 8 trombones (double quartet) & band
[Roswell, GA: E. Williams Music, 2000] |
2000 |
Works |
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Alkema's two-movement Sunset Jericho of 2000 is based on the often-used B-A-C-H motif, and, with a solo body of no less than eight trombones, the piece is..
Source: eConcertBand |
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Hans-Gunther Allers (b 1935) |
Introduction and Tarantella, Op. 16, for wind quintet |
1977 |
Works |
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Louis Andriessen (b 1939) |
Mausoleum, for 2 baritones & large ensemble
[Amsterdam: Donemus 1985] |
1979 |
Works |
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Louis Andriessen |
De stijl (de materie, part III), for 4 women's voices, female speaker and large ensemble
[London: Boosey & Hawkes, 1996] |
1985 |
Works |
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Louis Andriessen |
De Materie, opera
[Amsterdam: Donemus, 1989] |
1989 |
Works |
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Anon |
Musikalisches Rätsel auf der Rückseite des “Bachpokals" im Bach-Museum Eisenach. Dresden um 1735/36 (?) |
1735-1736 |
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Anon (J.S. Bach ?) |
Preludio e Fuga super B-A-C-H, in Bach's "Fantasias, Fugas, Preludio," Vol. II
[Leipzig: Peters, n. d.] |
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Anon |
Fugue über B-A-C-H in G minor, BWV Anh. II 109
In: Traugott Fedtke: B-A-C-H. Fugen der Familie Bach
Previously attributed to J.S. Bach
[Frankfurt: Peters (Litolff) Ed. Nr. 8526, 1984] |
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Analysis by Frieder Rempp on pp. 264-5 of the NBA KB V/12 (Bärenreiter, 2006):
This unusual piece can only be traced back to two sources from the beginning of the 19th century. One source does not mention the name of the composer, while the other, which lacked an original attribution when it had been copied, at some later point had added the name J. S. Bach. From these sources alone it is not possible to deduce that J. S. Bach was the composer.
Stylistically the title of this fugue in both instances is “Contrapunctus alla Decima. B.A.C.H.” This title was most likely chosen to suggest a connection to the Kunst der Fuge BWV 1080. This is reinforced by having the incomplete fugue on B-A-C-H (BWV 1080/19 mm 193-233) follow this fugue immediately. To be sure, BWV Anhang 109 has two contrapuntally treated counter subjects in addition to the B-A-C-H theme, but melodic invention and harmonic progression are meager and studied so that it becomes very difficult to recognize BWV Anhang 109 as a possible composition by J. S. Bach.
(Contributed by Thomas Braatz, August 6, 2011) |
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Georges Aperghis (b 1945) |
BWV, for voices and large ensemble
[Paris: Editions Salabert 1973] |
1973 |
Works |
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Mateus Araujo (b ????):
Bachmazonia, Symphonic Overture for Orchestra (2010) |
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Kit Armstrong (b 1992) |
Homage to Bach, for solo piano |
2000 |
Works |
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Kit Armstrong |
Fantasy on B-A-C-H, for solo piano
Comissioned by Sommerliche Musiktage Hitzacker
Source: Kit Armstrong | Piano, composition (June Artists) [PDF] |
2010-2011 |
Works |
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Elizabeth R. Austin (b 1938) |
B-A-C-HOMAGE, for viola & piano, work based on permutations of the chromatic motive of BACH’s name
[ACA - American Composers Alliance] |
2007 |
Works |
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Composer's note: As I worked on the various pitch orders of the chromatic motive of BACH’s name (“H” being B flat in German), I noticed that the retrograde inversion is identical to the original pattern intervallically, only transposed a half step higher. How like the rounded, circular music of this man! His ever-recurring themes move through time and space in fresh and ingenious paths, saying all there is to say and no more, no less.
Source: American Composers Alliance |
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Menahem Avidom (1908-1995) |
Suite 1962 on the name of Bach, for woodwinds, strings, piano & drums
[Tel Aviv: Israeli Music Publications (Heinrichshofen)] |
1962 |
Works |
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Menahem Avidom |
Bachiana, for piano based on B-A-C-H, written for J.S. Bach's 300th anniversary
[arranged for chamber ensemble] |
1984-1985 |
Works |
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B Bach | A | B | C | D | E | F | G | H | I | J | K | L | M | N | O | P | Q | R | S | T | U | V | W | X | Y | Z |
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Composer |
Work |
Year |
Works
Recordings |
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Grażyna Bacewicz (1909-1969) |
Piano Quintet No. 1, for piano & string quartet
[Kraków: Polskie Wydawn. Muzyczne, 1953] |
1953 |
Works |
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The quintet represents the height of Bacewicz's Bartók phase - a masterpiece of the last century. It uses several Bartókian gestures and inhabits the same emotional territory. The quintet's opening, for example, is right out of the Concerto for Orchestra and the Music for Strings, Percussion, and Celesta. A slow rising, from deep within the ensemble, leading to a burst of energy. Nevertheless, there's something very individual hear, which comes out in the lyrical portions of the score, and a wit, including playing around with the B-A-C-H motif (B flat - A - C - B, in the key of C).
Source: Classical CD Review |
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Nikolai Badinski (b 1937) |
Omaggio a Bach, Concerto con clavicembalo, Praeloquium-Ausum, for woodwind, harpsichord & strings
[Munich: Sonoton, 1979] |
1977 |
Works |
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Nikolai Badinski |
The Intoxicated Bat, a surrealistic encounter in dream with J. Strauss & J. S. Bach, for orchestra
[Berlin/London, 1992] |
1991-1992 |
Works |
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Walter Baer (b 1928) |
Passagen III, for piano
[Zürich: W. Baer, c1990] |
1990 |
Works |
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Passagen III opens with a wash of French type sound, which is in fact in homage to J.S. Bach with the B.A.C.H motif used throughout.
Source: Classical Music Review Blog |
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Jason Bahr (b 1972) |
Divergence, for brass quintet: II. Fugue
[USA: Tauromee Music, 2004]
Source: Wikipedia |
2003-2004 |
Works |
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Frederic Balazs (b 1919) |
Bachiana California, capriccio on the B-A-C-H interval, for piano
[ACA - American Composers Alliance] |
2001 |
Works |
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Otto Barblan (1860-1943) |
Chaconne über BACH g-Moll, Op. 10, for organ
[Leipzig: Leuckart 1902] |
1902 |
Works |
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Otto Barblan |
Passacaglia, Variationen und Tripelfuge über B.A.C.H. g-Moll, Op. 24, for organ
[National-Ausgabe; also C. F. Peters]
[Zürich: Hug & Co., 1927] |
1927 |
Works |
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Alfred Baum (1904-1993) |
Fantasie über B-A-C-H, for organ (incorporating the BACH motif)
In: Orgelwerke
[Adliswil; Lottstetten: Kunzelmann, 2004] |
1977 |
Works |
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Herbert Baumann (b 1925) |
String Quartet in C major
[Hamburg: Sikorski, 1962] |
1961 |
Works |
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Jürg Baur (1918-2010) |
Zwei frühe Fantasien, for organ:
Fantasie über b-a-c-h, for organ (1935)
Fantasie e-Moll, for organ (1941).
[Köln: Verlag Dohr, 1996] |
1935 |
Works |
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Jürg Baur |
Lncontri (Begegnungen), for alto flute & piano
[Wiesbaden: Breitkopf & Härtel 1962] |
1961 |
Works |
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Jürg Baur |
Kontrapunkte 77, for flute, oboe & bassoon
[Wiesbaden: Breitkopf & Härtel EB 6800, PB 5024, 1977] |
1977 |
Works |
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Jürg Baur |
Ricercare II, for organ
[Wiesbaden: Breitkopf & Härtel EB 8041, 1979] |
1977 |
Works |
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Jürg Baur |
Concerto, for organ & string orchestra
[Wiesbaden: Breitkopf & Härtel 1985] |
1984 |
Works |
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Helmut Bechtel (b 1929) |
Fünf Inventionen (Five Inventions), for piano |
1960 |
Works |
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Carl Ferdinand Becker (1804-1877) |
Trio in B major, Op. 10, No. 6, for organ |
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Works |
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Carl Ferdinand Becker |
BACH: Op. 13, Heft 1, No. 21, for organ |
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Works |
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Carl Ferdinand Becker |
BACH: Op. 13, Heft 2, No. 22, for organ |
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Works |
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Carl Ferdinand Becker |
Choralfuge, for organ |
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Works |
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Pierre Michel Bédard (b 1955) |
Un hommage musical, for organ |
1984 |
Works |
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Ludwig van Beethoven (1770-1827) |
Skizzen zu einer BACH-Ouverture
[Berlin (West): SPK Mus. ms. autogr. Beethoven 9, Heft 1, f. 2V] |
1822/1825 |
Works |
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Ludwig van Beethoven |
“Kühl, nicht lau" (“Kuhlau-Kanon"), WoO 191. Dreistimmiger Kanon mit den Anfangsnoten B-A-C-H, for 3 voices
In: "Ludwig van Beethoven's Werke," Serie 23
[Erstdruck: Hrsg. von Seyfried, Beethovens Studien im Generalbaß, Contrapunkte und der
Compositionslehre. Wien 1832 (Anhang S. 25)]
[Leipzig: Breitkopf und Härtel, Beethoven GA: Nr. 256/12 = Serie 23, S. 196, 1866-1868, 1888] |
1825 |
Works |
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Ludwig van Beethoven |
Skizzen zur 10. Symphonie (Sketches for the 10th Symphony)
[Berlin (West): SPK Mus. ms. autogr. Beethoven 9, Heft 1,
f. lv]
[Wiedergabe in: Georg Schünemann, Musikerhandschriften von Bach bis Schumann]
[Berlin, Zürich: Atlantis-Verlag 1936, Tafel 82] |
1825? |
Works |
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Ludwig van Beethoven |
String Quartet No. 8 in E minor, Op. 59, No. 2 (2nd "Razumovsky" string quartet)
The BACH motif appears in Mvt. 2: Molto adagio, bars 59-63, played by the cello
(contributed by Smadar Carmi-Giberman, December 5, 2013) |
1808 |
Works NEW |
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Siegfried Behrend (1933-1990) |
B-A-C-H - Variationen, for orchestra of plucked instruments
[Hamburg: Trekel, 1981] |
1981 |
Works |
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Jack Behrens (b 1935) |
Fantasy on B-A-C-H, for piano |
1985 |
Works |
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Johann Gottfried Heinrich Bellermann (1832-1903) |
Präludium und Fuge über den Namen Bach, Op. 8, for organ
[Berlin: O. Timm 1855 / Verlag Bote und Bock, n. d.] |
1855 |
Works |
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Heinz Benker (1921-2000) |
Toccata und Fuge über B-A-C-H, for organ |
1963 |
Works |
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Erik Bergman (1911-2006) |
A propos de B-A-C-H, Op. 79, for piano
[Helsinki: Fazer, 1980] [Fennica Gehrman] |
1976 |
Works |
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Hans Georg Bertram (b 1936) |
Konzert mit und ohne b-a-c-h (für Lukas David), for violin & string orchestra
[Esslingen: Selbstverlag des Komponisten] |
1974 |
Works |
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Hans Georg Bertram |
Lamento e Giubilo per Organo. Kompositionen über B-A-C-H, for organ
Wolfgang Rübsam in die Hände (und Füße) gelegt (in the hands (and feet) down):
Parte I: Lamento sopra l'assenza di b-a-c-h
Parte II: Giubilo sopra la presenza di b-a-c-h
[Esslingen: Selbstverlag des Komponisten] |
1974 |
Works |
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Hans Georg Bertram |
Beschwörung. Neun Aphorismen über b-a-c-h, for solo flute
[Kassel: Edition Merseburger 2022, 1979] |
1976 |
Works |
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Hans Georg Bertram |
Du hast meine Klage verwandelt in einen Reigen. Kompositionen über b-a-c-h, for 2 trumpets & 2 trombones (brass choir or brass quartet)
[Munich: Strube Verlag Edition 2607, 1985] |
1977 |
Works |
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Hans Georg Bertram |
Beschwörung II: vier Aphorismen über b-a-c-h, for violin & organ
[Kassel: Verl. Merseburger Berlin, 2008] |
2008 |
Works |
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Johann Georg Bernhard Beutler (1762-1814) |
Fuge über B-A-C-H, for organ
[Erfurt: Körner, c1850] |
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Richard Keys Biggs (1886-1962) |
Prelude on the theme BACH, for organ
[New York: Leeds Music, n. d.]
[Los Angeles: Delkas Music Publishing Comp., 1944] |
1944 |
Works |
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Michael Blake (b 1951) |
Hommage à MDCLXXXV, for harpsichord (in meantone tuning ad lib) or clavichord |
1985/1994 |
Works |
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I departed from the kind of African-European syntheses that I was composing at the time, and decided instead - as it was 1985 - to write an occasional piece marking the tercentenary of the births of three of the greatest composers for the instrument ( Bach, Handel and Scarlatti).
I did however adopt two rather African characteristics (though both are not uncommon in European music either). Firstly I chose a different tuning system - meantone temperament, in which the thirds are pure - and secondly I used a cyclic form, in this case a fairly free kind of passacaglia. The theme of this passacaglia is built on the pitch equivalents of B-A-C-H (B = B flat and H = B natural in German) together with the purely constructed thirds of the meantone tuning. The work opens with a short 'prèlude non measurè' (unmeasured prelude), giving some French perspective to the piece.
Source: Michael Blake: Programme notes |
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Michael Blake |
Their souls go waltzing on, for solo piano
[Bardic Edition] |
2004 |
Works |
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Their Souls Go Waltzing On was another request from Daniel Matej, this time for the Tone Roads Project, commemorating the 130th anniversary of the births of Charles Ives and Arnold Schoenberg. In the spirit of the request I appropriated some fragments of material from Ives's Three-Page Sonata and Schoenberg's Five Piano Pieces Op 23. I remembered that the Ives work opens with the timeless B-A-C-H motif and on reading through the Schoenberg I found it hidden away in various guises. What a perfect opportunity to include JS Bach in the manipulation of these daylight-robbed materials! Taking a cue from Schoenberg's Op 23: No 5 (the Waltz) and the March sections in the Ives, I came up with a kind of march-waltz … or a waltz-march?
Source: Michael Blake: Programme notes |
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Amando Blanquer Ponsoda (1935-2005) |
Homenaje a Juan Sebastian Bach: preludio y fuga sobre B-A-C-H, en el tricentenario de su nacimiento, for guitar
[Madrid : Editorial de Músi a Española Contemporanea, 1989] |
1985 |
Works |
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Oskar Gottlieb Blarr (b 1934) |
Orgelmesse '58 (Gloria), for organ |
1958 |
Works |
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Waldemar Bloch (1906-1984) |
Ricercar über den Namen BACH, for organ
[Vienna: Doblinger Ed. 02278, 1970] |
1952 |
Works |
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Joachim Blume (1923-2002) |
Sonata No. 3 'Protuberanzen', for organ
[Wolfenbüttel: Möseler 19.449, 1977] |
1974 |
Works |
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Joachim Blume |
Sonata No. 4 'Tendenzen': Mvt. 3 (Aequitas), for organ
[Wolfenbüttel: Möseler 19.449, 1977] |
1977 |
Works |
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Arrigo Boito (1842-1918) |
Fuga (Fugue) |
1888 |
Works |
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This work is listed in Prinz but there is no such work listed among Boito’s compositions given in the Oxford Music Online or MGG1. In 1888 the Italian magazine Musica Sacra, organized a compostion competition for the renewal of the organ world of Italy. They chose Boito's theme, "Fede a Bach" ("Belief in Bach"), whose letters in German tone letters should be used as a fugal subject of 9 notes, which included at the end of it the BACH motif.. Marco Enrico Bossi and Guglielmo Zuelli won the 1st prize with entire fugues based upon Boito's theme. Giovanni Battista Polleri also composed a fugue using Boito’s theme. |
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Helmut Bornefeld (1906-1990) |
Trio mesto (No. 17 in Inventionen - 30 kleine Orgelstücke), for organ
[Vienna: Universal Edition, 1984] |
1980 |
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Hans Börner (1927-2006) |
Oboenlied, for alto, oboe & organ |
1985 |
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Hans Börner |
Zwiegespräch, Op. 34b, for soprano & alto recorders, 4 string instruments & percussion |
1985 |
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Alexander Borodin (1833-1887), and others |
Paraphrases; 24 variations et 14 petites pièces / pour piano / sur le thème favori et obligé.
Dediées aux petits pianistes / capable d'éxécuter le thème avec un doigt de chaque main / par Alexandre Borodin, César Cui, Anatole Liadow, et Nicolas Rimsky-Korsakov
[St. Petersburg: Editions M. P. Belaieff 1879; Paris: A. Büttner (bearb./orch. von Nikolai Tscherepnin) 1937; (bearb./orch. von Heinz Reinhard Zilcher) 1955] |
1879 |
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Siegfried Borris (1906-1987) |
B-A-C-H, Evolution, Op. 134, for 19 wind instruments, 3 double basses, harp & percussion
[Wilhelmshaven: Heinrichshofen Nr. 8930, 1971] |
1971 |
Works |
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Marco Enrico Bossi (1861-1925) |
Fede a Bach (Fuga a quattro voci su un tema di Arrigo Boito), Op. 62, for organ
[won 1st prize offered by the journal Musica sacra in Milan for composing this work]
[Originally published in Musica Sacra 1888]
[Bergamo: Edizioni Carrara, 1999] |
1888 |
Works |
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Marco Enrico Bossi/Maurizio Machella |
Fuga a quattro parti sul tema F.E.D.E.A.B.A.C.H., Op. 62, for organ
[Padova: Armelin musica : Edizioni musicali Euganea, 1996] |
1996 |
Works |
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Pierre Boulez (b 1925) |
Piano Sonata No. 2
[Paris: Heughel, 1950] |
1947-1948 |
Works |
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Popular opinions about Boulez as entirely detached from tradition will be amazed at the work's clear debt to Beethoven's "Hammerklavier" and "Waldstein" sonatas, and it even uses a B-A-C-H motif throughout.
Source: Amazon.com |
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Johannes Brahms (1833-1897) |
Cadenza for first movement of Beethoven's Piano Concerto No. 4 in G major, Op. 58, for piano
[Verlag . . . der Deutschen Brahms-Gesellschaft (In: 2 Cadenzen zu Beethoven's Klavier-konzert in G dur Op. 58), 1907]
[Leipzig: Breitkopf & Härtel (Brahms-GA, Bd. 15, S. 113) 1928] |
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Johannes Brahms |
Fugue in A-flat minor, for organ, WoO 8 |
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Alfred Brandt-Caspari (1864-1929) |
Präludium und Fuge über b-a-c-h g-Moll, Op. 2
[Leipzig: Forberg] |
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Henry Brant (1913-2008) |
From Bach's menagerie: 6 instrumental motets or free stretto fugues on diverse subjects with superimpositions of the note-set BACH, for soprano, alto, tenor and baritone saxophones (Bach's walruses, Bach's penguins, Bach's whales, Bach's seals, Bach's sharks)
[New York, NY: C. Fischer, 1983] |
1963; revised 1975, 1983 |
Works |
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Peter Michael Braun (b 1936) |
Hommage à Machaut, for piano |
1979 |
Works |
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Volker Bräutigam (b 1939) |
Concerto, for harpsichord & orchestra |
1961 |
Works |
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Volker Bräutigam |
'Johann Sebastian Bach: unbequemer Mann. . .' Epitaph, for 4-7-voice choir a cappella (text: Johannes Bobrowski)
[Leipzig: VEB Deutscher Verlag für Musik Ed. Nr. 7615, 1969] |
1969 |
Works |
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Reiner Bredemeyer (1929-1995) |
8 Stücke für Streichtrio (string trio)
[Leipzig: VEB Deutscher Verlag für Musik Ed. Nr. 8336, 1975] |
1971 |
Works |
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Reiner Bredemeyer |
(Cello)', for 4 cellos |
1971 |
Works |
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Hans Brehme (1904-1957) |
Symphony No. 2, Op. 51, for orchestra
[Mainz: Schott] |
1950 |
Works |
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Franz-Josef Breuer (1904-1996) |
Immer wieder, ob wir der Liebe Landschaft auch kennen, chorale setting by R.M. Rilke, for female choir a cappella |
1975 |
Works |
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Alfred Herbert Brewer (1865-1928) |
Meditation on the name of Bach, for organ
In: Solitude, An Impression, Meditation
[London: Augener, 1916] |
1916 |
Works |
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David Briggs (b 1962) |
Variations on Laudes Spirituali, for organ, including a novel 'Trio a la J S Bach'
[Chestnut Music] |
2004 |
Works
BACH motif? |
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Richard Brooks (b 1942) |
Bachatelles, for for percussion solo (marimba and assorted others)
[ACA - American Composers Alliance] |
1998 |
Works |
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In Bachatelles for solo percussionist, Richard Brooks uses some of Bach’s favorite contrapuntal techniques to develop a theme based on Bach’s name in a modern style.
Source: American Composers Alliance |
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Richard Brooks |
Bach-analia, for solo harpsichord
[ACA - American Composers Alliance] |
2007 |
Works |
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Rayner Brown (1912-1999) |
Scherzo and fugue on B.A.C.H., for organ
[Los Angeles?: Rayner Brown, 1984] |
1984 |
Works |
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Rayner Brown |
R. Schumann: Fugue, Op. 60, No. 1 (Fugen über den Namen Bach), arranged for 3 clarinets: alto clarinet, bass clarinet and contrabass clarinet
[Los Angeles, Calif. : Western International Music, 1977] |
1977 |
Works |
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Robert J. Brownlow |
Fantasy on B-A-C-H, for harpsichord/piano |
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Works |
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Fantasy on B-A-C-H is a single movement composition. Not very much new music is written for this instrument and thus many audiences have never heard dissonant harmonies on the harpsichord. There are two main themes in this piece: the famous B-A-C-H motive and another that is hinted at throughout but not revealed until near the end.
Source: RJB Music Store |
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Dave Brubeck (b 1920) |
Bach An' All, for Jazz quartet
In: Dave Brubeck/Bill Smith: “Brubeck-Smith: Near-Myth (William O. Smith, cl; Dave Brubeck, p; Gene Wright, b; Joe Morello (d) (Fantasy/OJC) |
1961 |
Works
BACH motif? |
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Dave Brubeck |
Chromatic Fantasy Sonata, inspired by J.S. Bach, for piano
[USA: Derry Music; Miami, Fla : [Distributed by] Warner Bros. Publications, 1994] |
1994 |
Works |
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It is probably not too far afield to posit Milhaud and J.S. Bach as Brubeck’s most influential classical composers. While Glances is Dave’s most Milhaud-inspired piece, Chromatic Fantasy Sonata is surely his most Bachian. It is true that Brubeck’s earlier works like two-part Contention and Brandenburg Gate, pay tribute to the Baroque master. But Chromatic Fantasy Sonata with its reverences to Bach’s Chromatic Fantasia & Fugue in D minor ( BWV 903) and use of chorale (2nd movement), fugue (3rd movement), and chaconne (4th movement) reveal and indebtedness to Bach surely unique in Brubeck’s output. As if we needed any more proof, clear quotations of the B-A-C-H motif (the German names of the notes B-flat, A, C. and B-natural) emerge in the “Allegro motto” movement returning (often in altered inversion) in subsequent movement”.
Source: Seriously Brubeck: Original Music by Dave Brubeck, Introduction by John Salmon, p 7 |
|
|
|
Rudolf Bruči (1917-2002) |
Metamorphoses B-A-C-H, for string orchestra
[Vojvodine : Udruženje Kompozitora, 1973]
[Zagreb: Musicki Informativni Centar] |
1973 |
Works |
|
Ferdinand Bruckmann (b 1930) |
Symphony No. 1, for string orchestra |
1956 |
Works |
|
Ferdinand Bruckmann |
Piano Concerto No. 1, for piano & orchestra |
1956 |
Works |
|
Ferdinand Bruckmann |
Vier Studien über b-a-c-h, for piano
[UA Oberhausen, 1958] |
1958 |
Works |
|
Ferdinand Bruckmann |
Suite, for cello & piano: |
1967 |
Works |
|
Ferdinand Bruckmann |
Ornithologische Suite: Mvt. 1: 'Bach-Vogel', for 4 recorders & 4 women's voices
[Celle: Moeck 1969] |
1969 |
Works |
|
John Burke (b 1951) |
Escher/Bach, for alto flute & harpsichord |
1985 |
Works |
|
Ferruccio Busoni (1866-1924) |
Fantasia nach J.S. Bach, for piano, KiV 253 |
1909 |
Works
Recordings |
|
Ferruccio Busoni |
Große Fuge: Kontrapunktische Fantasie über Joh. Seb. Bach's letztes unvollendetes Werk, for piano
[New York: G. Schirmer PI. Nr. 22004, 1910] |
1910 |
Works
Recordings |
|
Ferruccio Busoni |
Fantasia contrappuntistica (Fassung I), for piano ("Edizione definitiva"), KiV 256 (described as an attempt to complete the unfinished final three-subject fugue in Die Kunst der Fuge BWV 1080, or an hommage to J.S. Bach & Die Kunst der Fuge BWV 1080)
[Wiesbaden: Breitkopf und Härtel V.A. 3491, 1910] |
1910 |
Works
Recordings |
|
Ferruccio Busoni |
Fantasia contrappuntistica (Fassung II), for piano ("Edizione minore"), KiV 256a
[Leipzig: Breitkopf und Härtel V.A. 3829, 1912] |
1912 |
Works
Recordings |
|
Ferruccio Busoni |
Fantasia contrappuntistica (Fassung III), for 2 pianos, KiV 256b
[Leipzig: Breitkopf und Härtel E. B. 5196, 1922] |
1921 |
Works
Recordings |
|
Ferruccio Busoni/Kenneth Leighton |
Fantasia contrappuntistica (IV), for organ, KiV 256d (arrangement of Busoni's composition) |
1956 |
|
|
Ferruccio Busoni/Wilhelm Middelschulte: |
Fantasia Contrappuntistica (Homage to Bach), for organ, Op. 24 (arrangement of Busoni's composition)
[Leipzig: Breitkopf & Härtel, 1912] |
1911 |
|
|
Ferruccio Busoni/Helmut Bornefeld |
Fantasia Contrappuntistica (Homage to Bach), for organ, Op. 24 (arrangement of Busoni's composition)
[Wiesbaden: Breitkopf und Härtel E.B. 6342] |
|
|
|
Ferruccio Busoni/Frederick A. Stock |
Fantasia Contrappuntistica (Homage to Bach), for orchestra & organ (arrangement of Busoni's composition) |
|
|
|
Max Butting (1888-1973) |
String Quartet No. 5, Op. 53 |
1947 |
Works |
|
Max Butting |
Festschrift für Bach, 6 Inventionen, Op. 77, for flute, English horn, bassoon, violin, viola & cello
[Halle/Saale: Mitteldeutscher Verlag, Best. Nr. M 2025a, 1952] |
1950 |
Works |
|
Max Butting |
Two Toccatas, Op. 88, for piano |
1953 |
Works |
|
Max Butting |
Symphony No. 9, Op. 94, for orchestra |
1956 |
Works |
|
Max Butting |
Symphony No. 10, Op. 108, for orchestra |
1963 |
Works |
|
Jean-Paul Byloo (b 1949) |
String Quartet No. 2 |
1992 |
Works |
|
In the Second Strong Quartet, the creation of contrasts plays a central role. The work may be described as kaleidoscopic: a one-movement composition with constantly changing colours and moods, rooted in 2 different musical ideas. In the first, thematic development is central. The second idea is based on the representation of a sound-amalgam. The overall impression is paramount here, and the sound is, as it were, intangible. The work is a layering of different rhythmic and melodic elements that are constantly in movement. The so-called BACH motif functions as a unifying element and links both the musical ideas.
Source: Byloo Jean-Paul (1949) (Matrix – New Music Centre) |
|
|
|
C Bach | A | B | C | D | E | F | G | H | I | J | K | L | M | N | O | P | Q | R | S | T | U | V | W | X | Y | Z |
|
Composer |
Work |
Year |
Works
Recordings |
|
James P Callahan |
B.A.C.H. variazioni, for organ
1st performance by the composer, St. Paul’s Cathedral, St. Paul, Minn., Sep 1985 |
1985 |
Works |
|
Herbert Callhoff (b 1933) |
Crucifixus: Fantasia contrapunctica auf Themen von J. S. Bach, for organ
[Bad Schwalbach: Edition Gravis EG 1622] |
1984 |
Works |
|
Cameron Carpenter (b 1981)
Serenade and Fugue on B.A.C.H., for organ (2009) | Works | Recordings of Instrumental Works |
|
Alfredo Casella (1883-1947) |
Ricercare sul nome BACH, for piano
[Paris: Revue Musicale XIII, Suppément musical II, 1932] |
1932 |
Same work as below? |
|
Alfredo Casella |
Due Ricercari sul nome B-A-C-H, for piano, Op. 52: Funebre, Ostinato (No. 2 from Hommage à J.S. Bach)
[Milan: Ricordi 122713, 1933] |
1932 |
Works
Recordings |
|
Luciano Chailly (1920-2002) |
Canone con variazioni sul nome di B.A.C.H, for solo violin
Pezzo d’obbligo per il Concorso Internazionale Curci 1988
[Milan: Edizioni Curci, 1988] |
1988 |
Works |
|
Jonathan L. Chenette (b 1945) |
Fantasy and fugue on BACH, for violin, violoncello & piano
[USA: J. Chenette, 1985] |
1985 |
Works |
|
Da Jeong Choi |
Chasing Invisible Light, Duo for Alto Flute
Premiered by Carla Rees and Lisa Bost in London, UK |
2009 |
Works |
|
Composed using a combination of diatonic and twelve-tone pitch systems. The two middle sections in particular are based on a tone row, which comprises the BACH motif (Bb-A-C-B), inversion of the motive (D#-E-C#-D), and transposition of the motive (Gb-F-Ab-G), as used by Anton Webern in his String Quartet, Op. 28 (1938).
Source: Da Jeong Choi: Listen |
|
|
|
Frédéric Chopin (1810-1849) |
Fugue in A minor, for piano, B. 144 KKIVc/2 |
1840-1841 |
Works |
|
This simple piece is Chopin's only fugue; Chopin's homage to J.S. Bach after finding J.S. Bach's 48 Preludes & Fugues enjoyable. The work contains a hidden BACH motif in mesasure 12: |
|
|
|
|
|
|
|
Johann Friedrich Christmann (1752-1817) |
Fantasia über den Namen Bach
[Speyer: Boßler, 1783] |
1783 |
Works |
|
Cyril Stanley Christopher (1897-1979) |
Soliloquy on BACH and the Chorale Wenn wir in höchsten Noten sein
[Unpublished] |
|
Works |
|
Cyril Stanley Christopher |
Tone stanzas, for the pianoforte: Valse-intermezzo - Soliloquy - Folk tune
[London: Paterson's Publications] |
1938 |
Works
Same work as above? |
|
Philip Greeley Clapp (1888-1954) |
Fugue on the name B-A-C-H, transcribed for symphonic orchestra |
|
Works |
|
This composition is commonly attributed to J.S. Bach, but its authenticity has been questioned. This transcriptiois in the main close, but a few minor changes have been made near the end for the purpose of securing a climax of orchestral sonority. |
|
|
|
Aldo Clementi (b 1925) |
B.A.C.H., for piano
[Milan: Suvini Zerboni 7191, 1973]
[Milan: Ed. Suvini Zerboni, 2007] |
1970 |
Works |
|
Aldo Clementi |
Replica: (B.A.C.H.), for harpsichord
[Milan: Ed. Suvini Zerboni, c1973] |
1973 |
Works |
|
Aldo Clementi |
Esercizio (B.A.C.H.), for mezzo-violin, violin & viola
[Milan: Suvini Zerboni 8159] |
1975 |
Works |
|
Aldo Clementi |
Reticolo 3: (B.A.C.H.), for 3 guitars
[Milan: Edizioni Suvini Zerboni, 200-?] |
1975 |
Works |
|
Aldo Clementi |
Variazioni su B.A.C.H., for piano
[Milan: Suvini Zerboni, 1987] |
1984 |
Works |
|
Norman Coke-Jephcott (1893-1962) |
Little fugue on BACH, for organ
[New York: J.C. Fischer and Bros., 1956] |
1956 |
Works |
|
Herbert Collum (1914-1982) |
Suite, for organ |
1962 |
Works |
|
Herbert Collum |
Fantasie über b-a-c-h, for choir & chamber orchestra [Premiere: 1967] |
1967 |
Works |
|
Herbert Collum |
Fantasie über B-A-C-H, for organ:
[Frankfurt/Main Edition Peters Group, Frankfurt/Main, Leipzig, London, New York] |
1969 |
Works |
|
Johann Conze (1875-1946) |
Orgel sonate über BACH
[Premiere: Berlin]
[Unpublished] |
|
|
|
Jean Coulthard (1908-2000) |
Theme and variations on B-A-C-H, for piano
[Vancouver? : s.n., 1970?]
[Sevenoaks, Kent: Novello, 1972]
[London: Novello & Co., 1972] |
1951 |
Works |
|
D Bach | A | B | C | D | E | F | G | H | I | J | K | L | M | N | O | P | Q | R | S | T | U | V | W | X | Y | Z |
|
Composer |
Work |
Year |
Works
Recordings |
|
Diana S. Dabby |
Musical variations from a chaotic mapping: Variation 3 |
1995 |
Works |
|
The BACH motif. A transposition (C,B,D,C]) of the notes B[,A,C,B\ - the musical spelling of Bach’s name - appear in the soprano voice of mm. 28 and 29. The retrograde of the BACH motif occurs in mm. 12-15 of both Variation 3 and the original Prelude.
Source: Musical variations from a chaotic mapping [PDF] |
|
|
|
|
|
|
|
Luigi Dallapiccola (1904-1975) |
Canti di liberazione, for mixed chorus & orchestra (incorporating the BACH motif)
[Milan: Edizione Suvini Zerboni, 1955]
Reduced to voice & piano by Pietro Scarpini |
1951-1955 |
Works |
|
Luigi Dallapiccola |
Quaderno Musicale di Annalibera, for piano
[Milan: Edizioni Suvini Zerboni, 1953] |
1952 |
Works |
|
Luigi Dallapiccola |
Variazioni per Orchestra ("Variations", orchestral version of Quaderno musicale di Annalibera)
[Milan: Edizione Suvini Zerboni 6072, 1954] |
1954 |
Works |
|
Arthur Dangel (b 1931) |
Dritte Klaviersonate: Sonate über b-a-c-h, Op. 30, for piano
[Calw: Schmidmusic, 1992] |
1967 |
Works |
|
Ram Da-Oz (b 1929) |
Lebe wohl B.A.C.H., for piano
[Wiesbaden: Breitkopf & Härtel (Neue Israelische
Klaviermusik, Heft 2) BG 1015] |
1976? |
Works |
|
Hans Darmstadt (b 1943) |
'. . . darum hoffe ich noch', for solo soprano, solo alto, solo baritone, choir & orchestra (or organ or piano)
[Wiesbaden: Breitkopf & Härtel] |
1981 |
|
|
Jean Darmstadt (b 1908) |
Choraltrio “Ich steh an deiner Krippen hier”, for organ
[Köln: Gerig] |
1967-1973 |
|
|
Johann Nepomuk David (1895-1977) |
Concerto grosso über den Namen BACH, for orchestra (or in a version for 2 pianos) |
1925 |
Works [O]
Works [P] |
|
Johann Nepomuk David |
Partita über B-A-C-H, for organ
[Wiesbaden: Breitkopf und Härtel EB 6464, 1965] |
1964 |
Works |
|
Peter Maxwell Davies (b 1934) |
A Reel of Seven Fishermen , for orchestra: 1st Mvt. - Prologue: The Call of the Sea
[London: Boosey & Hawkes, 1999] |
1998 |
Works |
|
The first musical paragraph (there are three altogether that form the movement’s exposition of ideas) ends on a pause in the bar before Letter C in the full score3. A few bars earlier a short, but very expressive tuba solo seems to endorse what was already suggested in the horns opening material - that a referencing of the BACH motif (a four-note motif that crosses over on itself ) will be a related motivic feature of this work. The comparison between the two solo tuba phrases and the BACH motif itself. The BACH motif consists of two falling minor 2nd intervals contained within the framework interval of a minor 3rd. The first tuba phrase comes close to imitating the exact contours of the BACH motif, but its intervals are slightly expanded; the second phrase contains greater intervallic expansion. However, after discussing many of the work’s principal features with Max at his home on Sanday in August 2007, I have to conclude that any direct link between the BACH motif and the ‘Crux fidelis’ plainsong on which he based so much of the work’s melodic material, appears to be coincidental. However, the close intervallic shaping of both ‘melodies’ as well as the shared symbol of a cross makes for an nteresting (possibly subconscious) parallel.
Source: A Companion to Recent Scottish Music: 1950 to the Present [PDF] |
|
|
|
Pamela Decker |
Passacaglia on BACH, for organ
[Colfax, N.C.: Wayne Leupold Editions, 2005] |
2004 |
Works |
|
Johannes Dietz Degen (1910-1989) |
Die vier Temperamente, Op. 30: Mvt. 2 “In modo colerico", for string orchestra |
1982 |
|
|
André Delapierre (b 1926) |
Hommage à J.S. Bach. Fantaisie sur b-a-c-h, for piano |
1950 |
|
|
Henri Delnooz (b 1942) |
Quartett, for flute, oboe, violine, violoncello
[Amsterdam: Donemus 1969] |
1969 |
Works |
|
Michael Denhoff (b 1955) |
Omaggio (à Bach, Scarlatti, Händel e Berg), Op. 40, concerto for
violi, oboe & orchestra
[Bad Schwalbach: Edition Gravis, 1985] |
1984 |
Works |
|
|
|
|
|
Paul Dessau (1894-1979) |
String Quartet No. 1
(appears in OCC, but needs confirmation) |
1932 |
Works |
|
Paul Dessau |
Les voix, for voice & instruments
(appears in OCC, but needs confirmation) |
1939-1941 |
Works |
|
Paul Dessau |
Deutsche Miserere, for solo voices, chorus, children's chorus, orchestra, organ, trautonium
(appears in OCC, but needs confirmation) |
1944-1947 |
Works |
|
Paul Dessau |
Klavierstucke uber B-A-C-H, for piano |
1948 |
Works
Recordings |
|
Paul Dessau |
Die Verurteilung des Lukullus, opera
(appears in OCC, but needs confirmation) |
1949-1950 |
Works |
|
Paul Dessau |
In memoriam Bertolt Brecht, for orchestra
[Leipzig: Ed. Peters 4927a, 1960]
(appears in Prinz & OCC, but needs confirmation) |
1956 |
Works |
|
Paul Dessau |
Bach-Variationen, for big orchestra
[Leipzig: Ed. Peters 9038a; Faksimile: 9038 FS, 1964] |
1963 |
Works |
|
Paul Dessau |
Lanzelot, opera
(appears in OCC, but needs confirmation) |
1967-1969 |
Works |
|
Paul Dessau |
Orchestermusik III: Lenin, for orchestra
(appears in OCC, but needs confirmation) |
1970 |
Works |
|
Paul Dessau |
Einstein, opera
[Berlin/Wiesbaden: Bote & Bock (Kl.A. von Horst Karl Hessel), 1973]
(appears in Prinz & OCC, but needs confirmation) |
1971-1973 |
Works |
|
Paul Dessau |
Leonce und Lena, opera
(appears in OCC, but needs confirmation) |
1978 |
Works |
|
Roland Diggle (1885-1954) |
Hommage à Franck: fantasy on B.A.C.H. and fragment from Franck, for organ
[New York: Leeds Music Corp., 1954] |
1947 |
|
|
Rudi Martinus van Dijk (1932-2003) |
Concertante, for flute, harp, timpani & strings
[Ms.] |
1963 |
Works |
|
Paul-Heinz Dittrich (b 1930) |
Concerto, for flute, oboe & orchestra
[Vienna: Universal Edition; Mainz: Schott Music] |
1974 |
Works |
|
Paul-Heinz Dittrich |
Cantus I, for orchestra
[Wiesbaden, Leipzig, Paris: Breitkopf & Härtel] |
1975 |
Works |
|
Paul-Heinz Dittrich |
Illuminations, for Orchestra
[Vienna: Universal Edition; Mainz: Schott Music] |
1976 |
Works |
|
Andrzej Dobrowolski (1921-1990) |
Unknown work/s |
|
Works |
|
He was fond of tight but expressive chromatic bundles and arabesques in the manner of a permutated B-A-C-H motif.
Source: Oxford Music Online (Grove) (Author: John Casken) [accessed: July 17, 2011] |
|
|
|
Franco Donatoni (1927-2000) |
Voci, for orchestra
[Milan: Suvini Zerboni 7616] |
1972-1973 |
Works |
|
Günter Dörr (b 1933) |
In memoriam, for orchestra
In: Divertimento über B-A-C-H [collaborative composition |
1984 |
Works |
|
Theodor Draht (1828-1880) |
Fantasie über den Namen Bach, Op. 9, for organ 4 hands
[Erfurt: Körner, 1864] |
1864 |
|
|
Rudolf Dressler (b 1932) |
Kanon über B-A-C-H, for flute, oboe, clarinet, horn and bassoon
In: Miniaturen für Bläserquintett
[Leipzig, Breitkopf & Härtel, Nr. 7608, 1973] |
1966 |
|
|
Rudolf Dressler |
Impression en über b-a-c-h, for organ |
1983 |
|
|
Sergei Dreznin (b 1955) |
Gershwin For Love Is Here To Stay, for piano |
2008 |
Works |
|
Elizabeth Neuffer, a Boston Globe reporter died in a car accident in Iraq just a couple of weeks before the concert. This encore - For Love Is Here To Stay - is dedicated to her memory. She was planning to attend this recital upon her return form Iraq.
Dreznin uses motives from other pieces performed earlier on during this recital: Bach
Saraband, Scriabin Mazurka, as well as the BACH motif.
Source: YouTube |
|
|
|
Georg Druschetzky (1745-1819) |
Unknown work/s |
|
Works |
|
Druschetzky is credited with one of the earliest uses of the BACH motif.
Source: Georg Druschetzky's Biography (Last.fm) | Georg Druschetzky (Wikipedia) |
|
|
|
Franz Dubitzky (1866-1918) |
Ein feste Burg und B-A-C-H. Werken der Tonkunst
[Musikalisches Magazin, Heft 61, Langensalza 1914] |
1914 |
|
|
Marcel Dupré (1886-1971) |
Sept Pièces, Op. 27, for organ: Mvt. 7: Final
[Paris: S. Bornemann; New York H.W. Gray, 1931] |
1930 |
Works |
|
The Sept Pièces of 1930 are an extended set of concert works dedicated to Dupré’s friends, including the organ builders Henry Willis and Ernest Skinner, the organist Lynnwood Farnham and the Bach scholar Albert Reimenschneider (the tumultuous Final dedicated to the latter includes the BACH motif worked into the texture). The Canon – at the seventh – and the Carillon from this set are also impressive.
Source: Classical Music Review Blog |
|
|
|
Zsolt Durkó (1934-1997) |
Episodi sul tema B-A-C-H, for orchestra
[Budapest: Editio Musica, Z. 6611, 1971] |
1962-1963 |
Works |
|
E Bach | A | B | C | D | E | F | G | H | I | J | K | L | M | N | O | P | Q | R | S | T | U | V | W | X | Y | Z |
|
Composer |
Work |
Year |
Works
Recordings |
|
Klaus Egge (1906-1979) |
Symphony No. 4: Sinfonia sopra B-A-C-H. E-G-G-E, Op. 30, in one movement
[Drammen, Norway : H. Lyche; New York : Sole agents, C.F. Peters, 1970] |
1967 |
|
|
Hanns Eisler (1898-1962) |
Präludium und Fuge über B-A-C-H. Studie über eine Zwölftonreihe, Op. 46, for string trio
[Leipzig: VEB Deutscher Verlag für Musik 8334, 1973] |
1934 |
Works |
|
Hanns Eisler |
Gegen den Krieg, Op. 51, for chorus |
1936 |
Works |
|
Hanns Eisler |
Lenin-Requiem, for soloists, chorus & orchestra |
1936-1937 |
|
|
Hanns Eisler |
Deutsche Sinfonie (1947, revised 1949), Op. 50, for soloists, chorus & orchestra |
1947/1949 |
Works |
|
Hanns Eisler |
Rezitativ und Fuge über B-A-C-H (Text: Johannes R.
Becher). Für Johannes R. Becher zum 60. Geburtstag, 1951, for voice & piano
[Berlin: “Sinn und Form”, Sonderheft Hanns
Eisler, Rütten & Loening 1964] |
1951 |
Works |
|
Hanns Eisler |
Das Vorbild, for alto & orchestra |
1952 |
Works |
|
Hanns Eisler |
Piano Trio on the 12-tone Scale. |
|
Works |
|
Kenny Elliott |
Cyclops, based on a Bach motif |
1971 |
|
|
Performed by Kenny Elliott (mellotron); Wurlitzer (organ, piano and other keys); George Hart (bass); Kieran O'Connor (drums)
In: Second Hand: “Death May Be Your Santa Claus” (Mushroom 200 MR 6)
Source: Rare Records Catalogue | Mutant Sounds |
|
|
|
Paul Engel |
Fantasia and Fugue on B-A-C-H, for string orchestra |
1942 |
|
|
Hans Ulrich Engelmann (1921-2011) |
Partita für Streichorchester und Schlagzeug, Op. 12, for string orchestra & percussion
[Munich: Ahn & Simrock-Crescendo]
[Berlin: Ahn & Simrock, 1957] |
1957 |
Works |
|
Johannes Engelmann (1890-1945) |
Fantasie, Passacaglia und Fuge über den Namen BACH, Op. 28, for organ
[Leipzig: Breitkopf und Härtel Ed. Nr. 5528, 1927ff, 1941] |
1941 |
|
|
Dietrich Erdmann (1917-2009) |
Spektrum: Mvt. 1: Introduktion, for small orchestra
[Wiesbaden: Breitkopf & Härtel, 1975] |
1975 |
Works |
|
Veit Erdmann-Abele (b 1944) |
Kanonische Veränderungen über b-a-c-h, for 2 flutes, viola & harpsichord |
1978 |
Works |
|
Karl Erhard (b 1928) |
Postludium mit B-A-C-H, for organ
In: Drei Orgelstücke
[Augsburg: Anton Böhm, c2002] |
2002 |
Works |
|
Hermann Erpf (1891-1969) |
Einleitung, Ostinato und Fuge über B-A-C-H, for piano |
1928 |
Works |
|
Karl Etti (1912-1996) |
Präludium und Fuge über B-A-C-H, for organ |
1972 |
Works |
|
Jan Albert van Eyken (1823-1868) |
Toccata und Fuge über den Namen B-A-C-H, Op. 38, for organ
[Amsterdam: Theune & Comp., c1865] |
c1865 |
Works |
| |
|
< Continue from Part 1 |
Continue on Part 3 > |
|
Prepared by Aryeh Oron (July 2011 - October 2020)
Thanks to contributors: Thomas Braatz (July 2011), Smadar Carmi-Giberman (December 2013), Evan Cortens (July 2011), Arthur Ness (July 2011) |
