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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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Composer

Work

Year

Works
Recordings

Dieter Acker (1940-2006)

Kanonische Phantasie über B-A-C-H, for flute, alto flute, bass flute, violin, viola, cello & harpsichord

1977

Works

Samuel Adler (b 1928)

In praise of Bach: a fantasy for organ on BACH
[King of Prussia, PA: T. Presser, 2003]

2001

Works

Kalevi Aho (b 1949)

Sonata, for violin
[Helsinki: Edition Fazer 1974]

1973

Works

Joseph Ahrens (1904-1997)

Triptychon über B-A-C-H, for organ
[Mainz: B. Schott's Söhne; New York/London: Schott Music Corp., 1952]

1949

Works

Eugen d'Albert (1864-1932)

Präludium und Fuge über B-A-C-H: B, Si = Prélude et fugue sur le nom Bach, for piano
[Leipzig: Forberg, 1912]

1912

Works

Johann Georg Albrechtsberger (1736-1809)

Fugue über B-A-C-H in G minor, for piano [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]

c1781

Works

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

Henk Alkema (b 1944)

Sunset Jericho, for 8 trombones (double quartet) & band
[Roswell, GA: E. Williams Music, 2000]

2000

Works

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

Hans-Gunther Allers (b 1935)

Introduction and Tarantella, Op. 16, for wind quintet

1977

Works

Louis Andriessen (b 1939)

Mausoleum, for 2 baritones & large ensemble
[Amsterdam: Donemus 1985]

1979

Works

Louis Andriessen

De stijl (de materie, part III), for 4 women's voices, female speaker and large ensemble
[London: Boosey & Hawkes, 1996]

1985

Works

Louis Andriessen

De Materie, opera
[Amsterdam: Donemus, 1989]

1989

Works

Anon

Musikalisches Rätsel auf der Rückseite des “Bachpokals" im Bach-Museum Eisenach. Dresden um 1735/36 (?)

1735-1736

Anon (J.S. Bach ?)

Preludio e Fuga super B-A-C-H, in Bach's "Fantasias, Fugas, Preludio," Vol. II
[Leipzig: Peters, n. d.]

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]

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)

Georges Aperghis (b 1945)

BWV, for voices and large ensemble
[Paris: Editions Salabert 1973]

1973

Works

Kit Armstrong (b 1992)

Homage to Bach, for solo piano

2000

Works

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

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

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

Menahem Avidom (1908-1995)

Suite 1962 on the name of Bach, for woodwinds, strings, piano & drums
[Tel Aviv: Israeli Music Publications (Heinrichshofen)]

1962

Works

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

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

Composer

Work

Year

Works
Recordings

Grażyna Bacewicz (1909-1969)

Piano Quintet No. 1, for piano & string quartet
[Kraków: Polskie Wydawn. Muzyczne, 1953]

1953

Works

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

Nikolai Badinski (b 1937)

Omaggio a Bach, Concerto con clavicembalo, Praeloquium-Ausum, for woodwind, harpsichord & strings
[Munich: Sonoton, 1979]

1977

Works

Nikolai Badinski

The Intoxicated Bat, a surrealistic encounter in dream with J. Strauss & J. S. Bach, for orchestra
[Berlin/London, 1992]

1991-1992

Works

Walter Baer (b 1928)

Passagen III, for piano
[Zürich: W. Baer, c1990]

1990

Works

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

Jason Bahr (b 1972)

Divergence, for brass quintet: II. Fugue
[USA: Tauromee Music, 2004]
Source: Wikipedia

2003-2004

Works

Frederic Balazs (b 1919)

Bachiana California, capriccio on the B-A-C-H interval, for piano
[ACA - American Composers Alliance]

2001

Works

Otto Barblan (1860-1943)

Chaconne über BACH g-Moll, Op. 10, for organ
[Leipzig: Leuckart 1902]

1902

Works

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

Alfred Baum (1904-1993)

Fantasie über B-A-C-H, for organ (incorporating the BACH motif)
In: Orgelwerke
[Adliswil; Lottstetten: Kunzelmann, 2004]

1977

Works

Herbert Baumann (b 1925)

String Quartet in C major
[Hamburg: Sikorski, 1962]

1961

Works

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

Jürg Baur

Lncontri (Begegnungen), for alto flute & piano
[Wiesbaden: Breitkopf & Härtel 1962]

1961

Works

Jürg Baur

Kontrapunkte 77, for flute, oboe & bassoon
[Wiesbaden: Breitkopf & Härtel EB 6800, PB 5024, 1977]

1977

Works

Jürg Baur

Ricercare II, for organ
[Wiesbaden: Breitkopf & Härtel EB 8041, 1979]

1977

Works

Jürg Baur

Concerto, for organ & string orchestra
[Wiesbaden: Breitkopf & Härtel 1985]

1984

Works

Helmut Bechtel (b 1929)

Fünf Inventionen (Five Inventions), for piano

1960

Works

Carl Ferdinand Becker (1804-1877)

Trio in B major, Op. 10, No. 6, for organ

Works

Carl Ferdinand Becker

BACH: Op. 13, Heft 1, No. 21, for organ

Works

Carl Ferdinand Becker

BACH: Op. 13, Heft 2, No. 22, for organ

Works

Carl Ferdinand Becker

Choralfuge, for organ

Works

Pierre Michel Bédard (b 1955)

Un hommage musical, for organ

1984

Works

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

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

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

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

Siegfried Behrend (1933-1990)

B-A-C-H - Variationen, for orchestra of plucked instruments
[Hamburg: Trekel, 1981]

1981

Works

Jack Behrens (b 1935)

Fantasy on B-A-C-H, for piano

1985

Works

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

Heinz Benker (1921-2000)

Toccata und Fuge über B-A-C-H, for organ

1963

Works

Erik Bergman (1911-2006)

A propos de B-A-C-H, Op. 79, for piano
[Helsinki: Fazer, 1980] [Fennica Gehrman]

1976

Works

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

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

Hans Georg Bertram

Beschwörung. Neun Aphorismen über b-a-c-h, for solo flute
[Kassel: Edition Merseburger 2022, 1979]

1976

Works

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

Hans Georg Bertram

Beschwörung II: vier Aphorismen über b-a-c-h, for violin & organ
[Kassel: Verl. Merseburger Berlin, 2008]

2008

Works

Johann Georg Bernhard Beutler (1762-1814)

Fuge über B-A-C-H, for organ
[Erfurt: Körner, c1850]

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

Michael Blake (b 1951)

Hommage à MDCLXXXV, for harpsichord (in meantone tuning ad lib) or clavichord

1985/1994

Works

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

Michael Blake

Their souls go waltzing on, for solo piano
[Bardic Edition]

2004

Works

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

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

Oskar Gottlieb Blarr (b 1934)

Orgelmesse '58 (Gloria), for organ

1958

Works

Waldemar Bloch (1906-1984)

Ricercar über den Namen BACH, for organ
[Vienna: Doblinger Ed. 02278, 1970]

1952

Works

Joachim Blume (1923-2002)

Sonata No. 3 'Protuberanzen', for organ
[Wolfenbüttel: Möseler 19.449, 1977]

1974

Works

Joachim Blume

Sonata No. 4 'Tendenzen': Mvt. 3 (Aequitas), for organ
[Wolfenbüttel: Möseler 19.449, 1977]

1977

Works

Arrigo Boito (1842-1918)

Fuga (Fugue)

1888

Works

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.

Helmut Bornefeld (1906-1990)

Trio mesto (No. 17 in Inventionen - 30 kleine Orgelstücke), for organ
[Vienna: Universal Edition, 1984]

1980

Hans Börner (1927-2006)

Oboenlied, for alto, oboe & organ

1985

Hans Börner

Zwiegespräch, Op. 34b, for soprano & alto recorders, 4 string instruments & percussion

1985

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

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

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

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

Pierre Boulez (b 1925)

Piano Sonata No. 2
[Paris: Heughel, 1950]

1947-1948

Works

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

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]

Works

Johannes Brahms

Fugue in A-flat minor, for organ, WoO 8

Works

Alfred Brandt-Caspari (1864-1929)

Präludium und Fuge über b-a-c-h g-Moll, Op. 2
[Leipzig: Forberg]

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

Peter Michael Braun (b 1936)

Hommage à Machaut, for piano

1979

Works

Volker Bräutigam (b 1939)

Concerto, for harpsichord & orchestra

1961

Works

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

Reiner Bredemeyer (1929-1995)

8 Stücke für Streichtrio (string trio)
[Leipzig: VEB Deutscher Verlag für Musik Ed. Nr. 8336, 1975]

1971

Works

Reiner Bredemeyer

(Cello)', for 4 cellos

1971

Works

Hans Brehme (1904-1957)

Symphony No. 2, Op. 51, for orchestra
[Mainz: Schott]

1950

Works

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

Alfred Herbert Brewer (1865-1928)

Meditation on the name of Bach, for organ
In: Solitude, An Impression, Meditation
[London: Augener, 1916]

1916

Works

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?

Richard Brooks (b 1942)

Bachatelles, for for percussion solo (marimba and assorted others)
[ACA - American Composers Alliance]

1998

Works

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

Richard Brooks

Bach-analia, for solo harpsichord
[ACA - American Composers Alliance]

2007

Works

Rayner Brown (1912-1999)

Scherzo and fugue on B.A.C.H., for organ
[Los Angeles?: Rayner Brown, 1984]

1984

Works

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

Robert J. Brownlow

Fantasy on B-A-C-H, for harpsichord/piano

Works

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

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?

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

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

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

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

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Prepared by Aryeh Oron (July 2011 - December 2013)
Thanks to contributors: Thomas Braatz (July 2011), Smadar Carmi-Giberman (December 2013), Evan Cortens (July 2011), Arthur Ness (July 2011)

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Last update: ýDecember 6, 2013 ý16:38:21