Arrangements & Transcriptions of Bach's Works - Works using the Name Bach (The BACH Motif)

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Arrangements & Transcriptions of Bach's Works Works using the Name Bach (The BACH Motif) Part 3: F-M
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Composer	Work		Year	Works Recordings
Helmut Fackler (b 1940)	Toccata und Passacaglia über B-A-C-H, for organ		1977	Works
Hans Fährmann (1860-1940)	Vorspiel und Doppelfuge über B-A-C-H, Op. 11, for organ [Leipzig: O. Junne, 1902]		1902	Works
Hans Fährmann	Dritte Sonate in sinfonischer Form b-Moll, Op. 17, for organ [Leipzig: O. Junne, 1902]		1902	Works
Hans Fährmann	Toccata, Introduction und Fuge C-Dur, Op. 69, for organ [Leipzig: O. Junne, 1932]		?1916/1932	Works
Nicholas Fairbank (b 1956)	Variations on B.A.C.H. (B-A-C-H Variations), for piano Premiere by Nicholas Fairbank (piano) on October 11, 2009 at Grace Lutheran Church, Victoria, BC, Canada. Source: Nicholas Fairbank: Catalogue		2007	Works
Gabriel Fauré (1845-1924)	Requiem in D minor, Op. 48 The BACH motif is sung 3 times by both the soprano and the tenor in the Libera me (Mvt. 6) to the words “Domine Requiem aeternam dona eis Domine” (contributed by Smadar Carmi-Giberman, December 5, 2013).		1887-1890	Works NEW

Wilhelm Fehres (1901-1991)	Meditation II, for organ		1980	Works
Samuel Evgenievitch Feinberg (1890-1962)	Piano Sonata No. 6, Op. 13 [Vienna; New York: Universal-Edition, 1925]		1923	Works
	The Sixth Sonata is probably the finest work in the present set. It takes in a world of references - the bell-like tolling of the opening seems to recall Debussy’s ‘Cathédrale engloutie’ (Préludes I); but Janácek and Schoenberg both vie for attention, all sitting alongside a perceptive use of the B-A-C-H motif. Some of the reiterated block chords (around 6’) even sound like gestures from early Stockhausen electronic music! The performance (Sirodeau) is miraculous. It is here that virtuosity reaches its peak. Source: Colin Clarke / MusicWeb 2004
Otto Feix (1890-1980)	Improvisationen über b-a-c-h, Op. 106b, for organ			Works
Kurt Fiebig (1908-1988)	Drei Kontrapunkte zu B-A-C-H, for organ [Hofheim: Weber, 1985]		1983	Works
Hans Fleischer (1896-1981)	Kleine Hausmusik über B-A-C-H, Op. 143, for violin & piano		1950	Works
John Fodi (1944-2009)	Concerto grosso, Op. 74, for for keyboard & strings [MS]		1984	Works
Jean Kurt Forest (1909-1974)	Fantasy for orchestra (?)		1950	Works
Günter Fork (1930-1998)	Metamorphosen nach Themen von J. S. Bach auf Gedichte von Ernst Bertram, for mixed choir a-cappella [Wolfenbüttel: Möseler 62.413, 1969]		1964-1965	Works
Günter Fork	Aus tiefer Not (= 1. Choralpartita), for organ [Wolfenbüttel: Möseler 19.457, 1981]		1976	Works
Walter von Forster (1915-2002)	Choralfantasie Jesu, hilf siegen, du Fürste des Lebens, Op. 36, for organ		1936	Works
Wolfgang Fortner (1907-1987)	Phantasie über die Tonfolge b-a-c-h, for 2 pianos, 9 solo instruments & orchestra [Mainz: B. Schott's Söhne ED 4271, 1951]		1950	Works
César Franck (1822-1890)	Prélude, choral et fugue (Prelude, Chorale and Fugue in B minor), for piano, M 21		1884	Works
	Franck used a slightly altered version of the B-A-C-H motif in the opening of the prelude but its origin is clear (see Example 19). Source: Baroque influences in the 20^th and 20^th century piano repertoire: a study of interpretative issues. Author: Xu Wen

Henning Frederichs (1934-2003)	Tu es Petrus, oratorio for vocal soloists, choir & ensemble		1982	Works
Otto Frickhöffer (1892-1968)	Fantasie über B-A-C-H, for organ [Selbstverlag, 1927] [Ander-Donath-Edition]		1923	Works
Johannes G. Fritsch (1941-2010)	Modulation I, for violin, viola, cello, double bass & piano [Köln: Feedback o. J.]		1966	Works
Johannes G. Fritsch	Modulation II, for 13 instruments & electronics [Köln: Feedback o. J.]		1967	Works
Heinrich Funk (1904-1977)	Passacaglia über B-A-C-H, Op. 50a, for organ [also in other versions]		1958	Works
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Composer	Work		Year	Works Recordings
Niels Wilhelm Gade (1817-1890)	Rebus. Drei Klavierstücke, über die Noten G-A-D-E und B-A-C-H, Op. 2a, for piano [Leipzig: Kistner 1876]		1841	Works New Recordings
Adolf Gebauer (b 1941)	Präludium und Fuge über B-A-C-H, for string orchestra (or string quintet)		1984	Works New
Steven Gellman (b 1947)	Overture for Ottawa, for orchestra [Toronto: Canadian Music Centre, 1972]		1972	Works New
René Gerber (1908-2006)	Prélude et fugue sur le nom de Bach, for solo clarinet [Zürich : Amadeus, 1979.] [Winterthur: Amadeus-Verlag BP 2445]		1979	Works New
Fritz Christian Gerhard (1911-1993)	Fantasie mit B-A-C-H, for organ or piano [Rodenkirchen/ Köln: Tonger, 2010]		1994	Works New
Alberto Ginastera (1916-1983)	Toccata, Villancico y Fuga, Op. 18, for organ [Buenos Aires: Barry and Cia, 1955]		1947	Works New
Walter Gleißner (b 1931)	Fantasie über B-A-C-H, for organ [Augsburg: Anton Böhm, c1987]		1987	Works New
Leopold Godowsky (1870-1938)	Sonata in E minor, for piano [Berlin: Schlesingersche Buch- und Musikalienhandlung, 1911]		1911	Works New Recordings
Leopold Godowsky	Prelude and Fugue on the notes B.A.C.H., for solo piano, for the left hand alone [New York: G. Schirmer, 1930]		1929	Works New Recordings
Gerhard Goebel (1932-2009)	Latin meets classic, quintet for flutes [Frankfurt, Germany : Zimmermann, ZM-34150, 2001]		2001	Works New
	The title "Latin meets classic" describes the basic idea behind this quintet: the composer tried to make his favorite Latin American rhythms from the 20^th century meet with European rhythms from the baroque and rococo periods. For example, in the first movement a BACH motif 'winds its way' into the tango part, and the second movement is a classical minuet from the Mozart era, which is then recalled towards the end on the third movement (samba). All three movements are based on the same plain chord sequences. Source: Sheet Music Plus
Alexander Goehr (b 1932)	Three Pieces for piano, Op. 18 [London: Schott ED 10910, 1966]		1964	Works New Recordings
Alexander Goehr	... a musical offering (J.S.B. 1985)..., on musical motif Johann Sebastian Bach, for 14 players, Op. 46 [London: Schott Music Ltd., 1985]		1985	Works New
Friedrich Goldmann (1941-2009)	Sonata, for piano & wind quintet		1970	Works New
Friedrich Goldmann	Essays I-III, for orchestra		1971-1973	Works New
Friedrich Goldmann	Fantasia, for organ		1972	Works New
Friedrich Goldmann	Symphony, for orchestra [Leipzig: Edition Peters 9596, 1977]		1972-1973	Works New
Friedrich Goldmann	Streichquartett über b-a-c-h, for string quartet [Leipzig: Ed. Peters 9220a, 1978]		1978	Works New
Hans-Georg Görner (1908-1994)	Fantasie und Doppelfuge über B-A-C-H, Op. 50, for organ [Leipzig: Edition Peters 9370, 1972]		1972	Works New
Lothar Graap (b 1933)	Fantasie III (B-A-C-H), for organ [Edition Musica Rinata]		1985	Works New
Monika Gründer	. - Musikalische Entwicklung in vier Abschnitten, General-B-A-C-H /Das B-Ä-C-H-lein / B-A-C-H-tok / Stock-B-A-C-H, for piano		1985
Günter Gruschwitz (b 1928)	Toccata und Fuge über die Tonfolge B-A-C-H, Op. 27, for organ		1985	Works New
Sofia Gubaidulina (b 1931)	Reflections on the theme B-A-C-H, for string quartet (2 violins, viola and violoncello), based on or related to Contrapunctus 14 in J.S. Bach's Der Kunst der Fuge [Hamburg: H. Sikorski, 2004]		2002	Works New
Franz Liszt, syncretic version for organ by Jean Guillou	Fantaisie et fugue sur le nom de BACH, for organ [Mainz [u.a.]: Schott, 2005]		1977
Jens Uwe Günther (20^th-21^st century)	Konfrontationen zu B-A-C-H, for 2 orchestral groups		1977	Works New
Per Günther (b 1933)	Chaconne, intermezzo og fuga, for organ In: Tonerne B-A-C-H = Die Töne B-A-C-H = Tones B-A-C-H (1985) [Ǻrhus: a la sanus, cop. 1985]		1984	Works New
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Composer	Work		Year	Works Recordings
Hanno Haag	Silences - Sieben Klavierstücke, Op. 11a, for piano		1973
Hanno Haag	Silences, Op. 11b, for small symphonic orchestra		1983
Max Haager	Chaconne, for string orchestra 1943; for orchestra 1947		1943/1947
Max Haager	Symphony No. 7 in D minor, for string orchestra		1976-1979
Johannes Haarklou	Praeludium og Fuga over B-A-C-H, for organ [Oslo: Norsk Musikforlag, 1927] [Oslo: Norsk Musikforlag, 2010]		1924
David Hamill (b 1957)	Overture: "The end of summer" from Autumnal Suite, for for oboe, clarinet, cello, synthesiser and drumkit Autumnal Suite is a set of pieces based on the structure of the baroque suite, but strongly influenced by jazz and blues. The music, written over the period October 2004 to January 2005, aims to conjure up images of autumn. Unlike the conventional baroque suite, the movements are in different keys.		2004-2005
	David says, (Overture) "This is the most baroque movement, and is in the form of a French overture. A slow first section in dotted rhythm quotes from J.S. Bach's second orchestral suite (BWV 1067). It's followed by a faster fugato section, which incorporates the B-A-C-H motif. The music moves from baroque to jazz as the summer fades into autumn." Source: David Hamill’s Music
Johannes Hannemann	Symphonische Phantasie über B-A-C-H, for organ, woodwind & percussion [Leipzig: Kistner & Siegel]		Before 1945
Eugene Hartzell	Toccata und Passacaglia, for organ [Vienna: Doblinger]		1983
Josef Haselbach	Vorspiel, for organ [Zürich: Hug 11191]		1973
Christos Hatzis (b 1953)	Spring Equinox, for flute, oboe, bassoon, trumpet, trombone, piano, synthesizer, percussion & string quartet		1985
Christos Hatzis	Farewell to Bach, for baroque orchestra (flute, alto recorder, oboe, oboe d' amore, bassoon, two solo violins, strings (3, 3, 3, 2, 1) and harpsichord.) Commissioned by the Scotia Festival of Music for the Tafelmusik Baroque Orchestra grants from the Canadian Broadcasting Corporation and the Nova Scotia Arts Council. Part of the project Spring Equinox.		1998
	“… I stopped the quotation of the original a few measures earlier, at a half cadence where the interruption is slightly more intuitive, ending the piece with a short concluding statement of my own. The third fugue is a signature piece based on the B-A-C-H motif. As with the previous two fugues the Bach material is presented by the string orchestra. The woodwinds return starting with a lamenting statement of my own initials, C.H., and moving back to the spirit of the first fugue. They trace the process of the first fugue backwards finding peace and fulfillment in the musical company of a great master and in my personal memories of a great man to whose self-sacrifice I partly owe the fact that I am alive.” Source: Farewell to Bach (Christos Hatzis)
Erik Haumann	Sebastian Bach ist für mich Anfang und Ende aller Musik Fantasi, for organ In: Tonerne B-A-C-H = Die Töne B-A-C-H = Tones B-A-C-H (1985) [Ǻrhus: a la sanus, cop. 1985]		1985
Ilya Heifets (b 1949)	BACH-85 - Collage-Suite in 10 movements, for organ, piano, harpsichord, violin, viola, cello and soprano (in the final movement)		1984	Works New
Anton Heiller (1923-1979)	Ein wenig über B-A-C-H , Drei kleine Stücke für Cembalo, for harpsichord [Vienna/Munich: Doblinger 02109, 1976]		1975
Harald Heilmann	Meditation über BACH, for organ [Heidelberg: Süddeutscher Musikverlag Willy Möller, WM 2187 SM, 1969]. [Heidelberg: Süddeutscher Musikverlag, 2010]		1968
Harald Heilmann	Sonata No. 4 in A major: Mvt. 2 (from the oratorio “Corona sacra”), for organ [Berlin: Astoria, 1984]		1979
Harald Heilmann	Dyogramm über A-S-C-H B-A-C-H, for organ [Hofheim-Wildsachsen: Verlag für Musik und Kunst Jutta E. Weber, 1984]		1984
Franz Liszt, arranged by Ernst-Günter Heinemann	Prelude and fuge on B-A-C-H [Munich: Henle, 2010]		2010
Jeannot Heinen	Partita concertata - Hommage à J. S. Bach, Op. 120, for violin & harpsichord;
Jeannot Heinen	6 Invenzioni über B-A-C-H, Op. 42, for organ		1972
Jeannot Heinen	String Trio, Op. 118, for violin, viola & violoncello		1984
Johann David Heinichen (1683-1729)	Kleines Harmonisches Labyrinth in C major, BWV 591, for organ [BGA XXXVIII, S. 225f]		1714
	Critical Report on BWV 591 alias BWV Anhang 179 NBA KB V/12 p. 186 (Bärenreiter, 2006) p. 186 by Frieder Rempp: This composition, contained in some of the older Bach manuscript collections (Hauser, Prieger, etc.) and therefore assumed to be by J. S. Bach, was often referred to as “Kleines harmonisches Labyrinth”. In reality its true title is “Fantasia durch alle Tonarten”. The BG did not include it among Bach’s works; however, it was often included in 19^th-century printed editions of Bach’s keyboard compositions, for instance, in the Peters Edition of Bach’s organ works. There is, however, no doubt about its true authorship in that it can be traced back to its source: Johann David Heinichen’s Der Generalbaß in der Komposition (Dresden, 1728), Chapter V “About a Musical Circle”, §18, pp. 885-895. This original printing guarantees Heinichen’s authorship. In all the extant manuscript copies of this work, no essential differences can be detected, differences that might lead anyone to suspect that this might be a reworking, an arrangement or an adaptation of an already existing work. (Contributed by Thomas Braatz, August 7, 2011)

Friedrich August Helfer	Canon für 2 Claviere und Pedale: B A C H über Bach, for organ In: Album für die Orgel zu J. G. Töpfer's goldner Amts-Jubelfeier am 4. Juni 1867 [Weimar: T.F.A. Kühn, 1867]		1867
Friedrich August Helfer	Fünfstimmige Doppelfuge über B-A-C-H, for organ In: Album für die Orgel… (ebenda) Neuausgabe: Orgelfugen der Hochromantik, Band 5, hrsg. Kurt Lueders [Bonn: Forberg 1982]		1867
Robert Maximilian Helmschrott	Hommage à Albertus Magnus, for organ [Porz: Kistner & Siegel 1982]		1982
Gerald Hendrie (b 1935)	Two sketches on the name B.A.C.H. (Prelude & Fugue on BACH): Le tombeau de Marcel Dupré, for organ [Altamonte Springs, FL: Anglo-American Music Publishers, 1992]		1992
Hans Werner Henze	Symphony No. 2, for orchestra [Mainz: Schott ED 4402]		1949
Johann Georg Herzog	Fuge (B-A-C-H), for organ In: Praktisches Handbuch für Organisten, Op. 33 [Erlangen: F. Enke ca. 1858]		c1858
Bryan Hesford	Aria und Litanei in memoriam Dimitri Schostakowitsch, Op. 55 No. 1, for organ [London: Oecumuse, 1996]		1981
Adolph Friedrich Hesse	Fünfstimmige Doppelfuge uber B.A.C.H., for organ [Bonn: Forberg]		1972
George Heussenstamm	Reflections on B-A-C-H, Op. 20, for organ [New York: Seesaw Music Corporation, 1972]		1972
Frigyes Hidas (1928-2007)	Set of concertinos intended as modern ‘Brandenburgs’ and incorporating the B–A–C–H motif: Concertino for violin & orchestra. [Budapest: Zenemükiadó Vállalat, 1961] Concertino for violin & orchestra [Budapest: Editio musica, 1971] Concertino for wind band [Budapest: Editio Musica, 1984]		1957/1971/1984
Frigyes Hidas	Almost B-A-C-H , concerto for wind band [Vienna, Johann Kliment, c1996]		1996
Erland Hildén	B-A-C-H mässa, for solo organ In: Nuovi fiori musicali		2000
Francina Hinl	Improvisation über den Namen B-A-C-H und das Lied “Gib dich zufrieden", for harp & flute		1985
Caspar René Hirschfeld (b 1965)	Sonate über B-A-C-H, Op. 70, for piano [Leipzig: F. Hofmeister, 2001]		2001
Emil Hlobil	Concerto über B-A-C-H, Op. 61, for organ, strings & timpani		1963
Alun Hoddinott	Cello Sonata op. 73 No. 2 (1970), for cello and piano [Oxford: Oxford University Press]		1970
Trevor Hold	Three Foxtrots on B-A-C-H, for piano In: Period Pieces for piano, 1975		1975
Thomas Holland-Moritz	Sonata breve, 2. Satz, Inventione sulla nome di B-A-C-H, for organ		1972
Johannes Hömberg	7 Fugen und 14 Kanons über B-A-C-H
Arthur Honegger	Prélude, arioso et fughette sur le nom de BACH, H 81 (No. 5 from Hommage à J.S. Bach), for piano [Paris: La Revue Musicale XIII, Supplèment musical V, Dec 1932] [Paris: Editions Salabert, 1933] [Paris: Senart 1937. Pour Orchestre à cordes Paris: Senart 1937]		1932	Recordings
Egil Hovland	Hymnus auf König Olaf, for 9 wind instruments & organ
Klaus-Karl Hübler	Capriccio sopra B-A-C-H Version for piano 4 hands (1978) [Karlsruhe: Tre Media Edition, c2003.]		1975/1978
Camil van Hulse	Prélude et Fugue sur B-A-C-H, Op. 150, for organ [Brussels: Schott SF 9296, 1974]		1974
Camil van Hulse	Ricercata Quasi Fantasia on BACH, Op. 56 No. 1, for organ [New York: M. Witmark and Sons, 1949]		1949
Bertold Hummel (1925-2002)	Improvisation and Toccata, Op. 9, for violin, violoncello & piano (piano trio) [Hamburg: N. Simrock, 1976]		1954
	The Piano Trio, op. 9, from the year 1954, breaks the tradition of the classical-romantic piano trio inasmuch as it rejects the usual formal pattern and combines simply two movements of differing construction but with thematic material derived from one basic tone series. It is distinguished from a twelve-tone work of the Schönberg school by a kind of cell technique, in which small particles are separated out from the complete twelve-tone series and used independently - particles which in their structure of thirds and seconds have a similarity to the BACH motif (German notation for B flat : A : C : B) but contain more combinations of thirds and reveal in the second movement their real origin: the fugue from the Symphony of Psalms by Stravinsky. By constant transformation of the intervals through octave transpositions and inversion, multifarious constellations appear, suitable for flexible formal construction. The opening movement with title "Improvisation" develops within its cyclical setting (in which the series is presented by the violoncello at the beginning and end of the movement) a rhapsody-like succession of arabesques. The second movement, "Toccata", departs from this filigree work and is striking in its use of mighty blocks of sound and strict linearity. Its form, marked particularly by the reprise in fifth transposition of its beginning, is a series of sections, each derived metamorphosis-like from the opening. Source: Berthold Hummel: Commentary to opus 9
Bertold Hummel	Metamorphosen über den Namen B-A-C-H, Op. 40, for organ & 11 wind instruments [Hamburg: Anton J. Benjamin] [Berlin: Boosey & Hawkes / Anton J. Benjamin Musikverlage] [Freiburg: Christophorus-Verl., c1984]		c1975 ?
Bertold Hummel	Aphorismen über B-A-C-H, Op. 105, for solo percussion & strings (8 violins, 2 violas, 2 violoncellos & double bass) [Schweinfurt: Vogt & Fritz, 2000]		2000
Hans Humpert	Fughette über B-A-C-H, for organ		1919
Hans Hupel	String quartet 'B-A-C-H'		1950
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Composer	Work		Year	Recordings
Vincent d'Indy	Beuron. Treize pièces pour le piano In: Tableaux de Voyage, Op. 33, No. 11 [Paris: Leduc, 1920]		1888
Jevgenij Irsai (1951)	B-A-C-H pre husle, for viola, cello & piano [Bratislava: Hudobny fond, 2005]		2005
Charles Ives (1874-1954)	String Quartet No. 1 From the Salvation Army: Mvt. 1, bars 19-20 in the viola part. The notes there are C#, D, H, C natural. If inverted and transposed down a major second they spell out B A C H. Although Ives often revised his work, he was always very sure at any one time of the precise notes that he intended, and I wonder if this transformation of the BACH motif was an intentional sly joke. (suggested by David Hitchin, July 22, 2011)		1898-1902

Charles Ives	3-Page Sonata, Op. 14, for piano: 1^st mvt., first fugal complex Play (help·info) (The BACH motif from The Art of Fugue Contrapunctus XIXc is the "'1^st Theme'/fugue subject" of Ives' combined sonata-allegro and fugal procedures) [New York: Mercury Music Corp. No. 191 (ed. Henry Cowell), 1949]		1905

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Composer	Work		Year	Recordings
Hanns Jelinek	Phantasie, Op. 18, for clarinet, piano & orchestra [Vienna: Universal Edition 12071, 1952]		1951
Otto Joachim.	Fantasia, for organ [Don Mills, Ontario: BMI Canada Limited, 1967]		1967
Otto Joachim	Tribute to St. Romanus - Hommage für Romanus Meludius aus Byzanz, for organ, 4 horns, percussion		1980-1981
Hans-Rudolf Johner (1934-2005)	Psalm 116, for solo voice & organ		1984
Hans-Rudolf Johner	Preiset den Herrn, denn er ist gut : mit dem Motiv B-A-C-H, for organ [Heddesheim : Rhein-Neckar-Verlag, 1993]		1993
Léon Jongen	Largo sur le nom de Bach, for violin		1956
Thórarinn Jónsson	Präludium und Doppelfuge über B-A-C-H, for solo violin [Reykjavik: Musica islandica Edition Nr. 9, um 1975]		1925
Benedict Jucker	Fantasie und Fuge über das Thema B-A-C-H, for organ
Sangjick Jun	Magnificat, for piano (incorporating the B-A-C-H motif)
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Composer	Work		Year	Recordings
Pál Kadosa	Három kis zongoradarab Bach nevére (Drei kleine Klavierstücke über den Namen Bach), for piano In: Karoly Váczi (hrsg.), Magyar zeneszerzök könnyü zongoradorabjai (Leichte Klavier-stücke ungarischer Komponisten). [Budapest: Editio musica Nr. 3185, 1961, S. 25-27]		1961
Werner Kaegi	Miniaturen I-VIII, for oboe, bassoon & harpsichord [Berlin: Astoria, 1981]		1959-1961
Victor Kalabis	4. smyčcovy kvartet / ad honorem J. S. B. (String Quartet No. 4), Op. 62 [Prague: Archiv der tschechischen Musik]		1984
Artur Kapp (1878-1952)	Fantasy on B-A-C-H, for violin and orchestra		1942
Artur Kapp	Fantasie über BACH, for violin & piano [Lilienthal/Bremen: Eres Edition, 1998]		?	Same work as above?
Sigfrid Karg-Elert	Chaconne (35 variations on a basso ostinato), and fugue trilogy with choral, Op. 73, for organ, 2 trumpets, 2 trombones, 2 tubas & percussion [London, Novello & Co., 1910] [Chichester: Cathedral Music, 1991]		1910
Sigfrid Karg-Elert	Sonata No. 2 in B flat minor, Op. 46, for harmonium		1912

Sigfrid Karg-Elert	Basso Ostinato (B.A.C.H), in: Innere Stimmen. Acht Charakterstücke ('Vorspruch'), Op. 58, for organ [Berlin: Carl Simon, 1920; In op. 142, Sempre semplice, Band II] [London: Paxton 1931]		1918
Sigfrid Karg-Elert	Passacaglia and Fugue B flat minor on B-A-C-H, Op. 150, for organ [London: Hinrichsen Edition Ltd. 92, 1938]		1932
Sigfrid Karg-Elert	Sempre Semplice, Op. 142, for organ [Probably is an arrangement of bits of Op. 58] [London : Paxton, 1932]		1932
Erhard Karkoschka (1923-2009)	Triptychon über B-A-C-H, for organ [Darmstadt: Edition Tonos Nr. 7172, 1968]		1965-1967
Otto Kaufmann	Zur stillen Nacht - Huldigung an Bach, choral movement for 3 voices [R. A. Schräder, 1980]		1980
Hugo Kaun	Eisenach: BACH, for piano In: Im Thüringerland, Sechs Stücke für Pianoforte, Op. 30 No. 2 [Berlin: Challier & Co., 1904]		1904
Arie J. Keijzer	Phantasie über B-A-C-H, for organ		1982
Ludwig Keller	Meditation über b-a-c-h, Op. 14, for piano [UA Schwerin 1940]		1940
Johann Peter Kellner	Fugenimprovisation über B-A-C-H. [Ernst Ludwig Gerber, Historisch-Biographisches Lexicon der Tonkünstler, Erster Theil A-M. Leipzig: Breitkopf 1790, Sp. 715f. (vgl. Bach-Dok. III, Nr. 950)]		1790
Talivaldis Kenins.(1919-2008)	Symphony No. 7
	Borrowing was not returned to after these works, except for a re-appearance of the Bach motif at the vocal movements in the Symphony No. 7, at once a matter of more personal involvement due to the texts chosen from his father's poetry, and also of even more assured handling of contrapuntal forms, in this case the passacaglia. Source: The Canadian Encyclopedia
Matthias Kern (b 1928)	De profundis, for organ [Wolfenbüttel: Möseler 1984]		1984
Matthias Kern	Metamorphosen über B-A-C-H, for organ [Wolfenbüttel; Zürich: Möseler, 1972]		1967
Matthias Kern	B A C H - Imaginationen eines großen Namens, for organ [Koln: Tonger, 2010]		2010
Willem Kersters	Meditation über den Namen BACH, Op. 45, for small trumpet, piano & strings [Brussels: CeBeDeM]		1967
Willem Kersters	Sinfonie Nr. 3, Op. 39 [Brussels: CeBeDeM]		1968
Cor Kint (edited by Thijs Kramer)	Fuga over BACH, Op. 41, for organ [Veenhuizen: Boeijenga, 2006]		2006
Johann Philipp Kirnberger	Zweitaktige Komposition auf dem Titelblatt zu: Die Kunst des reinen Satzes in der Musik…, Zweyter Theil…, Dritte Abtheilung [Berlin/Königsberg: G.J. Decker und G. L. Hartung, 1779]		1779
Giselher Klebe	Dona nobis pacem from Missa 'Miserere nobis': Version for for choir & 18 wind instruments, Op. 45 Version for organ, Op. 63 [Berlin: Bote & Bock]		1964
Bernhard Klein	Passacaglia und Fuge über b-a-c-h, for organ		1965
Justin Heinrich Knecht	Fuga. Das Thema von dem Namen Bach genommen, und neu bearbeitet. B-Dur, for organ = Fugue in B major on B-A-C-H, BWV Anh 45 (Anh III 181), for organ Previously attributed to J.S. Bach In: Neue vollständige Sammlung aller Arten von Vorund Nachspielen, Fantasien, Versetten, Fugetten und Fugen. Für geübtere und ungeübtere Klavier- und Orgelspieler… 8tes Heft . . . Nr. XIII München: Macario Falter. No. 986. Neuausgaben: Wien: Doblinger 1982 sowie Traugott Fedtke, B-A-C-H. Fugen der Familie Bach. Frankfurt: Peters (Litolff) Nr. 8526, 1984




Johannes Hermann Ernst Koch	Es ist genug Bach-Verehrung als Fantasie & Fuge; für Orgel; über d. ersten 4 Klänge d. Schlusschorals d. Kantate "Herr, ich warte auf dein Heil", "O Ewigkeit, du Donnerwort" & d. Namen B A C H, for organ [Hamburg: Carmina-Musikverlag, 1989]		1984
Günter Kochan (1930-2009)	Mendelssohn Variations, for piano & orchestra [Leipzig: Ed. Peters Nr. 9559, 1978]		1971-1972
Günter Kochan	Klavierstück für D. Sch., for piano		1975
Günter Kochan	Das Friedensfest oder die Teilhabe, oratorio for soprano, tenor, bass & 2 orchestra		1978
Charles Koechlin	Offrande musicale sur le nom de B-A-C-H, Op. 187 Orchestrated: 1946 [Paris: Les Editions françaises de musique technisonor, 1957] [Frankfurt, 1973]		1942/1946
Siegfried Köhler	Der gefesselte Orpheus, for orchestra		1976
Siegfried Köhler	Reich des Menschen, oratorio		1962
Siegfried Köhler	String Quartet No. 1		1977
Joonas Kokkonen	Sinfonia da camera, for 12 strings		1962
Kare Kolberg	Tonada, for organ, wind instruments & percussion [Oslo: Norsk Musikforlag, 1978]		1978
Karl Michael Komma	Piano Concerto No. 2, for piano & orchestra [Wolfenbüttel: Möseler, 1982]		1982
Jan M. Konarski	Suite over de naam BACH, for organ		1965
David Kraehenbuehl.	Toccatta sopra B-A-C-H : Tombeau de Bach, for piano In: Random walks: the collected solo piano works [New York: Martha Braden, 2000]		2000
Eberhard Kraus (1931-2003)	Vier Skizzen zu B-A-C-H, for organ [Regensburg: Eberhard Kraus, 2010]		1985
Johann Ludwig Krebs.	Fuge über den Namen B-A-C-H B-Dur, for organ In: Masterpieces of Organ Music," Vol. 9 [New York: Liturgical Music Press, Inc., 1944] [Frankfurt: Peters 8122 (Krebs, Orgelwerke 2)]
Ernst Krenek	String Quartet No. 1, Op. 6 [Vienna: Universal Edition Philharmonia 397]		1921
Ernst Krenek	Parvula Corona Musicalis ad honorem Johannis Sebastiani Bach composita secundum methodum duodecim tonorum per Ernestum Krenek anno Domini MCML, for orchestra or for string trio [Berea/Ohio: The Quarterly Journal of the Riemenschneider Bach Institute Vol. II, No. 4, S. 20-31, Oct 1981]		1950
Bernhard Krol	Pas de deux supraB-A-C-H. In memoriam Albert Schweitzer, Op. 59, for 2 organs [Berlin: Bote & Bock, 1975]		1970
Augustinus Franz Kropfreiter	Concertino, for flute, piano & strings		1963
Max Reger, arranged by Michael Kube	Fantasia and fugue on B-A-C-H, for organ, Op. 46 [Munich: G. Henle, 2006]		2006
Henry Kucharzyk	The Art of Mix, Live Electronic Mix for six loudspeakers		1970
Friedrich Kuhlau (1786-1832)	Musikalisches Anagramm B-A-C-H [Leipzig: Allgemeine Musikalische Zeitung, Jg. 21, Nr. 48, S. 831, 1. Dec 1819]		1819
Friedrich Kuhlau	Quatre Divertissements. B A C H
Joachim Kühn / Mark Nauseef Group	Bach, for Jazz combo In: Mark Nauseef: “Sura” (CMP)		1983
Claus Kühnl	Reflexionen. Drei Fantasien über B-A-C-H, for 20 strings [Wiesbaden: Breitkopf & Härtel PB 5104]		1982-1983
Felicitas Kukuck	Meditationen zu 'O Heiland, reiß die Himmel auf		1970
Felicitas Kukuck	Die Abschiedsklage. Aus der Kantate “Denn wo du hingehst" nach Worten aus dem Buch Ruth, canon for 3 voices [Wolfenbüttel: Möseler 1985]		1980
Michael Kuntz	Fantasie über B-A-C-H, for organ		c1950
J.S.H. Kuntze	Joh. S. Bach's Denkmaale, Jedes von 6 Fugen auf Tasten-Instrumente über dessen Namen [Unpublished (MSS)]
Johann Christian Kuntzen	36 Orgelstücke über b-a-c-h, for organ
Johann Christian Kuntzen	Fuge D-Dur, from Op. 395, for organ (uses the Bach motif)
Johann Christian Kuntzen	Fuge B-Dur, from Op. 396, .for organ (uses the Bach motif)
Adolf Carl Kunze	Fuge über B-A-C-H [Erfurt: Körner, c1845]		1845
Ernst Kutzer	Sonate über B-A-C-H, Op. 114, for organ [Altötting Coppenrath, 1985]		1985
Otomar Kvech	Pocta Bachovi - Zur Ehre Bachs (Suite), for orchestra		1971
L 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
Gerhard Lampersberg	Missa per organo, for organ		1974
Craig Sellar Lang	Fuge XXI in: A Miniature 48, Op. 64 No. 21, for piano		1953
István Láng	Ist es möglich ohne B-A-C-H?: Fantasie for harpsichord [Budapest: Akkord, 2004]		2000
Jean Langlais	B.A.C.H.: six pieces pour orgue (composed for the tricentenary of Bach's birth) [Paris: Bornemann, 1985]		1985
Herbert Lauermann	Verbum II, for solo violin [Vienna: Doblinger 1980]		1980
Georg Lawall	Jonas, der Prophet, Geistliche Ba-Rock-Oper		1985
Hans Ulrich Lehmann (b 1937)	Sonata da chiesa, for violin & organ [Köln: Musikverlag Hans Gerig, 1973]		1971
Kenneth Leighton (1929-1988)	Fantasia on the Name BACH, Op. 29, for viola & piano [London: Novello, 1957]		1955
Kenneth Leighton	Piano Quintet, Op. 34, for piano, 2 violins, viola & violoncello. [London : Novello, 1962]		1959
Fritz Leitermeyer	Mutationen in honorem J.S. Bach, Op. 82, for big orchestra [Vienna: Doblinger 1983		1983
Ernst Ludwig Leitner	Suite breve über den Namen BACH, for organ [Vienna/Munich: Doblinger D 15.125, Ed.-Nr. 02307, 1977]		1977
Terje Lerstad	Fantasia, Op. 17, for solo double bass		1983
John Lewis (1920-2001)	Modern Jazz Quartet (vibraphone, piano, double bass, drums): “Blues On Bach” (Atlantic) 1. Regret? 2. Blues In B Flat 3. Rise Up In The Morning 4. Blues In A Minor 5. Precious Joy 6. Blues In C Minor 7. Don't Stop This Train 8. Blues in H (B) 9. Tears From The Children Tracks 2+4+6+8 form the BACH motif!		1973	Recording
Ulrich Leyendecker	Streichquartett in einem Satz (String Quartet in One Movement) [Hamburg: Sikorski 1978]		1978
Peter Lieuwen (b 1953)	Astral Blue, for orchestra [Saint Louis, Mo.: MMB Music, 2006]		2006
	It is astonishing what this large orchestra, under the direction of Horst Förster, can draw out of the musical score. It begins with an atmospheric harp sound that rubs-off on march-like strings. The B-A-C-H motif is the internal energy that repeatedly gains new strength. Separated violins and violas combine in melodic layers, out of which large blocks are struck. This piece does not become tedious, even when it tries the templates of minimalist music tradition. It is clear, exuberant, booming and is reminiscent of a Jackson Pollock painting. Source: Peter Lieuwen: Reviews
Ludvig Mathias Lindeman	3 Fugen über B-A-C-H, for organ [Oslo (Kristiania): Norsk Musikforlag 1912] [London: Elkin and Co. Ltd. (The Progressive Organist, Book IV), 1963]		1912
Wolfgang Lindner	Miniature "B-A-C-H", for organ In: Orgelbuch = Organbook [Lilienthal : Eres-Edition, 2004]		2004
Jonko Linjama	Sonatina supra B-A-C-H, Op. 3, for organ Helsinki: Sulasol, 2010]		1961
Jonko Linjama	Organum supra B-A-C-H, 15 Inventionen for organ		1982
Norbert Linke (b 1933)	Bach-Fragmente - Collage for organ:		1985
Norbert Linke	Hommage à J.S. Bach or Fantasie über B-A-C-H, for organ		1985
Norbert Linke	Home Joseba - Fantasie über das Dona nobis aus der Hohen Messe von J. S. Bach, for trumpet (hoch D) & organ
Norbert Linke	B-A-C-H-Sonatine, for keyboard instrument [Duisburg Linos-Musikverlag 2006]		2006
Franz Liszt	Prelude & Fugue for organ on the name BACH (1^st version), S. 260i / LW E3/1 [Raabe-Verz. 381, Rotterdam: W. C. de Vletter. 1855/56. Vienna: UE]		1855
Franz Liszt	Prelude & Fugue for piano on the motif BACH, S. 529/1 / LW A250/1 (1^st version) [Raabe-Verz. 22: nach 1856. Leipzig: Siegel 1871. NLA 1/5]		1856	Recordings
Franz Liszt	Prelude & Fugue for organ on the name BACH, S. 260ii / LW E3/2 (2^nd version) [Raabe-Verz. 381a: 1870. Vienna: UE 17884]		1870
Franz Liszt	Fantasia & Fugue for piano on the theme BACH, S. 529/2 / LW A250/2 (2^nd version; from the organ version of 1855) [Raabe-Verz. 22: 1870] [Salabert]		1870/71	Recordings
Heinz Lohmann (1934-2001)	Bach-Variationen über B-A-C-H und Thema Regium aus dem “Musikalischen Opfer". Thema mit sieben Variationen, for organ		1983
Heinz Lohmann	Partita über B-A-C-H und das Thema Regium, for solo flute		1983
Heinz Lohmann	Partita über B-A-C-H und das Thema regium aus dem "Musikalischen Opfer", doe solo clarinet [Berlin (West), Wiesbaden: Bote und Bock, c1988]		1983
Heinz Lohmann	Fantasia in über den Namen B-A-C-C-(K)-Es, for organ		1984
M 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
Ami Maayani (b 1936)	Twelve Fantasies for Piano in Prelude and Fugue Form Based on Medieval Modes and Ethnic Scales Homage to Bach (250^th Anniversary of his death) and Shostakovich (50^th Anniversary of the composition of his Preludes and Fugues), for piano Source: Ami Maayani: Compositions		2001	Uses BACH motif?
Konstantin Mach	Suite über b-a-c-h, Op. 27, for organ
Tadeusz Machl	Fantasie und Doppelfuge, for organ		1942
Bruno Maderna	Fantasia and Fugue on BACH, for 2 pianos		1949
Bruno Maderna	Variazioni sul nome di Bach, for 2 pianos		1949	Same work as above?
Ernest Majo	Präludium über B-A-C-H, for 4 trombones		1982
Ernest Majo	Rhapsodische Sequenzen über B-A-C-H, for wind orchestra [Rot a. d. Rot: Rundel-Verlag, 1984]		1983
Loïc Mallié	Fantaisie sur B.A.C.H., for organ [Paris: Leduc, 2010]		2010
Gian-Francesco Malipiero	Prélude à une fugue imaginaire sur le nom de Bach (No. 4 in Hommage à J.S. Bach), for piano [Paris: La Revue Musicale XIII, Supplément musical IV, Dec 1932]		1932	Recordings
Kevin Malone	Remote control: a fantasy on JS Bach, for 2 amplified harpsichords, computer-processed sounds, audience interactive devices (optional)		2000
Miklós Maros	HCAB-BACH, for piano [Stockholm: Hansen, 1974]		1971
Michael Marsh-Edwards	Labyrinth, for solo alto flute (or flute)		1963
Warne Marsh (1927-1987)	Under-Bach (Blues) In: Warne Marsh-Sal Mosca Quartet (Warne Marsh, ts; Sal Mosca, p; Frank Canino, b; Skip Scott, d.) (Storyville STCD-8314)		1981	Uses BACH motif?
Frank Martin (1890-1974)	Etudes pour orchestre à cordes, for string orchestra [London: Universal Edition, 1957] [Zürich: Universal Edition, 2000?] Etudes pour deux pianos, for 2 pianos (after the work for string orchestra) I Ouverture II 1ère Etude - pour l’enchaînement des traits III 2ème Etude – pour le rythme IV 3ème Etude – pour l’expression V 4ème Etude – pour le jeu fugué [Zürich: Universal Edition, 1969]		1955-1956/1969
	The Fourth Etude is the most substantial of the four, playing masterfully with aspects of fugal style. Martin writes: ‘the first subject is essentially rhythmical, the second subject [which has already appeared in the Overture] expressive. To prevent the exposition from sounding academic I added an accompaniment which continues until the entry of the third voice, upon which it joins in free contrapuntal play. In the middle part…after a section in close canon, there is a figured chorale. Then the fugue takes over again, mixes the two subjects and leads in a broad conclusion.’ The B-A-C-H motif can be found again in the chromatic middle section. Throughout, Martin’s understanding of the piano’s capabilities ensures that there is no loss of colour or texture when compared to the original string version. In the composer’s own words: ‘may these pieces … bring each listener that very private joy which music can sometimes give.’ Source: Liner notes to the 2-CD album ”The Complete Piano Music of Frank Martin”, played by Julie Adam & Christoie Logan (ABC Classics) [PDF]
Ricardo Martinez (b 1969)	Variation on a Bach motif, for guitar quartet or violin string quartet
	This is a work to pay my respects to the great composer J.S. Bach. It is a baroque piece with a modern touch or sonorities. It was originally written for guitar quartet, but has been performed by s. Source: Sibelius Music
Burle Marx	Mr. B-A-C-H visits Brasilia: fantasia, for guitar		1960	Uses BACH motif?
Thilo Medek	Todesfuge, for solo soprano & 16-part choir [Edition Medek, 1985]		1966
Thilo Medek	B-A-C-H: vier Tone, for organ [Leipzig: Peters und DVfM]: [Remagen : Edition Tilo Medek, 2009]		1973
Thilo Medek	Der große Marsch, for orchestra [Frankfurt: Edition Wilhelm Hansen]		1974
Thilo Medek	B-A-C-H: vier Töne, for organ [Remagen (Rheinhöhe): Edition T. Medek, 2000]		1993
Daniel Meier	Quatuor n° 2 sur B.A.C.H. [Mionnay: Notissimo, 2003]		2003
Karl Meister	Canon 'Einen Geistes sammeln sie sich in jenem Namen: BACH', (Eigener Text) in Klavierheft für Hermann Maria Op. 61, for piano [Wolfenbüttel: Moseler 18.428, 1969]		1969
Alfred Mendelssohn	Partita pentru, for solo violin [Bucharest : Editura Muzicala a Ununii Compozitorilor, 1966]		1966
Gustav Adolf Merkel (1827-1885)	Fuge über den Namen B-A-C-H, Op. 40, for organ In: Album für die Orgel zu J.G. Töpfer's goldner Amts-Jubelfeier am 4. Juni 1867 [Weimar: T. F. A. Kühn 1867] [Neuausgabe: Orgelfugen der Hochromantik, Bd. 5, hrsg. v. Kurt Lueders] [Bonn: Forberg 1982] [Berlin: Sulzer, n. d.] [Berlin: Ries und Erler, n. d.]		1867
Ernst Hermann Meyer	Suite, for 2 trumpets, 2 pianos & percussion		1944
Ernst Hermann Meyer	Präludium für D. Sch., for piano		1975
Thomas Meyer-Fiebig	Präludium und Fuge über B-A-C-H, for organ		1977
Frank Michael	De profundis, Op. 46, for choir & orchestra		1977
Frank Michael	Serenade, Op. 47 No. 1, for solo oboe [Berlin: Bote & Bock]		1978
Wilhelm Middelschulte	Kanonische Fantasie über BACH und Fuge über 4 themen von J.S. Bach, for organ (or for orchestra, Ms.). [Leipzig: C.F. Kahnt Nachf. (Album für Orgelspieler, Lief. 123), 1906]		1906
Wilhelm Middelschulte	Perpetuum Mobile, for organ [New York: Peters, 1933].		1933
Peter Mieg	L'Aérienne, for solo cello [Winterthur: Amadeus GM 547, 1975]		1975
Peter Mieg	Trio in drei Sätzen, for piano, violin & cello		1984
Robert Walter Moevs	Prelude, 'B-A-C-H' - Es ist genug, for organ [Melville/N.Y.: H.W. Gray (Belwin-Mills) 1972]		1970
Mihai Moldovan	Trei studii pentru suflatori de alama. Corzi si percutie, 1966, for woodwind		1966
Pippo Molino	Jeu, for solo oboe [Milan: Carisch 1985]		1984
François Morel (b 1926)	Quatuor à cordes No 2 (String Quartet No. 2), constructed on a mirror series based on the B-A-C-H motif [Saint-Nicolas, Québec: Éditions Doberman-Yppan, 2006]		1963	Works
Makato Moroi	Fantasie und Fuge über joHAnn SEBAStiAn BACH, for organ		1978
Toland Moser	Stilleben mit Glas, for tape & electronic sounds		1969-1970
Raymond Moulaert	Passacaille sur un thème de J. S. Bach, Vokalise for solo soprano		1932
Marjan Mozetich	Capriccio on J. S. Bach's D minor Two Part Invention BWV 775, for solo viola		1984
Dominic Muldowney	Trombone Concerto		1996
Viorel Munteanu	String Quartet
	In exchange, the structure of the Quartet of strings is presented under the form of a monolith based on a unique reason (B-A-C-H motif), out of which all the themes of the musical speech will appear. Basically this work is an extensive composition study on this motif, processed in many variations, without exhausting its generating potential. The form of the quartet is an interference with the theme with variations and the form of the sonata. Unlike the Sonata for the piano, the quartet is structured on three broad parts.
	The Quartet was achieved taking into the development of a complex form that combines ttheme with variations and sonata. Another plan is the treatment of the B-A-C-H motif, the basic structure of the whole musical discourse. All the themes of the quartet are generated by this motif, and the broad developments have as main scope its treatment. From its 24 variations obtained by combining its four sounds during the three parts of the work we notice 17. These are: 1) B-A-C-H, 2) B-A-H-C, 3)B-C-H-A, 4) B-H-C-A, 5) A-B-H-C, 6) A-C-H-B, 7)A-H-C-B, 8) C-A-B-H, 9) C-B-A-H, 10) C-B-H-A, 11) C-H-A-B, 12) C-H-B-A, 13)H-A-B-C, 14) H-B-A-C, 15) H-B-C-A, 16) H-C-A-B, 17) H-A-C-B. The seventh unused combinations are as follows: 1) B-C-A-H, 2)B-H-A-C, 3) A-B-C-H, 4) A-C-B-H, 5) A-H-B-C, 6) C-A-H-B, 7) H-A-C-B. Source: Sonata Poem [PDF]
< Continue from Part 2		Continue on Part 4 >

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

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Last update: Saturday, June 03, 2017 22:56