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Arrangements & Transcriptions of Bach's Works
Works using the Name Bach (The BACH Motif)
Part 3: F-M

< Continue from Part 2

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F 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

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 20th and 20th 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  

G 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

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 20th 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 (20th-21st 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

H 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

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 19th-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

I 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

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

1905

J 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

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)

K 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

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 (1st 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 (1st 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 (2nd 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 (2nd 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 (250th Anniversary of his death) and Shostakovich (50th 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: ýDecember 8, 2013 ý15:05:28