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Arrangements & Transcriptions of Bach's Works
Works using the Name Bach (The BACH Motif)
Part 4: N-Z

< Continue from Part 3

 

N 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 Naprstek

Fantasie und Fuge über b-a-c-h, for organ

1965

Dieter Nathow

Variations on B-A-C-H, in Divertimento über B-A-C-H [collaborative composition], for orchestra

1984

Vaclav Nelhybel

Concerto spirituoso No. 4, for solo voice, solo string quartet (taped and live) & orchestra: Variants on B-A-C-H and Hans Leo Hassler's O sacred head, now wounded
[Clifton, N.J. : European American Music Corp., 1977]

1977

Ron Nelson (b 1929)

Passacaglia (Homage on B-A-C-H), for concert band

1993

Stefan Németh-Šamorínsky (1896-1975)

Accommodatio ad nomen B-A-C-H, for organ

1972

Anthony Newman (b 1941)

Bhajeb. Bhajebochstiannanas. <An anagram on the name Johann Sebastian Bach.>, for organ
[New York, London : G. Schirmer, 1974]

1974

Şerban Nichifor (b 1954)

Choralis anamorphoticus in honorem J. S. Bach, for organ
[Bucureşti: Ed. Muzicalã, 1988]

1988

Jan Nieland (1903-1963)

Fantasie et Fuga sopra B-A-C-H, for organ
[Amsterdam: Edition Heuwekemeijer, c1943]
[Philadelphia: Elkan-Vogel Co. Inc.]

c1943

Carl Nielsen (1865-1931)

Concerto for Violin and Orchestra, Op. 33, FS 61
[Frankfurt: Wilhelmiana Musikverl. København : Hansen, London: Chester. Oslo: Norsk Musikforl. Stockholm: AB Nordiska Musikförl., c1980]
Source:
Talk Bach motif (Wikipedia)

1911

Riccardo Nielsen

Ricercar, Choral und Toccata, for piano

Hans Peter Nowak

BACH (Johannes R. Becher, “Die Klänge zögern noch"), for voice & piano

1978

Dieter Nowka

Passacaglia and Fugue, in Hommages, for piano

O 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

Reinhard Ohse

Konzert in drei Sätzen, for organ, strings & chorus

1975

Heinz Bernhard Orlinski (b 1928)

Fantasia meditativa super B-A-C-H, for organ
[Düsseldorf: Ed. Schwann 2363, 1972]

1972

P 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

Traugott Immanuel Pachaly

Fuga über den Namen Bach, for organ
[Erfurt: Körner, c1848]

c1848

Mario Pagotto

Capriccio on B.A.C.H., for flute, 2 violins, viola, violoncello & piano
[Roma: Rai Trade, 2009]

2005

Oscar von Pander

b-a-c-h - Suite for piano 4 hands

Desiree Pâique

Fuguette sur le nom de “Bach", No. 2 from (10) Compositions for organ
[Berlin: Simrock 1913]

1913

Arvo Pärt

Collage sur B-A-C-H, for oboe and strings

1964

Recordings

Arvo Pärt

Collage sur B-A-C-H, for oboe, string orchestra, harpsichord and piano
[Leningrad: Musyke. Hamburg: Sikorski]

1969

Recordings

Arvo Pärt

Wenn Bach Bienen gezüchtet hätte:
Fassung A: for harpsichord, electric guitar, prepared tape & instrumental ensemble
Fassung B: for harpsichord, 8 violins, 4 violas, 4 violoncelli & 2 double bass
Fassung Witten 1984: for string quartet, wind quintet, piano & double bass
[Vienna: Universal Edition]

1984

Arvo Pärt

Concerto piccolo über b-a-c-h = Concerto piccolo on b-a-c-h, for trumpet, strings, harpsichord and piano (arrangement of Collage sur B-A-C-H)
[Hamburg: Sikorski, c1996]

1996

Zane Pautz

On the name B-A-C-H, for unaccompanied women's voices in four parts

1983

Krzysztof Penderecki (b 1933)

Passio et mors Domini nostri Jesu Christi secundum Lucam (Lukas Passion), for narrator, solo voices, boys' choir, mixed choir, orchestra & organ
[Krakow: Polskie wydawnictwo muzyczne, 1967]
[Celle: Moeck Nr. 5028, 1967]

1963-1965

Craig Penfield

Fantasy on B-A-C-H, for organ
Source: Laurel Heights United Methodist Church [PDF]

2011

Ernst Pepping

Drei Fugen über BACH: C-dur; F-dur; a-moll, for piano
[London: Schott ED 3959 (Klavierfassung), 1944; ED 3818 (Orgelfassung)]

1943

Ernst Pepping

Drei Fugen über BACH, for piano 4 hands
[Mainz: B. Schott's Söhne, 1944]

1944

Ernst Pepping

Drei Fugen über BACH, for organ
[Mainz: B. Schott's Söhne, 1949]

1949

Coleridge-Taylor Perkinson (b 1932)

Sinfonietta No. 2: Generations, for string orchestra
[Saint Louis, MO : MMB Music, 1996]

1996

His four-movement Sinfonietta No. 2 for Strings is named Generations because each of its movements is dedicated to family members. According to the composer's notes, the first, combining the perennially popular BACH motif (Bb-A-C-B in German notation) with the folk tune "Mockingbird," is for his daughter. The second, a sarabande, is dedicated to "the matriarchs" of his family; the third, a scherzo entirely pizzicato, is for his grandson, and the fughetto finale, which uses the themes from the first movement and a new one that is African in origin, is for "the patriarchs." Each movement is striking in itself, but for this listener, each is also too long for the musical material or development it contains - with the exception of the very brief scherzo/burletta.
Source:
Enjoy the Music: African Heritage Symphonic Series

Oscar Peterson (1925-2007)

The Bach Suite: Allegro, Andante, Bach's Blues
In: Oscar Peterson Live! (Oscar Peterson - piano; Joe Pass - guitar; David Young - double bass; Martin Drew - drums) (Pablo)

1986

Frank Petzold

BACH-Metamorphosen and Toccata, in Divertimento über B-A-C-H [collaborative composition], for orchestra

1984

Christian Pezold

Fuga sub Diatessaron La Guide à pra soil Nome del celebre Signor Bach. F-Dur, for organ
[Dresden: SLB Mus. ms. 2354, U/l]
(In: Christian Pezold, Fugue per L'Organo ô Clavicembalo)

Franz Pfister

B.A.C.H. für Andreas, for piano
[Sursee : [F. Pfister], 2000]

2000

Reinhard Pfundt

lnventiones über B-A-C-H, for string quartet

1985

Tibor von Pikethy

Fantasia sur la thème BACH, Op. 28, for organ
[Brussels: Schott SF 8825, 1949]

1949

Walter Piston (1894-1976)

Chromatic Study on the name of Bach, for organ
[London: Novello and Co., Ltd., 1941]
[New York: H.W. Gray, 1941] (No. 3 of “Contemporary Organ Series")

1940

Carl Piutti

Fest-Hymnus, Op. 20, for organ (premiered 1890)
[Leipzig: Rieter-Biedermann]
[Leipzig: Edition Peters 4359]
[New York: C.F. Peters]

1890

Carl Piutti

28. Juli 1750, Op. 32 No. 8, for organ (uses the Bach motif)

Hans Wilhelm Plate

Fuß-Noten zu B-A-C-H, Kanonische Episoden, for 3 flutes, string trio & harpsichord

1977

Andreas Pflüger

B-A-C-H, for wind quintet (flute, oboe, clarinet, bassoon & horn)
[Lugano: Ed. Plural, 2001]

2001

Wladimir Pogojeff

Fuge über b-a-c-h, in: Quattre Fugues Op. 2. No. 2, for piano

1902

Giovanni Battista Polleri (1855-1923)

Preludio e fuga sul tema "Fede a Bach": dato da Arrigo Boito, for organ
[Bergamo: Edizioni Carrara, 2004?]

1888 ?

Andreas Porfetye (b 1927)

Fantasia super B-A-C-H et Lamentatio Jeremiae Prophetae, for organ
[Wiesbaden: Breitkopf & Härtel, Ed. Breitkopf Nr. 6617, 1971]

1968

Francis Poulenc

Valse-improvisation sur le nom de BACH, for piano, FP 62 (No. 3 from Hommage à J.S. Bach)
[Paris: La Revue Musicale XIII, Supplément musical III, Dec 1932]
[Ronart Lerolle und Cie, 1939]

1932

Recordings

Bud Powell (1924-1966)

Bud On Bach, for Jazz trio of piano, double bass & drums
In: But Powell: “The Amazing Bud Powell, Vol. 3 - Bud!” (Blue Note)
Played by Bud Powell (p) Paul Chambers (b); Art Taylor (d)

1957

Uses BACH motif?

José Antônio Rezende de Almeida Prado (1943-2010)

Concerto Fribourgeois, for piano & strings: Toccata
Source:
Talk Bach motif (Wikipedia)

1985

Works

Procol Harum (Rock band)

''A Whiter Shade of Pale''
In: Procol Harum: “Procol Harum” (Regal Zonophone Records UK; Deram Records USA]

1967

Uses BACH motif?

1967 Procol Harum's ''A Whiter Shade of Pale'' - based on a Bach motif - hits the top 10.
Source:
Entertainment Weekly

Frank Proto (b 1941)

Five Divertimenti, for Solo Violin

Proto's strength is the clarity with which he manipulates his ideas on paper. The last movement of the divertimento No. 1 is a devilishly clever realization of how different strands of material can be contained at the same time, and the Divertimento No. 4 slyly builds the B-A-C-H motif into a vast network of underpinning structural impulses and scurrying embellishment.
Source:
Liner notes to the CD “Frank Proto: Five Divertimenti for Solo Violin” played by Eric Bates, violin (Red Mark Records CD-9221)

Q 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

R 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

Irmfried Radauer (1928-1999)

Perspektivem auf B-A-C-H, for 19 instruments (1.1.1.1.-1.1.1.1., piano, strings (4.2.3.1.0.))
[Munich: Edition Modern]

1958

Radiohead (alternative rock band)

Bass line of the songs "Optimistic"
In: Radiohead: “Kid A” (Parlophone)
Source: Wikipedia

2000

Radiohead (alternative rock band)

Bass line of the song "Go to Sleep"
In: Radiohead: “Hail to the Thief” (Capitol Records)
Source: Wikipedia

2003

Thom Yorke (soloist of Radiohead)

Bass line of the song "Black Swan"
In: Thom Yorke: “The Eraser” (Thom Yorke - vocals, instrumentation; Nigel Godrich - arrangement, production, mixing, instrumentation; Jonny Greenwood - piano) (XL Recordings)
Source: Wikipedia

2006

Peutti Raito

Due figure, for orchestra

1985

Primoz Ramovs

Utrinki ob Bachovem imenu, for piano

1965

Alan Rawsthorne (1905-1971)

Studies on a Theme by Bach, for string trio
[MS in the Rawsthorne Archive]

1936

The work builds up slowly from the BACH motif. The contrapuntal textures gradually fragment leading to a prestissimo section. There is a middle section in 2/4 that then returns to a recapitulation of the prestissimo. The piece ends with an andante that balances the slow introduction.
Source:
PDCA6

Siegfried Reda

Laudamus te, for organ
[Kassel: Bärenreiter BA 4454, 1965]

1962

Wolfram Rehfeldt

Fantasie über B-A-C-H, for organ
In: Drei Orgelstücke
[Munich: Strube, c2005]

2005

Max Reger

Fantasie und Fuge über den Namen BACH, Op. 46, for organ
[Vienna: Universal Edition, 1900, 1926]
[Munich/Leipzig: Jos. Aibl 1900]
Arrangement for pian (August Stradal)
[Vienna: Universal Edition 1910]
Arrangement for orchestra (Karl Gerigk)
[Vienna: Universal Edition 1933]

1900

Recordings

Johannes Reiche

Sonata per due, for bass clarinet & percussion

1985

Karel Reiner

Dialogy pro dve flétny, for 2 flutes
[Prague: Panton Edition Nr. P 2149, 1982]

1978

August Reinhard

Phantasie über den Namen B-A-C-H, Op. 78, for piano 4 hands
[Leipzig: Kahnt Nachf., 1904]

1904

Willy Renner

(6) Präludien über den Namen "Bach," Op. 6, for piano
[Leipzig: Steingräber 1914]

1914

Wilhelm Rettich

Konzert für Trompete und Orchester über B-A-C-H, Op. 122
[Berlin: Astoria 1971].

1970

Josef Rheinberger

Fuge C-Dur (über BACH), in: 24 Fughetten strengen Styls, Op. 123, Heft I, No. 3, for organ
[Leipzig: C.F. Kahnt 2852, 1884]
[London: Hinrichsen Edition Nr. 47]

1883

Friedrich Riegel

6 Fugen über das Thema “Abbach", Op. 24, for organ
[Langensalza: Beyer & Söhne, 1890]

1890

Helmuth Rilling

'Aber wenn der Rilling. . .' , F-Dur

1983

Nikolai Rimsky-Korsakov

Doppelfuge über B-A-C-H g-Moll (In 3 vierstimmige Fugen), for piano
[Moskau: (N. Rimsky-Korsakow, Polnoye sobraniye sochineniy, Bd. 49a) 1951]

1875

Nikolai Rimsky-Korsakov

Fuge über das Thema BACH. 6 Fugen, Op. 17, No. 6 e-Moll, for piano
[St. Petersburg]

1875

Nikolai Rimsky-Korsakov

Valse, Intermezzo, Scherzo, Nocturno, PRELUDE ET FUGUE (Six Variations) sur le thème B-A-C-H , Op. 10, Vol. 49a, for piano
[Leipzig: Belaieff; St. Petersburg: Jürgenson Nr. 224]
[Moscow: State Music Publishers, 1959].

1878

Recordings

Nikolai Rimsky-Korsakov

Fughetta B-A-C-H, in: Paraphrases / . . . / pour Piano sur le thème favori et obligé, for piano
[Leipzig: Rahter 1880]

1880

Johann Christian Rinck

Präludium und Fuge über B-A-C-H (No. 12), for organ, in: Praktische Orgelschule, Op. 55, Teil 6
[Litolff Edition, 1818]
[Bonn & Köln: Simrock 1821]
Neuausgabe: C. H. Rinck, 2 Präludien und Fugen hrsg. v. Hermann J. Busch.
[Hilversum: Harmonia 1975]

1818

Johann Christian Rinck

Fantasie, for organ (uses the Bach motif)

George Rochberg

Three commentaries: 1. on B-A-C-H; 2. on Pachelbel Canon (and ground bass); 3. on Passacaglia (diatonic and chromatic)
[King of Prussia (Pa.): Theodore Presser, 2007]

1968-1978

J.S. Bach, edited by Alexander Wilhelm Gottschalg, edited by Andreas Rockstroh

Präludium und Fuge über B-A-C-H: Orgelbearbeitung nach BWV 898
[Sankt Augustin: Butz, 2003]

2003

Lionel Rogg

Méditation sur B.A.C.H., for organ
[Paris: H. Lemoine, 2000]

2000

Peter Roggenkamp

B-A-C-H trifft C-A-G-E, from Soundsnew: 19 easy piano pieces
[Vienna [u.a.]: Universal Edition, c2005]

2005

Gerhard Rosenfeld

Concerto, for cello & orchestra

1967

Franz Georg Rössler

Invention IV, from “12 Inventionen", for piano
[Wolfenbüttel: Möseler 41.204, 1981]

1978

Franz Georg Rössler

Nr. 5 Andante, Hommage à Béla Bartók, from “Eisblumen", for recorder & piano

1984

Franz Georg Rössler

Nr. 8 Larghetto, Ritual über zwei Gräben, from “Eisblumen", for recorder & piano

1984

Claude-Robert Roland

Prélude et fugue sur B-A-C-H (In memoriam II), Op. 20, for organ
[Brussels: CeBeDeM 1984]

1984

Nino Rota

Variazioni e fuga nei 12 toni sul nome di Bach, for piano
[Nuova Carisch]:

1950

Recordings

Nino Rota

Due Valzer sul nome di Bach, for piano (Circus-Waltz; Valzer-Carillon)
[Revisione di Nicola Scardicchio]:

1975

Recordings

Anny Roth-Dalbert

B-A-C-H: Fantasie, for organ
[Switzerland: A. Roth, 1986]

1986

Albert Roussel

Prélude et Fugue sur le nom Bach (No. 1 from Hommage à J.S. Bach), Op. 40 & 46, for piano
[Paris: La Revue Musical XIII, Supplément musical I, Dec 1932]

1932-1934

Recordings

Léo Roy (b 1887)

Fugue on BACH, for organ

Volodymyr P. Runčak (Wladimir Runtschak)

Bachiana: Meditationen über B-A-C-H (Suiten, Akk Nr. 1, for Bayan accordion

[Kamen: Intermusik Ulrich Schmülling, 1995]

1995

Anton Ruppert

Vier Stücke (über B A C H), for trombone & piano
[Munich: Orlando, 1973?]

1973?

S 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

Ehsan Saboohi (b 1982)

Three Psalms on B-A-C-H, for solo instrument
Source:
Sibelius Music

2009

Camille Saint-Saëns (1835-1921)

Piano Concerto No. 2 in G Minor, Op. 22

1868

The concerto breaks from the traditional form by placing the slow movement first, rather than second. The Andante Sostenuto begins with a Bach-like improvisation (hence Stojowksi’s quip) that soon segues to dramatic arpeggios, which are typical for Saint-Saëns, who began his career as a child keyboard prodigy. The main theme was based on a Tantum Ergo motet that Fauré had shown to his teacher Saint-Saëns, who is said to have exclaimed, “Give this to me. I can make something of it!” And so he did, pairing the melancholy tune with a second motif of his own, embellished in thirds. The movement closes with a huge cadenza for the soloist, and the reprise of the Bach motif.
Source:
San Jose Wind Symphony: Program Notes

Jens Emil Sanggaard

Fantasi over B-A-C-H, 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

Marger Ottowitsch Sarin (b 1910)

Variations über B-A-C-H, for organ

1950?

Marian Sawa

B-A-C-H - Fantasie, for organ

1971

Stanley E. Saxton (1906?-2002)

Prelude and fugue on B-A-C-H, arrangement for organ
[In: The sacred organ journal : a bi-monthly anthology for church organists. Vol. 14, No. 1, Sep 1979]
[Dayton, Ohio : Lorenz Pub. Co., 1979]

1979

Boguslaw Schaeffer

Konzert, for organ, violin solo & orchestra: (B-A-C-H)
[Salzburg: Collsch-Ed., 2001]

1984-1985
Rev. 1992

Hermann Schellenberg (1812-1862)

Fantasie über den Namen B-A-C-H, for organ
In: Caecilia, Bd. II, hrsg. v.C F. Becker.
[Leipzig: Friese, c1850]

c1850

Friedrich Schenker (b 1942)

Sonata, for wind instruments & percussion

1973

Friedrich Schenker

Sonate für Johann Sebastian Bach, for big orchestra. UA Schwerin (Bachfest 1977)
[Leipzig: VEB Deutscher für Musik]

1977

Lalo Schifrin (b 1962)

The Blues for Johann Sebastian Bach, for Jazz band
In: Lalo Schifrin: "The Dissection And Reconstruction Of Music From The Past As Performed By The Inmates Of Lalo Schifrin's Demented Ensemble As A Tribute To The Memory Of The Marquis De Sade" (Verve)

1966

Uses BACH motif?

Hans Ludwig Schilling (b 1927)

Partita, for organ

1954-1964

Same work as below?

Hans Ludwig Schilling

Integration B-A-C-H (III. Partita), for organ [Wiesbaden: Breitkopf und Härtel, Ed. Breitkopf Nr. 6432, 1964]

1961

Hans Ludwig Schilling

Interludium I, for organ, in: Acht Interludien für Orgel
[Frankfurt: Schwann, 1980]

1978

Burghard Schloemann (b 1935)

Variationen über B-A-C-H, for organ
[Wolfenbüttel Zürich Karl Heinrich Möseler 19.466, 1981]

c1981

Herbert Schmidt-Walter (b 1904)

Divertimento über B-A-C-H, for piano duet

1969

Enjott Schneider (b 1950)

As times go bye ... suite in memoriam J. S. Bach, for saxophone trio (A, T, Bar)
[Mainz: Schott, 2002]

2002

Enjott Schneider

Orgelsinfonie Nr. 10 B-A-C-H (dedicated to and premiered by Hansjörg Albrecht)

2010

The sonata is replicable, which is to say: emotionally and intellectually comprehensible, music - composed in a language that the intuned contemporary ear can decipher without too much trouble, and better yet: appreciate. The work is taxing, at times, due to its length, and with several moments that made me wish to call in the discriminate editor’s scissors. Several organ-typical but sonata-untypical incoherent, episodic parts (especially jarring the rumble of low notes leading nowhere, or rapid register shifts and dynamic terracing that make would-be melodic flow impossible), and awkward usage of the instrument made sure that the first movement, rather than tickling glory from the queen of instruments, made the organ sound clumsy. But there is also beauty, considerable flow and forward momentum in the second movement, with Matthew Passion references beautifully pasted in. The Third movement, by some measure the longest, plays with dynamic extremes (not always successfully) and the B.A.C.H. motif.
Source:
Ionarts-at-Large: Bach's 261st Death Anniversary | Enjott Schneider: Orgelsinfonie Nr. 10 B-A-C-H

Alfred Schnittke (1934-1998)

Sonata No. 2 for violin & piano (quasi una Sonata)
[Hamburg: Sikorski Nr. 2240, 1976]

1968

Alfred Schnittke

Piano Quintet, for piano, 2 violins, viola & violoncello
[Leipzig: Ed. Peters Nr. 5791 / Hamburg: Sikorski Nr. 2252, 1976]

1972-1976

Alfred Schnittke

Preludio in memoriam D. Schostakowitsch, for violin & tape
[Hamburg: Sikorski Nr. 2255, 1978]

1975

Alfred Schnittke

Symphony No. 3 (BACH motif is used alongside the monograms of several other composers)

1981

Arnold Schoenberg (1874-1951)

Suite Op. 25, for piano
[Vienna: Universal Edition UE 7627, 1925]
[Mainz: Schott (Arnold Schönberg: Sämtliche Werke Bd. II/4, S. 41-60), 1968]

1921-1923

Arnold Schoenberg

Variations for Orchestra, Op. 31
[Vienna: Universal Edition Nr. 12196, 1929]

1926-1928

Robert Schollum (1913-1987)

Toccata in Betrachtung des Kreuzwges, Op. 96, for organ
[Vienna: Doblinger, 1975]

1975

Franz Peter Schubert (1797-1828)

Mass in E flat major, D. 950, for for soli, chorus and orchestra
The chaconne-like treatment of the last mvt. Agnus Dei points to the beginning measures of his song “Der Doppelgänger” from the song cycle Die Winterreise and to the original/primeval symbol in notes B-A-C-H
[Source: MGG1 vol. 12 , 152, column 67748. Authors: Maurice J.E. Brown and Hans Ferdinand Redlich]

1828

It is the shape (Gestalt) of the motive that the listener recognizes. This could well be what Schubert learned from his study of Bach's music. The extra note between the A and C in Schubert's version could be considered an embellishment which does not destroy the motive but rather enhances it and makes it usable for the double fugue that Schubert composed in the Agnus Dei. See also: Cantata BWV 127: Mvt. 1 - Melody Variants
(Thomas Braatz, July 17, 2011)

Manfred Schulze

Improvisation über B-A-C-H, for jazz group

1983

Camillo Schumann (1872-1946)

Fuge über B-A-C-H, from Organ Sonata No. 2 Op. 16
[Langensalza: Beyer & Söhne]

Georg Schumann (1866-1952)

Passacaglia und Finale über BACH, Op. 39, for organ
[Munich: Verlag Leuckart, n.d.]
[Leipzig: F.E.C. Leuckart, 1905]

1905

Robert Schumann (1810-1856)

Sechs Fugen über den Namen BACH, Op. 60, for organ, pedal piano, or harmonium
"Robert Schumann's Werke," Ser. 8 [Leipzig: Breitkopf und Härtel, 1881-93]
[Leipzig: F. Whistling, 1846]
[Wiesbaden: Breitkopf & Härtel EB 6725]

1845

     

BACH motif followed by transposed version from Schumann's Sechs Fugen über den Namen B-A-C-H, Op. 60, No. 4, mm. 1-3. Note that C and H are transposed down, leaving the spelling unaffected but changing the melodic contour.

 

 

Schumann, Sechs Fugen for organ, Op. 60, No. 5, mm. 1-4. The motif may be used in different ways: here it is only the beginning of an extended melody.

William (Howard) Schuman (1910-1992)

Symphony No. 8: Mvt. 2 employs intervallic cells, a 12-note theme beginning with an inversion of B-A-C-H
[Bryn Mawr, Pa., Merion Music; Theodore Presser Co., sole representative, 1964]

1962

Kurt Schwaen

'Blut ist durch die StraGen regenschwer geflossen' from In den stolzen Städten Der neue Kolumbus

1961

Kurt Schwaen

Study, for piano

1972

Kurt Schwaen

'Auf der Straße' from Ausflug der Kinder, for piano

Reinhard Schwarz-Schilling (1904-1985)

Studie über B-A-C-H, Op. 85b, for string trio (violin, viola, cello)
[Wolfenbüttel; Zürich: Karl Heinrich Möseler]

1983

Alfred Schweizer

Klaviermusik 4 : eine algorithmische Komposition über B-A-C-H, for piano
[S.l.: s.n., 2000]

2000

Humphrey Searle (1915-1982)

Symphony No. 1, Op. 23
[Mainz: Ars Viva Verlag, 1958]

1952-1953

Konrad Seckinger (b 1935)

Votiftafeln - Hommage à H. Schütz, J.S. Bach, G. F. Händel / D. Scarlatti und A. Berg

1985

Bernhard Sekles (1872-1934)

Passacaglia und Fuge im vierfachen Kontrapunkt, Op. 23, for string quartet
[Leipzig: M. Brockhaus]

1914

José Serebrier (b 1938)

Symphony No. 2 (Partita), for large orchestra: Mvt. 4
[New York: Southern Music, 1969]

1969

The last movement, titled "Fugue," takes another samba idea for its subject. A samba fugue! Serebrier stuffs it with such "learned" tricks as subject inversion and killer stretti, even a B-A-C-H motif that relates to the main theme of the second movement. The B-A-C-H gets its own extended contrapuntal treatment. At one point, however, Serebrier gives up the fugue for pure dancing, and the piece ends in a riot of rhythm.
Source:
Classical CD Review

Jarmo Sermilä (b 1939)

Cornologia, for 24-44 horns
[Hämeenlinna: Jasemusiikki 1982]

1976

Jean Sibelius (1865-1957)

Symphony No. 6 in D Minor, Op. 104

1923

The Symphony No. 6 in D Minor, Op. 104 (1923) is an evocation of much earlier periods in music-there are Palestrina-esque structures, Baroque techniques and even a hidden B-A-C-H motif on the harp in the finale; very much a throw-back work, almost wistfully so.
Source:
Express Milwaukee

Oskar Sigmund (1919-2008)

Passacaglia e Fuga in memoriam J. S. B., for piano

1958

Oskar Sigmund

Contrapuncti organales super B-A-C-H, for organ (Privatdruck)

1972

Oskar Sigmund

In memoriam Joannis Kepleri, Teil II “Harmonice mundi", for organ

1974

Oskar Sigmund

Suite über B-A-C-H, for guitar

1975

Oskar Sigmund

String Quartet über B-A-C-H

1975-1976

Otto Simek (b 1928)

Ricercar sopra B-A-C-H, for organ
In: Nuove Composizione per Organo, Vol. 4
[Prague: Panton 1974]

1972

Bjarne Slögedal

Fantasy on the Name of B-A-C-H, forgan
[Oslo: Norsk Musikforlag, 2010]

1982

Reginald Smith Brindle (1917-2003)

Variants on two Themes of J. S. Bach. <B-A-C-H and the fugue subject of the G minor fugue, Book 1 of the ‘48', for solo guitar
[Frankfurt: Peters]
London, etc: Edition Peters, 1973]

1970

Milos Sokola (1913-1976)

Passacaglia Quasi Toccata na téma Bach, for organ
In: Nuove Composizioni per organo, Vol. 2
[Prague: Panton 1966]
[Prague: Panton, St. Louis: Magnamusic-Baton, 1970; 1983]

1966

Miloš Sokola

3 Studies, for organ

1972

Miloš Sokola

.l'Introduzione e fuga su tema di B-A-C-H, for organ
In: Nuove composizioni per organo, Vol. 4.
[Prague: Panton, 1974]

1974

Same work as above?

Thomas Tiberius Solymosi

Chaconne sur les B, A, C, H, for organ
[Bordeaux : Ed. Thomas Solymosi, 2003]

2003

József Soproni (b 1930)

Invenzioni sul B-A-C-H, for piano
[Budapest: Editio musica Z. 7272, 1974]

1970-1971

Kaikhosru Shapurji Sorabji (1892-1988)

Organ Symphony No. 1, for organ
[London: J. Curwen and Sons, 1926]

1924

Although the Symphony's overall form is clear enough -- a huge passacaglia with 81* variations, a gigantic double fugue, and a massive fantasia-like `toccata-cadenza' on the themes of the preceeding movements climaxing in a stupendous invocation of the BACH motif -- the impression, after several hearings, remains aloof, hieratic, elusive.
Source:
Michael Habermann: Reviews

Georg Andreas Sorge (1703-1778)

Fugue in C major on B-A-C-H, BWV Anh. II 107 (Anh III 181), for keyboard
Previously attributed to J.S. Bach
[NBA V/12]
[Wiesbaden: Verlag Breitkopf]

Analysis by Frieder Rempp on pp. 256-8 of the NBA KB V/12 (Bärenreiter, 2006):
The following can be determined by analyzing the extant manuscript source containing the compositions listed above:
Two of these sources, strictly speaking, do not name any composer, hence they can be listed as anonymous.
Two other sources attribute these fugues to Georg Andreas Sorge (1703-1778).
Only the Hauser collection considers one fugue to be by J. S. Bach and lists the others as being not genuine.
In 1760 Friedrich Wilhelm Marpurg expressed some rather serious doubts about Sorge’s authorship, while Ernst Ludwig Gerber in his Historisch-Biographisches Lexikon der Tonkünstler (Leipzig,1790) still lists all three fugues on B-A-C-H among Sorge’s compositions.
Based on stylistic considerations,
Philipp Spitta chose BWV Anhang 107 and disregarded the others entirely when he thought he saw features in it that pointed to an early work (c1707) by J.S. Bach. Rempp disagrees with Spitta in that he [Rempp] sees no evidence of an early, antiquated Bach style, but rather one that tended more toward the galant, a style that would be very atypical for Bach at this early stage in his career. The more likely attribution to Sorge could well be the more suitable one in this situation.
(Contributed by Thomas Braatz, August 6, 2011)

Georg Andreas Sorge (or Carl Philipp Emanuel Bach)

Fugue in C major on B-A-C-H, BWV Anh. II 108 (Anh III 181; > H 373), for keyboard
Previously attributed to J.S. Bach
[NBA V/12]
[Wiesbaden: Verlag Breitkopf]
See: NBA analysis above

Georg Andreas Sorge

Fugue in C minor on B-A-C-H, BWV Anh. II 110 (Anh III 181), for keyboard
Previously attributed to J.S. Bach
[NBA V/12]
[Wiesbaden: Verlag Breitkopf]
See: NBA analysis above

Willy Spilling (1909-1965)

Musik über B-A-C-H, Op. 37, for big orchestra
[Nürnberg: UA, 1957/58]

1957-1958

Max Springer (1877-1954)

6 Fughetten über den Namen B-A-C-H, Op. 14, for organ

Friedrich Wilhelm Stade

Fugato in B major, for organ (uses the Bach motif)

Peter Pindar Stearns (b 1931)

Adagio - B-A-C-H, for organ
[New York: American Composers Alliance. O. J.]

1968

Gerhard Steif (b 1937)

B-A-C-H - Zitate, for flute, clarinet, violin, piano, 2 church bells & tape (Georg Eckle gewidmet)

1985

Carl Steinhäuser (1823-1903)

Fuge über BACH und HEFE, Op. 53, for organ
[Langensalza: Beyer & Söhne, 1895]

1895

Raimund Walter Sterl (b 1936)

Variation, in Divertimento über B-A-C-H [collaborative composition], for orchestra

1984

Raimund Walter Sterl

Praeambulum, Choral und Ostinato, for keyboard ad libitum

1982

Raimund Walter Sterl

Drei B-A-C-H-Studien, for organ
[Augsburg: Böhm 1984]

1982-1983

Raimund Walter Sterl

Arioso, for harpsichord

1983

Raimund Walter Sterl

Toccata über B-A-C-H, for harpsichord or piano or organ

1985

Raimund Walter Sterl

B-A-C-H-Begegnung, for organ, from Zwei Orgelstücke
[Augsburg Anton Böhm, 2002]

1997

Raimund Walter Sterl

Musik über B - A - C - H. The carmans whistle, for harpsichord (piano, organ positiv)
[Köln: Dohr, 2002].

1999/2000

Hans Sternberg (1910-1997)

Sieben Kompositionen für Tasteninstrumente über B-A-C-H, for keyboard instruments

[Coburg: Hans Sternberg, 1986]

1986

Sigfrid Karg-Elert, revised by Wolfgang Stockmeier

Introduktion, Passacaglia und Fuge über B-A-C-H, Op. 150
[Wolfenbüttel; Zürich Karl Heinrich Möseler, 2000]

2000

Erich Stoffers (b 1930)

Fantasie über B-A-C-H, for organ

1961

Erich Stoffers

Drei Fugen über B-A-C-H, for organ

1983

Erich Stoffers

Präludium und Doppelfuge, Op. 149, for organ

1984

Erich Stoffers

Evolution des B-A-C-H, for organ

1985

Erich Stoffers

Triptychon, Op. 150: Präludium – Intermezzo - Toccata mit Fuge, for organ

1985

Stojan Stojantschev

Bach Variations, in Divertimento über B-A-C-H [collaborative composition], for orchestra

1984

Stephan Michael Stoll (b 1963)

Sonate über B-A-C-H, for organ

1984

Sigmund Hans Storp (b 1914)

Acht zweistimmige Inventionen, for piano
[Wolfenbüttel: Möseler 18.471, 1960]

1960

Harold Stover (b 1946)

Triptych on the name of Bach, for organ
[New York: Table Eight Music Co., 1986]

1986

Ulrich Stranz (b 1946)

Contrasubjekte: Passacaglia über B-A-C-H, for 14 string instruments (8 violins, 3 violas, 2 violoncellos & double bass)
[Kassel: Bärenreiter, 1983, 1980]
[Kassel: Bärenreiter BA 6787, 1984]

1980

O.N. Stroud

A Little Fugue on BACH, for solo instrument

2006

As some composers have done, I have composed this fughetta with the theme of B-flat/A/C/B-natural---or, BACH.
Source:
Sibelius Music

Eugen Suchoň (1908-1993)

Symfonická fantázia na BACH, for organ, string orchestra & percussion
[Bratislava: Opus, c1973]

1971

Peeter Süda (1883-1920)

Prelude and Fugue in G minor, for organ

The BACH motif figures prominently in this substantial, well-constructed work. Replete with emotional energy, it concludes with a whisper.
Source:
Florence Mustric, organist: Reviews

B. Sulze

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

Rudolf Suthoff-Gross (b 1930)

Partita in E, Variationenfolge über ein Thema aus 36 Tönen, for orchestra

1965

Jan Pieterszoon Sweelinck (1562-1621)

Fantasia chromatica, for organ
[Leipzig: Breitkopf & Härtel (Werken voor Orgel of Klavier, Deel I, S. 1-5) 1894]

György Szabados (1939-2011)

B-A-C-H Impressions, for piano
[Title track of the album B-A-C-H élmények (Modern Jazz Anthology 64) Qualiton LPX 7279-80]

1964

Witold Szalonek (1927-2001)

Little B-A-C-H Symphony:
Fassung 1, for flute, clarinet, violin, vi, cello, double bass, piano & percussion
Fassung 2, for orchestra

1979/1981

Zsigmond Szathmáry (b 1939)

Dialog, for organ
[Celle: Moeck, 1971]

1971

Zsigmond Szathmáry

B-A-C-H: "Hommage à ...", for grand organ
[Kassel: Bärenreiter-Verlag, c1994]

1990

T 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

Eduard Terényi (b 1935)

Partita, for organ

1967

Eduard Terényi

B. A. C. H. - Nissal, for organ, Op. 4

1967

Same work as above?

B. A. C. H. missal for the organ op. 4 (1967) constitutes the prototype of the creation period of the 62s – 72s that is considered by the maestro Eduard Terényi to be “constructivist” or “the crystal music”, that is characterized through symmetry (melodic lines, chords, mirrored rhythmic reports) and also, the closeness to the serialisation through the application of certain pre-established rhythmical-melodically patterns. “Not even a tone is free!” the author declares. The entire musical work has a constructive characteristic, which has the key in the anagram B.A.C.H. The generating motif is extrapolated to other levels of articulation: the rhythmical, the harmonically, the formal, the one of the central tones, the dimensions in bars and that of the macro-organisation of the work. Regarding the circularity idea that is suggested by the B.A.C.H. melodic movement, the formal technique is that of a melodic ostinato, either harmonically or polyphonically.
The B
. A. C. H. motif is treated as a micro-series as it can be found in all the four hypostases of the modus quaternion, into transpositions of these and also into permutations and transpositions of the permutations. We can remark the composer’s preference for the symmetrical, palindromical structures: the exposing in a vertical mirror (the recurrence) or the horizontal one (the inversion) of two or more motifs of the B. A. C. H. type; the chords in the mirror.
The rhythmic formulae are generated by a unique proportion of 4 – 3 - 2 – 3, that represents the translation in rhythmic duration of the idea of circularity that is contained inside the melodic line of the B
. A. C. H. motif. The entire structure of the musical work symbolizes the circularity through the central tones of every part (pedal tone or the pylon) summing up the letters B. A. C. H., the dimension in bars of the sections of the work give the characteristic report to the fundamental rhythmic formulae: 3 - 2 - 3 - 4. The duration in minutes and seconds of the execution of the parts comes closer to the above – mentioned report.
The connotations of the B
. A. C. H motif as symbol of the cross (Kreutzmotiv) are extrapolated to the content of affections and ideas of the whole work. The title could have been Passio – maestro Terényi confesses. As it was composed after the author’s meditations that took place on Golgotha, B.A.C.H. - Missal for Organ carries the connotative semantics of an ideated programme that was declared by the author to refer directly to the suffering, the death and the resurrection of the Saviour.
Source:
STUDIA MUSICA - Issue no. 2 / 2009

Kerstin Thieme (1909-2001)

Varianti B-A-C-H, for orchestra & harpsichord or piano
[Berlin: Astoria-Verlag AV 9119, 1993]

1970

Xaver Thoma

Cantata Op. 7, for alto solo, choir, strings, timpani & organ
[Eigenverlag thomä]

1974

Xaver Paul Thoma

B.A.C.H.: Skizze für Orchester XPT 93 (Picc.3.1.2.1.-2.2 BarHr.3.1.1.,Pk, Schlzg, Klav, Str)
[Bühl/Baden: Antes-Edition Bella Musica Musikverlag]

Asmus Tietchens

Studie über B-A-C-H, for Fairlight CMI synthesizer, programmed eight-part brass / tape with three versions

1983

Frederick C Tillis (b 1930)

Essay For Orchestra Fugal Fantasy on Bach, for orchestra
[ACA - American Composers Alliance]

1959

Frederick C Tillis

Metamorphosis on a Scheme by J.S. Bach, for jazz ensemble (5 sax, 4 tpt, hn, 4 tbn, gt, pno, bass, perc)
[ACA - American Composers Alliance]

1972

Frederick C Tillis

Fantasy on a Scheme by J.S. Bach, for soprano saxophone & piano
[ACA - American Composers Alliance]

1987

Roland Tremain

Nine Studies, for violin & viola

1965

Alltonin Tucapsky

Sonata, for solo violin “Hommage à Bach”

1985

U 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

Viktor Ullmann (1898-1944)

Piano Sonata No. 7
[Mainz; New York: Schott, 1997-2001]

1944

In the third movement we smell the air of a familiar planet, as Ullmann deploys the lessons he learned from Schoenberg. It's in the barnstorming finale that the breadth of Ullmann's vision is revealed. It's a set of variations and concluding fugue on what had become an Israeli folksong, a setting of words by the Russian-Jewish poetess Rachel composed in Berlin in 1932 by Yehuda Sharett; and the fugue makes it clear that this is a work of protest: it hints at the Slovakian national anthem and quotes the Hussite hymn Ye who are warriors of God and Nun danket alle Gott, as well as working in the BACH motif.
Source:
JMI IFSM newsletter, November 2002 (Viktor Ullmann Foundation)

Helmuth von Ulmann

Concerto grosso über das Thema B-A-C-H, Op. 21, for string orchestra
[UA Goslar 1946/47]
[Hamburg: Hans Sikorski, c1996]

1946-1947

James Underwood (b 1951)

Variations on B-A-C-H, for orchestra
Premiere: Hayward, California, June 8, 1973

1973

V 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

Ján Valach

Mosaik aus b-a-c-h, for organ
[Antwerpen: Digital Music Print, 2000]

2000

Marios Varvoglis (1885-1967)

Canon, Chorale and Fugue on BACH, for string orchestra

1930

Marios Varvoglis

Prelude, Chorale and Fugue on the name BACH, or string orchestra
[Unpublished]

1937

Constant Vauclain

Suite on B.A.C.H., for orchestra (3-fl (1-pc, III), 2-ob, 3-cl (1-bcl, III), 2-bn, 1-cbn, 4-hn, 2-tpt, 3-trb, 1-tb, tmp, prc, str.).

1976

Mauri Viitala (b 1948)

Hommage à J.S. Bach, for organ

1976

Mauri Viitala

Passacaglia, for organ

1979-1982

Alexander Villinger (b 1953)

Kyrie and Gloria, for soloists, choir & orchestra

1985

Robert Schumann/Henk de Vlieger

Fuge über den Namen B-A-C-H, Op. 60, 6, arranged for orchestra
[Mainz [u.a.] Schott 2009]

2009

Ernst August Voelkel (1886-1960)

Introduzione, Passacaglia und Fuge über B-A-C-H, Op. 122b

1952

Friedrich Voss (b 1930)

Sinfonia Humana (= Sinfonie Nr. 3), for orchestra
[Wiesbaden: Breitkopf & Härtel PB 4801]

1966-1967

Friedrich Voss

Hommage à J.S. Bach, for 4 saxophones

1984

Roger Vuataz (1898-1988)

Conversation avec B.A.C.H., Op. 117 No 1, for bassoon (2nd version)
[Adliswil: Pizzicato Verlag Helvetia, 1999]

1974

Roger Vuataz

Conversation avec B.A.C.H., Op. 117 No 2, for clarinet in B flat
[Adliswil: Pizzicato Verlag Helvetia, 2001]

1973

Roger Vuataz

Conversation avec B.A.C.H, Op. 117 No 3, for oboe solo (2nd version)
[Adliswil: Pizzicato Verlag Helvetia, 2001]

1983

Roger Vuataz

Conversation avec B.A.C.H, Op. 117 No 4, for flute solo
[Adliswil: Pizzicato Verlag Helvetia, 1999]

1968

W 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

Melinda Wagner (b 1957)

Little moonhead : three tributaries, for solo violin, 2 flutes, string orchestra, harpsichord, & celesta (inspired by Brandenburg concerto No. 4)
[King of Prussia, Pa.: Theodore Presser, 2008].

2006

“Ultimately Orpheus was not asking us to live up to Bach or compare ourselves to him. So after the first few days of sitting down with pencil to paper, I had to just rid myself of any kind of apprehension. I decided to adopt the basic elements of the form of Brandenburg Four, its fundamental structure. It’s a very friendly and amiable piece, so I wanted to somehow channel that. The B-A-C-H [motif] at the end—that was just a little bit of gravy.” Melinda Wagner
Source:
Orpheus Chamber Orchestra New Brandenburg Concertos

Rudolf Wagner-Régeny (1903-1969)

Dsa Bergwerk zu Falun (‘The Mine of Falun’), opera in eight scenes: recurrent B-A-C-H motif
Text: Rudolf Wagner-Régeny, after Hugo von Hofmannsthal’s play
[premiered Salzburg, Festspielhaus, August 16, 1961]

1961

Rene Wallenstein (b 1947)

Toccata in meditatione, for organ

1980

Ludwig Walter

4 Kanons mit B-A-C-H, for 3 instruments

1985

Heinrich Weber II {1901-1970)

Suite über B A C H , for organ
[in manuscript]

1964

Reinhold Weber (b 1927)

Fantasia e fuga con risposte alla septima sopra B-A-C-H, for organ, WebWV 8
[Köln: W.G. Haas, 2006]

1981

Reinhold Weber

Fantasie und Fuge über B-A-C-H, for piano
[Köln W.G. Haas, 2006]

2006

Anton Webern (1885-1943)

String Quartet, Op. 28 (the tone row is based on the BACH motif)
[Vienna: Universal Edition 12399 (Stimmen), (Partitur: Ph. 390)]

1936-1938

The String Quartet is atonal, and is composed using the twelve-tone technique. The tone row on which the piece is based (B-flat, A, C, B, D-sharp, E, C-sharp, D, G-flat, F, A-flat, G) is intricately constructed and based on the BACH motif (B-flat, A, C, B-natural).
The first four notes of the row are the
BACH motif itself, followed by its inversion, followed by same motif transposed up a minor sixth. A special property of this row is that its inversion (G, A-flat, F, G-flat, D, C-sharp, E, Dsharp, B, C, A, B-flat) is equivalent to its retrograde.
Source:
Wikipedia

Werner Wehrli (1892-1944)

Introduktion, Passacaglia und Fuge über den Namen BACH, Op. 41, for organ
[Zürich: Hug]
[Winterthur: Amadeus, 2007]

1935

Werner Weiand (b 1939)

Monstranz:
Fassung I, for big orchestra & solo singer (soprano)
Fassung II, for big orchestra & choir

1979

Sasha Alexander Weinstangel (b 1947)

Variations, for solo soprano, 2 flutes, string quartet, timpani & vibraphone

1968

Manfred Weiss (b 1935)

Concerto in 3 movements, for organ, string orchestra & percussion
[Leipzig: DVfM 1432, 1980]

1976

Egon Wellesz (1885-1974)

Partita. In honorem J. S. Bach, Op. 96, for organ
[Vienna: Doblinger 02211, 1967]

1965

Christoph Ernst Friedrich Weyse; Johannes Frederik Fröhlich; Friedrich Kuhlau.

Canon über die Noten B A C H.

Wolfgang Wiemer (b 1934)

Anläufe, for organ
[Wiesbaden: Breitkopf & Härtel, 1973]

1972

Wolfgang Wiemer

Kreuzweg. Vierzehn Stationen nach Holzschnitten von HAP Grieshaber, for organ & slide projector

1973-1974

James Wilding (b 1973)

Fantasy on B-A-C-H, for cello & piano
Source: James Wilding

2003

Frank Wiley (b 1949)

Fantasie super B-A-C-H, for organ or organ with chimes
[Chapel Hill, NC: Hinshaw c1983]

1983

Julius Penson Williams (b 1954)

Fantasy on Bach, for percussion/marim/xyl
1st Performance: Connecticut Valley Youth Wind Ensemble, University of Hartford. Conductor: Peter Boonshaft

1984

Arthur Wills (b 1926)

Toccata, Adagio and Fugue on BACH, for organ
Source: Fagus-Music

Heinz Wunderlich (b 1919)

Konzert für Orgel und Orchester über den Namen B-A-C-H = Concerto for organ and orchestra on the name B-A-C-H
[Budapest : Editio Musica, 1992]

1992

Heinz Wunderlich

Introduktion und Tokkata über den Namen B-A-C-H, for organ

Gerhard Wunsch (1925-2007)

Spectrum (= Nr. 6: Invention), in: 30 Studies in Contemporary Idioms, Op. 41, for piano
[Montreal: Boosey & Hawkes, 1978]

1969

X 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

Y 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

Hagihara Yoshiaki

Wakkanai Station - for Johann Sebastian Bach
In: Hagihara Yoshiaki: “Music Of Timetables-For Stations On The Yamanote Line” (Hagihara Yoshiaki)

2008

Wakkanai Station is the northmost railway station in Japan. Because it has only eight train departures, BACH motif is repeated twice.
Source:
CD Baby

Z 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

Daniele Zanettovich (b 1950)

Passacaglia B.A.C.H. jubilæum, for organ
[Padova: Armelin Musica, 2000]

2000

Julien-Franyois Zbinde (b 1917)

Hommage à J.S. Bach. Op. 44, for double bass
[Wiesbaden: Ed. Breitkopf Nr. 6554, 1968]

1969

Ruth Zechlin (1926-2007)

Hommage à Bach, for choir:

1985

Ruth Zechlin

Musik zu Bach, for orchestra

1985

Recordings

Ruth Zechlin

Organ Concerto No. 1

1974-1975

Friedrich Zehm (b 1923)

Toccata über B-A-C-H, for organ

1968

Johannes Zerbe

Variations

1983

Sergey Zhukov (b 1951)

BACH-variations from Sheet Music for piano (Cycle of graphical games: BACH-variations, Triller-restoration, Labyrinth, Dodecardonica, DSCH-variations, CAGE-variations)
[Frankfurt: Russian Music Archive, 2003]

2003

Bernd Alois Zimmermann (1918-1970)

Violin Sonata, for solo violin

1951

Violin Sonata, the first solo work written by the Bliesheim-born composer, is a "12-tone 'Hommage a Bach' - not only because of the B-A-C-H motif that appears transposed in the last movement but more through arpeggios and repeated notes on open strings which, swirled around by multi-voiced figurations, are quite intentionally reminiscent of J.S. Bach's E Major partita." Or, as Zimmermann himself put it in his (posthumously-published) collection of essays, Intervall und Zeit :"The three movements [of the Violin Sonata], Praludium, Rhapsodie and Toccata move from meditative improvisation via a rhapsodic quality to the strict commitment of the Toccata, in which finally B-A-C-H is quoted in honour of the great master of the six sonatas and suites for unaccompanied violin."
Source:
Liner notes to the album "Thomas Demenga Plays Bach & Zimmerman" (ECM, 1996)

Eduard Zuckmayer (1890-1972)

B-A-C-H Canon in three parts, in Fritz Jöde, Der Kanon, Teil 3, S. 38
[Wolfenbüttel: Möseler 1950]

1950

Guglielmo Zuelli (1859-1941)

4-part fugue on the theme proposed by A. Boito: F-e-d-e a B-a-c-h, for organ
[won 1st prize offered by the journal Musica sacra in Milan for composing this work]

1888

???

Improvisation around B-A-C-H MOTIF

2011

Premiere: Nov 20, 2011 at Forbidden City Concert Hall, Shanghai, China
Source:
Bach Cycle 2011 @ Forbidden City Concert Hall

< Continue from Part 3

 
 

Sources:

Schuyler Watrous Robinson: The B–A–C–H Motive in German Keyboard Compositions from the Time of J.S. Bach to the Present (thesis, University of Illinois at Urbana-Champaign, 1972)
Ulrich Prinz, Joachim Dorfmüller & Konrad Küster: Die Tonfolge B–A–C–H in Kompositionen des 17. bis 20. Jahrhunderts: ein Verzeichnis, in: 300 Jahre Sebastian Bach (1985), pp. 389-419 (exhibition catalogue)
W. Hacker: 'Erberezeption im Sozialismus: das Tonsymbol B-A-C-H im Musikschaffen der DDR', Beiträge zur Musikwissenschaft, 31 (1989), pp. 266-278
Malcolm Boyd (Editor): Oxford Composer Companion - J.S. Bach (Oxford University Press, 1999), pp. 50-55
Helmut Föller: B A C H : Verarbeitungen eines Motivs in der Orgelmusik des 19. Jahrhunderts (Sinzig : Studio-Verlag, 2004)
Seyoung Jeong: Four Modern Piano Compositions Incorporating the B-A-C-H Motive (2009)
The Bach motif (Wikipedia) [accessed: July 9, 2011]
WorkdCat Libraries [accessed: July 9-August 4, 2011]
Deutsche National Bibliothek: Deutsches Musikarchiv [accessed: July 9-August 4, 2011]
Oxford Music Online (Grove) [accessed by Thomas Braatz: July 17, 2011]
ACA - American Composers Alliance [accessed August 3-4, 2011]
MGG1
Talk: BACH Motif (Wikipedia (accessed: April 2, 2012) 

Prepared by Aryeh Oron (July 2011 - April 2012)
Thanks to contributors: Thomas Braatz (July-August 2011), Evan Cortens (July 2011), Arthur Ness (July 2011)

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Last update: ýApril 3, 2012 ý09:27:13