Arrangements & Transcriptions of Bach's Works
Works using the Name Bach (The BACH Motif)
Part 3: F-M |
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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 |
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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 |
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Otto Feix (1890-1980) |
Improvisationen über b-a-c-h, Op. 106b, for organ |
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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 |
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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 |
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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 |
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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 |
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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 |
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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 |
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Hanno Haag |
Silences, Op. 11b, for small symphonic orchestra |
1983 |
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Max Haager |
Chaconne, for string orchestra 1943; for orchestra 1947 |
1943/1947 |
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Max Haager |
Symphony No. 7 in D minor, for string orchestra |
1976-1979 |
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Johannes Haarklou |
Praeludium og Fuga over B-A-C-H, for organ
[Oslo: Norsk Musikforlag, 1927]
[Oslo: Norsk Musikforlag, 2010] |
1924 |
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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 |
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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 |
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Johannes Hannemann |
Symphonische Phantasie über B-A-C-H, for organ, woodwind & percussion
[Leipzig: Kistner & Siegel] |
Before 1945 |
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Eugene Hartzell |
Toccata und Passacaglia, for organ
[Vienna: Doblinger] |
1983 |
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Josef Haselbach |
Vorspiel, for organ
[Zürich: Hug 11191] |
1973 |
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Christos Hatzis (b 1953) |
Spring Equinox, for flute, oboe, bassoon, trumpet, trombone, piano, synthesizer, percussion & string quartet |
1985 |
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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 |
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“… 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) |
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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 |
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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 |
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Harald Heilmann |
Meditation über BACH, for organ
[Heidelberg: Süddeutscher Musikverlag Willy Möller, WM 2187 SM, 1969].
[Heidelberg: Süddeutscher Musikverlag, 2010] |
1968 |
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Harald Heilmann |
Sonata No. 4 in A major: Mvt. 2 (from the oratorio “Corona sacra”), for organ
[Berlin: Astoria, 1984] |
1979 |
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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 |
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Franz Liszt, arranged by Ernst-Günter Heinemann |
Prelude and fuge on B-A-C-H
[Munich: Henle, 2010] |
2010 |
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Jeannot Heinen |
Partita concertata - Hommage à J. S. Bach, Op. 120, for violin & harpsichord; |
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Jeannot Heinen |
6 Invenzioni über B-A-C-H, Op. 42, for organ |
1972 |
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Jeannot Heinen |
String Trio, Op. 118, for violin, viola & violoncello |
1984 |
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Johann David Heinichen (1683-1729) |
Kleines Harmonisches Labyrinth in C major, BWV 591, for organ
[BGA XXXVIII, S. 225f] |
1714 |
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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) |
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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 |
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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 |
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Robert Maximilian Helmschrott |
Hommage à Albertus Magnus, for organ
[Porz: Kistner & Siegel 1982] |
1982 |
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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 |
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Hans Werner Henze |
Symphony No. 2, for orchestra
[Mainz: Schott ED 4402] |
1949 |
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Johann Georg Herzog |
Fuge (B-A-C-H), for organ
In: Praktisches Handbuch für Organisten, Op. 33
[Erlangen: F. Enke ca. 1858] |
c1858 |
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Bryan Hesford |
Aria und Litanei in memoriam Dimitri Schostakowitsch, Op. 55 No. 1, for organ
[London: Oecumuse, 1996] |
1981 |
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Adolph Friedrich Hesse |
Fünfstimmige Doppelfuge uber B.A.C.H., for organ
[Bonn: Forberg] |
1972 |
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George Heussenstamm |
Reflections on B-A-C-H, Op. 20, for organ
[New York: Seesaw Music Corporation, 1972] |
1972 |
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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 |
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Frigyes Hidas |
Almost B-A-C-H , concerto for wind band
[Vienna, Johann Kliment, c1996] |
1996 |
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Erland Hildén |
B-A-C-H mässa, for solo organ
In: Nuovi fiori musicali |
2000 |
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Francina Hinl |
Improvisation über den Namen B-A-C-H und das Lied “Gib dich zufrieden", for harp & flute |
1985 |
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Caspar René Hirschfeld (b 1965) |
Sonate über B-A-C-H, Op. 70, for piano
[Leipzig: F. Hofmeister, 2001] |
2001 |
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Emil Hlobil |
Concerto über B-A-C-H, Op. 61, for organ, strings & timpani |
1963 |
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Alun Hoddinott |
Cello Sonata op. 73 No. 2 (1970), for cello and piano
[Oxford: Oxford University Press] |
1970 |
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Trevor Hold |
Three Foxtrots on B-A-C-H, for piano
In: Period Pieces for piano, 1975 |
1975 |
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Thomas Holland-Moritz |
Sonata breve, 2. Satz, Inventione sulla nome di B-A-C-H, for organ |
1972 |
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Johannes Hömberg |
7 Fugen und 14 Kanons über B-A-C-H |
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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 |
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Klaus-Karl Hübler |
Capriccio sopra B-A-C-H
Version for piano 4 hands (1978)
[Karlsruhe: Tre Media Edition, c2003.] |
1975/1978 |
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Camil van Hulse |
Prélude et Fugue sur B-A-C-H, Op. 150, for organ
[Brussels: Schott SF 9296, 1974] |
1974 |
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Camil van Hulse |
Ricercata Quasi Fantasia on BACH, Op. 56 No. 1, for organ
[New York: M. Witmark and Sons, 1949] |
1949 |
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Bertold Hummel (1925-2002) |
Improvisation and Toccata , Op. 9, for violin, violoncello & piano (piano trio)
[Hamburg: N. Simrock, 1976] |
1954 |
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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 |
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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 ? |
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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 |
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Hans Humpert |
Fughette über B-A-C-H, for organ |
1919 |
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Hans Hupel |
String quartet 'B-A-C-H' |
1950 |
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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 |
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Jevgenij Irsai (1951) |
B-A-C-H pre husle, for viola, cello & piano
[Bratislava: Hudobny fond, 2005] |
2005 |
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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 |
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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 |
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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 |
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Otto Joachim. |
Fantasia, for organ
[Don Mills, Ontario: BMI Canada Limited, 1967] |
1967 |
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Otto Joachim |
Tribute to St. Romanus - Hommage für Romanus Meludius aus Byzanz, for organ, 4 horns, percussion |
1980-1981 |
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Hans-Rudolf Johner (1934-2005) |
Psalm 116, for solo voice & organ |
1984 |
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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 |
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Léon Jongen |
Largo sur le nom de Bach, for violin |
1956 |
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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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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 |
|
|
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|
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 |
|
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|
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 |
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Toland Moser |
Stilleben mit Glas, for tape & electronic sounds |
1969-1970 |
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Raymond Moulaert |
Passacaille sur un thème de J. S. Bach, Vokalise for solo soprano |
1932 |
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Marjan Mozetich |
Capriccio on J. S. Bach's D minor Two Part Invention BWV 775, for solo viola |
1984 |
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Dominic Muldowney |
Trombone Concerto |
1996 |
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Viorel Munteanu |
String Quartet |
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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. |
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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] |
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< Continue from Part 2 |
Continue on Part 4 > |
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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) |