BACH
In occidental and occidental music , BACH is a series of notes that give the name "Bach" and have mostly been used as a reminiscence and homage to the composer Johann Sebastian Bach since the 18th century . The meaning is not only revealed in the German-speaking area, but also in other Scandinavian and Slavic countries, but not everywhere (e.g. English B flat or French si bémol for German B ).
Special features of the musical motif BACH
It is a rarity that a name can be converted completely into tone letters and thus, to a certain extent, made to sound. The BACH tones also form a cross motif (see illustration below left).
Bach's music was often described by contemporaries as too complicated and mathematical. Indeed, both complex harmonies and complex polyphonic vocal lines are striking in Bach's compositions . Chromatic voice guidance plays a special role here, as it is one of the most difficult musical and compositional tasks that Bach did not shrink from, but rather challenged. The fact that the BACH motif consists of four superimposed halftones places particularly high demands on the compositional implementation.
Bach dedicated a large part of his work to church music. In his remarks on the basso continuo he writes that music should “only be for God's honor and for the recreation of the mind. Where this is not taken into account, there is no actual music but a devilish banter and Geleyr. ”He used musical symbols in innumerable places in his compositions . The musical symbol par excellence for the Christian faith is the cross motif , consisting of at least four notes, which, when two and two are connected, make a cross. BACH is one such musical cross motif.
Bach's musical approach to his name
It was common until the 18th century to edit and adapt works by other composers for new use. The example shows an excerpt from the motet Tristis est anima mea attributed to the Leipzig composer Johann Kuhnau (upper graphic).
In the arrangement by Johann Sebastian Bach ( The Just Comes Around ) the piece is transposed from F minor to E minor and expanded with an orchestral accompaniment. Bach added the BACH motif in the alto part (lower graphic) and edited the harmonic movement. He gives the alto as the only voice at this point a syncopated rhythm . Shortly afterwards, the alto continues with the words “and nobody pays attention” - a self-deprecating allusion and an example of Bach's subtle work.
In arrangements for other compositions, Bach often used his name in this way in order to add his “signature” to them. Most of the time, however, the motif is inserted in such a way that it is difficult to recognize just by listening to it, but can be seen better in the music text.
The motif also appears now and then in Bach's own compositions, sometimes transposed . The best known is the inclusion of BACH in the last, unfinished contrapunctus from his art of fugue .
Works by other composers on BACH
- Johann Georg Albrechtsberger "Fuga in G.mol" about BACH
- Menachem Avidom : Suite on BACH for woodwinds, strings, piano and percussion (1964)
- Alfred Baum : Fantasy for Organ on BACH
- Alban Berg : Violin Concerto
- Joachim Bruges : BACH Variations (2012)
- Rudolf Brucci : Metamorfosis BACH for strings
- Gerard Bunk : Passacaglia for organ, op.40
- Ferruccio Busoni : Fantasia Contrappuntistica for piano
- Luigi Dallapiccola : Quaderno musicale di Annalibera
- Johann Nepomuk David : Partita
- Paul Dessau : Piano piece about BACH
- Hanns Eisler : Prelude and Fugue on BACH for String Trio , op.46
- Sofia Gubaidulina : Reflections on the theme BACH
- Arthur Honegger : Prelude, Arioso, Fughette for piano (arranged for orchestra)
- Sigfrid Karg-Elert : Passacaglia and Fugue , op.150
- Charles Koechlin : Offrande musicale sur le nom de BACH , op.187
- György Kurtág : 6 Moments Musicaux for string quartet , op.44
- Johann Ludwig Krebs : Fugue BACH
- Franz Liszt : Prelude and Fugue
- Ernest Majo : Rhapsodic sequences
- Ron Nelson : Passacaglia
- Carl Nielsen : Concerto for Violin and Orchestra (op.33 / FS 61)
- Arvo Pärt : Collage for strings, oboe, harpsichord and piano
- Ernst Pepping : Three Fugues on BACH (1943)
- Francis Poulenc : Valse-improvisation sur le nom Bach for piano
- Jean-Philippe Rameau : L'Enharmonique (from: Nouvelles Suites de Pièces de clavecin )
- Max Reger : Fantasy and Fugue , op.46 (1900)
- Nikolai Rimski-Korsakow : Variations for piano
- Christian Heinrich Rinck : Prelude and Fugue in B flat major on BACH
- Julius Röntgen : Symphony on BACH in C minor (comp. 1931)
- Alfred Schnittke : Concerto Grosso No. 3
- Arnold Schönberg : Variations for Orchestra , op.31
- Georg Schumann : Passacaglia and Finale on BACH, for organ, op.39, Verlag FEC Leuckart, Leipzig 1905 (first print)
- Robert Schumann : 6 fugues on the name BACH for organ or pedal piano , op.60
- Georg Andreas Sorge : Joints
- Milos Sokola : Passacaglia quasi Toccata for organ
- Steven Tailor : Thunderstorms, irises and fever clover , pop-jazzy wind variations via BACH
- Anton Webern : Six Bagatelles for String Quartet, op.9
- Anton Webern : String Quartet , op.28
- Ede Terényi : BACH
- Zoltán Gárdonyi : Preludium et Fuga in memoriam JS Bach
- Zsolt Gárdonyi : Hommage à JS Bach for organ (Edition Walhall Magdeburg)
Ulrich Prinz listed a total of 409 works on BACH by 330 different composers from the 17th to the 20th century in the catalog for the exhibition "300 Years of Johann Sebastian Bach" of the International Bach Academy from 1985 ( ISBN 3-7952-0459-3 ).
Other use
- The city of Leipzig radio used the motif as a tribute to the former Leipzig cantor announcing its broadcasts.
- Max Reger first entered the confession in Lisa Hess' family book on May 31, 1906: bach is the beginning and end of all music .
See also
- Soggetto cavato
- Musical signature of Dmitri Shostakovich
- Coffee
- La lezione di canto by Luigi Cherubini
Web links
Individual evidence
- ↑ For the designation of the B see tone designations in other languages
- ↑ Max Reger on Wikiquote