BACH reason

The reason BACH is the sequence of note S following: B flat - - C - B natural, which gives BACH in German notation.

It is a continuation taken again by many type-setters, in homage to Johann Sebastian Bach. The first occurrence of this continuation is due to Jan Pieterszoon Sweelinck - it is possible, but not some, that Ci wrote it in homage to the one of the ancestors of Johann Sebastian, them same of the famous musicians.

The notation German, particular, makes it possible to write BACH in all letters: the English notation for example, does not know by H, used to note the so natural one. Today, one reads more readily B flat , has, C, B natural . In the same way, E flat, noted E flat in English notation, is an S in German notation.

Johann Sebastian Bach used it itself at the end of Die Kunst der Fuge (the Art of the running away, BWV 1080), unfinished work because of its death which has occurred in 1750. One finds it elsewhere in the work of the musician, such as the canonical variations of Vom Himmel Hoch (BWV 769). The occurrence of this continuation in before last part of Kleines harmonisches Labyrinth (BWV 591) does not seem significant, and work could have been made up by Johann David Heinichen before being begun again by Bach. One finds the reason in the Passion according to saint Matthieu . In certain parts, in fact transpositions of the BACH reason are played (respecting the intervals of the reason for origin).

One finds this reason particularly present in works of:

Robert Schumann - Six Runnings away for Organ, Piano or Harmonium, opus 60 (1845)
Franz Liszt - Fantasie und Fuge über das Thema BACH , for organ (1855, adapted later to the piano)
Nikolaï Rimski-Korsakov - Variations on BACH , for piano (1878)
max Reger - Fantasia and Running away one BACH for organ (1900)
Ferruccio Busoni - Fantasia contrappuntistica for piano (1910,1912 and 1922)
Arthur Honegger - Prelude, Arioso, Fughette for piano (1932, adapted later to the orchestra)
Francis Poulenc - Waltz-improvisation on the name Bach for piano (1932)
Anton Webern - Four-bit byte (1937-38)
Jean Coulthard - Variations on BACH for piano (1952)
Luigi Dallapiccola - Quaderno musical di Annalibera (1952)
Arvo Pärt - Joining on BACH for cords, Oboe, Toothing-stone and Piano (1964)
Rudolf Brucci - " Metamorfosis Vat; for cords (1974)
Milos Sokola - Passacaglia quasi Toccata one BACH for organ (1976)
Alfred Schnittke - Concerto Grosso No 3 (1985)
Ron Nelson - Passacaglia (Homage on BACH) for wind instruments (1990s)

Reasons used by other type-setters to sign their works:

F, E flat, C, B natural (F, S, C, H in German notation) for Franz Schubert ( F . Sch ubert)
E flat, C, B natural, B flat, E, G (S, C, H, B, E, G) for Arnold Schönberg ( Sch ön' be' r' g' )
D, E flat, C, B natural (D, S, C, H) for Dmitri Chostakovitch ( D . Sch ostakowitsch)
B, E, B, has or B, has, B, E for Béla Bartók ( Be the Ba rtók)
C, has, G, E for John Cage, used by Pauline Oliveros * has, B flat, B natural, F (has, B, H, F) for Alban Berg and Hanna Fuchs-Robettin ( has . B . and H . F ).

Random links: