A symbolic link from Bach to B.A.C.H.

In German musical notation, the latter B corresponds in the English system to B flat, A and C are the same, H is B.

The B.A.C.H. motif comes from Johann Sebastian Bach himself, who used it in the last work of his life, The Art of Fugue. It appears in the last counterpoint, which remained unfinished since he died while composing it. Bach inserted his signature through the musical motif of his own name – B.A.C.H.

After Mendelssohn revived Johann Sebastian Bach’s music for humanity, following a period in which it had almost fallen into oblivion, many composers wanted to express their admiration for this musical giant with a personal offering, by composing a work on the motif of his name. Robert Schumann, Franz Liszt and Max Reger are, in our opinion, the most fervent representatives of this. We present them here together with Johann Sebastian Bach.

The Prelude and Fugue in E-flat major open and conclude the cycle that Bach entitled Clavier-Übung III Teil, also known as The German Organ Mass. The prelude, followed by twenty-one chorales and four duets, opens the ensemble that the fugue completes.

The prelude, the opening piece of the Mass or « entrance », and the fugue, the « exit » piece, give this recording the symbolic form of a liturgy. Just as every motif in Bach’s music is imbued with religious symbols, they are full of a deep conviction in the Christian faith. The chorale Wir glauben all’ an einen Gott, Vater (We all believe in one God, the Father) expresses the Creed, which is the symbol of the Christian faith. We have given this piece a central focus.

Schumann’s Six Fugues, Liszt’s Prelude and Fugue and Reger’s Fantasy and Fugue on the theme B.A.C.H. are here united with Johann Sebastian Bach to whom they are dedicated as a way of paying tribute.

Edouard Oganessian