BACH motif
In music, the BACH motif is the sequence of notes B flat, A, C, B natural.The possibilty of being able to spell the surname Bach in this way comes about because in German B indicates what in English is called B flat, while H indicates what in English is called B natural.
This four-note motif has been used by a number of composers, most usually as a homage to Johann Sebastian Bach. The first known example, however, is in a piece by Jan Pieterzoon Sweelinck. It is possible, though not certain, that he used it in homage to one of Johann Sebastian's ancestors, many of whom were themselves musicians.
J. S. Bach himself used it as a fugue subject in the final part of Die Kunst der Fuge (around 1750), a work he did not complete before he died. The motif also appears briefly in an earlier work, the Kleines harmonisches Labyrinth, BWV591, in the penultimate bar, although this is not thought to be very significant and the work may even be spurious (Johann David Heinichen has been suggested as a possible composer). It occurs in several other pieces. In many pieces, while the exact notes B-A-C-H are not played, a transposition of the motif is used (a note sequence with the same intervals: down a semitone, up a minor third, down a semitone).
A fugue for keyboard in F major by one of Bach's sons, probably either Johann Christian Bach or Carl Philipp Emanuel Bach, exists using the motif, but it was not until the 19th century when interest in Bach was revived that the motif began to be used with any regularity.
Perhaps because it was used by Bach himself in a fugue, the motif is often used by other composers in fugues or other complex contrapuntal writing.
Works which prominently feature the BACH motif include:
- Robert Schumann - Six Fugues for organ, pedal piano or harmonium, opus 60 (1845)
- Franz Liszt - Fantasie und Fuge über das Thema B-A-C-H, for organ (1855, later arranged for piano)
- Max Reger - Fantasia and Fugue on B-A-C-H for organ (1900)
- Ferruccio Busoni - Fantasia contrappuntistica for piano (first version 1910, later versions 1912 and 1922)
- Arthur Honegger - Prélude, Arioso, Fughette for piano (1932, later arranged for string orchestra)
- Francis Poulenc - Valse-improvisation sur le nom Bach for piano (1932)
- Anton Webern - String Quartet (1937-38) - the tone row is based on the BACH motif
- Jean Coulthard - Variations on BACH for piano (1952)
- Luigi Dallapiccola - Quaderno musicale di Annalibera (1952)
- Arvo Pärt - Collage over B-A-C-H for strings, oboe, harpsichord and piano (1964)
Other signature motifs include:
- E flat, C, B natural, B flat, E, G (Schönberg) - Arnold Schoenberg
- D, E flat, C, B natural (D. Schostakowitsch) - Dmitri Shostakovich
