As is known, the tones of the Western tone system are indicated by letters (C, D, E, F, G, A, B, C sharp, Dis, Es, G sharp, B flat, etc.). In Germany it is customary to denote our B as H, while their B is our B flat. This means that it is possible for the Germans to represent the name BACH musically (as B-flat, A, C, B). Bach has used this opportunity several times. The best-known example is the
… ambitious but unfinished fugue from Die Kunst der Fuge. Legend has it that Bach was not allowed to complete this colossal Fugue on four themes, because 'ueber dieser Fuge, wo der Nahme BACH im Contrasubject to be brought, ist der Verfasser gestorben (according to Bach's son Carl Philipp Emanuel). These mystifications alone made the BACH theme a prestigious affair during the Bach revival of the 19th century. Robert Schumann was probably the first great romantic to use the BACH theme to pay tribute to this great example. The fact that Schumann had the organ in mind here is remarkable, because the organ played only a marginal role in concert life at the time. Nevertheless, the organ was the instrument by which Bach had demonstrated his contrapuntal mastery. So the organ; although it was also possible to play the fugues on the pedal grand piano. The six Fugues about BACH from Schumann are unique. They form, as it were, a fugal organ symphony with slow introduction, toccata, slow middle movement, intermezzo and finale. There have been more composers who have tried to write large-scale contrapuntal organ works. In most cases, the result sounds hopelessly reactionary. Schumann's 'organ symphony' is therefore one of the few attempts that has kept a repertoire. Besides this Sechs Fugen über den Namen BACH, Wolfgang Baumgratz also plays the Vier Skizzen op.58 and the Sechs Stücke in Kanonicer Form op.56. (HJ)more
