Präludium und Fuge über den Namen BACH, S.260

Historical context

Franz Liszt’s Präludium und Fuge über den Namen BACH, S.260, is listed among his original pianoforte solo compositions, sometimes appearing as ‘Phantasie und Fuge (Bach)’ in such listings, according to the book. However, the work quickly found a significant life on the organ. Joachim Raff recalled in 1856 that Winterberger played the “BACH Fugue” on the organ “before an audience of two thousand people with immense success in Holland.” Liszt himself, writing on March 31st, 1868, suggested that Stade might choose to play the “BACH-Fugue” as one of his organ pieces, indicating its suitability and prominence in the repertoire.

The piece continued to circulate and be appreciated, as evidenced by Liszt’s thanks to Lebert on January 10th, 1870, for sending the “Bach Fugue.” This suggests an ongoing interest and exchange surrounding the composition, highlighting its early and sustained presence in musical circles.

Drawn from Ledos de Beaufort, Raphaël; Helbig, Nadine, Franz Liszt, the story of his life (1910); Liszt, Franz, 1811-1886; La Mara, 1837-1927; Bache, Constance, 1846-1903, Letters of Franz Liszt (1894); Liszt, Franz, 1811-1886; La Mara, 1837-1927, Letters of Franz Liszt (1894) — public domain, archive.org.