Instead of talking theory to a Western European audience, that currently is experiencing a remarkable DECLINE in classical music, especially a  nearly total vanishing of classical music-writers, I now will go and simply RETELL, what was MY way to MY Chaconne-version for GREAT organ.

It started with reading some remarks on the Chaconne BWV 1004 from Partita II for solo violin in:

Schleske, Martin: Der Klang: Vom unerhörten Sinn des Lebens, München: Kösel 2o12, 6th ed. , remarks on Bach-Chaconne: p. 261f and p. 271

Martin Schleske is a violin-constructor and a physicist – and is – at least – on the SAME LEVEL as Antonio Stradivari, Guaneri del Gesu, Amati and few other MASTER from CREMONA from the turn to the 18th century, which old masters thus are contemporary to German composer J.S.Bach. Martin Schleske has a homepage, where there are some SOUND SAMPLES from  international violin PLAYERS, playing on Schleske-violins, which all is BREATHTAKING.

German wikipedia on Martin Schleske:

Martin Schleske, homepage with audio samples:

Now, I went to youtube in search for recordings of the Chaconne, that perhaps would be able to CONVINCE ME personally.

Here it started with a recording of the ORIGINAL for violin solo, performed by Nathan Milstein, which was NOT appealing to me. [We may add from instructional remarks in  of Curtis Institute for Music, Philadelphia, course- title:  “from the repertoire …”, lectures for second week, that it really may be possible, to take the “chaconne” as a DANCE, which it ORIGINALLY was, before it became just a “standard-chapter in certain types of “suite-type” or “variation-type” music-settings …]

Afterwards I simply STUMBLED upon a piano-version written by FERRUCIO BUSONI and played by HELENE GRIMAUD –  – and this was the version, that INSPIRED ME, in spite of some others as for instance Jewgenij Kissin or Arthur Rubinstein and – very surprising – a HISTORICAL recording with Busoni performing his version himself:

Listen Busoni himself, part 1 –

Listen Busoni himself, part 2 –

The BRAHMS-transciption for piano,  LEFT HAND, by the way, was not exactly, what I was after, but may be interesting to listen to as well, here by (Polish?)  Krystian Zimerman –

Now, it was inevitable to meet with the ORCHESTRA-version by Leopold Stockowski, dated from 1950, which is said, to be only existent in a recording but not as printed or written score (really!)  –

But what was not expected, was the orchestration by Hinen SAITO, as conducted by no less a conductor than Seiji Ozawa – listen and become enlightened –

The next wonder was: There really is out there in youtube an ORGAN-version of the Bach Chaconne by a certain “O.H.Messerer, 1909” – of whom even internet does not know anything else. THIS WAS ON THE WAY TO MY VERSION NOT TO  BE NEGLECTED or SKIPPED OF COURSE.

Bach-Chaconne for organ by O.H.Messerer, part 1 –

Bach-Chaconne for organ by O.H.Messerer, part 2 –

VERY SURPRISING in youtube is a SECOND transsription for ORGAN done by Walter Börner, * 1937, edited by music publisher Christian Dohr, Cologne recently  –

Now you may think, that you know the Bach-Chaconne and everything, that can be done with her.

This is the point to introduce MY BUIKE-VERSION FOR GREAT ORGAN derived from the Busoni piano-version: Fasten seatbelt, this might become a journey into COSMOS, at least with regard to SOUNDS, nearly incredible to me myself  sounds!

BBWV 76 Bach – Busoni – Buike – Ciaconna / Chaconne, BWV 1004 (Partita II for solo violin) – set to great organ – experiment superieur   – Silbermann-approximation audio – FrenchCathedral-approximation audiosheetmusic pdf (BBWV 76) selfprint – DON`T be shocked: THIS BUIKE-EXPERIMENT has the POTENTIAL FOR HIT, which is little bit other as with the competition – which is the reason, why I freely presented OTHER versions, so that listeners may come to OWN conclusions, because I am SO CONVINCED … (this time at least) …

And well, this is nothing to become exaggerated about, because EVERYBODY in music could have done this sort of transscript. The question however is: Why did not anybody DO this before? This my transscription seems  so much NATURAL, doesn`t it?


– by the way –


There is something puzzling about the Bach-Ciaconna. Schleske, Martin: Der Klang …, München: Kösel, 2012, 6th ed., p. 254, says something like:

1. In some HIDDEN manner as some sort of CODE INTO CODE Bach – AS IS SAID or AS IS CLAIMED (so far) –  has implemented in his Ciaconna, some sort of short “quotations”  of the following of his chorals: a) “Christ lag in Todesbanden”, b) “Dein Will`gescheh`”, c)  “Jesu meine Freude”, d) “Auf meinen lieben Gott”, e) “Dein Will`gescheh`Herr Gott zugleich”. Very surprising we read in my translation with Schleske op. cit.p. 254: ” Bach did not quote these verses from chorals formally, but has “evoked” them in a “mysterious” manner and way.”  So, please: WHICH WAY EXACTLY? –  However, these FACTUAL STATEMENTS are NOT an IDEA by Martin Schleske himself, but he has learned them in the following PRINTED SOURCE:

Thoene, Helga: Ciaconna – Tanz oder Tombeau; in Coethener Bach Hefte 6(1994)

Thoene, Helga: Der verschlüsselte Lobgesang. Sonate 1, g-Moll; in: Coethener Bach-Hefte  7(1998)

Schleske-footnote 128 continues: Christoph Poppen and the Hilliard Ensemble executed the Thoene-analyses of the Ciaconna on stage in concert on 12th of February 2005. Furtheron there appeared a CD under title: “Morimur Bach” (Let us remember Bach!), by Christopf Poppen and Hilliard Ensemble 2001, ECM Records GmbH, New Series 1765, 461895-2.

(These informations all from Schleske, M., op. cit. p. 346, footnote 128)

And now a little surprise for the audience: YOUTUBE really has a short sample on this Hilliard-treatment of the Bach-Ciaconna, which is the VIOLIN-score with a TEXT OVERLAY derived  BY A CERTAIN MATHEMATICAL EXACT TRANSFORMATION  from musical notes and the NUMBERS of NOTE-NAMES from their PLACE IN ALPHABET. THIS IS BUT A NOT EXACT DESCRIPTION OF AN ASSUMPTION, how it MIHGT have worked, because here we would NEED to CONSULT ORIGINAL SOURCE OF HELGE THOENE ITSELF, which however is EXPENSIVE and out if my financial reach.  We may say however that the IMPRESSION SO FAR IS, that the method of TRANSFORMATION applied MAY have been “similar” to JEWISH / HEBREW CABBALISTIC METHOD OF GEMATRIA, to REPLACE SINGLE LETTERS WITH THE  NUMBER OF THEIR PLACE IN TODAY ALPHABET. Such method ITSELF would be RATHER questionable in ANY alphabet of today, in WHICH a certain quality of letters was removed, which is, that in HEBREW and GREEK alphabet LETTERS have a “traditional” “numerical meaning” and can be read DIRECTLY as NUMBERS, because today INDIAN-ARABIC CIFFERS were UNKNOWN then. This SPECIAL QUALITY of a GROUP of OLD alphabets DERIVED from HEBREW of a certain stage of development – some would add, the stage of development marked by the SINAI-epiphanie, where the Hebrew God IN PERSON intervened -, begins to VANISH already in the LATIN alphabet, where only CERTAIN and FEW letters are taken to represent numbers.

part I: Bach-Ciaconna, solo-violin by Hilliard-Ensemble –

part II: Bach-Ciaconna, solo-violin with text overlay as choral iuxtaposition by Hilliard-Ensemble –

Well, what to make out of this? Schleske says, that “it is known” from Bach`s late papers, that he indeed was engaged in some sort fabricating “code into code” – but to WHAT EXTEND? And please, what may be the MEANING of a CODE in CODE packed into MUSIC, that however CANNOT BE VERIFIED BY LISTENING DIRECTLY? Or to put it slightly other: WHY TO HYDE something, that you can HEAR and VERIFY only, AFTER a COMPLICATED process of DECIFFERMENT, decoding and TRANSFORMATION was completed?

We cannot start a VERY interesting discussion here, but I may hint to a KEY-QUESTION, which would be: “WHAT is a CODE, what a CODING /  MEANINGFUL INTENIONALLY MESSAGE – and what is NOT.

[ I may add the caveat, that LOTS of people tend to mix up CODE and CODE-TABLE and something, that I would tend to call at moment “method to construct a code-table for a multidimensional ANCHORED code, as PERHAPS MAY be in DNA or respectively in the hexgrams of the Chinese IGING (NO joking here!) …]

Or in other words: IF WE HAVE AN UNIFIED CREATION, which was unified by the CREATOR OF EVERYTHING, so that we do not need  the HUMAN EFFORT, to “UNIFY” matters by setup of HUMANMADE – and fallible – UNIFIED THEORIES FOR EVERYTHING, that IS unified already, WE SHOULD EXPECT ALL SORTS OF RELATIONS. Or even put quite other: You must not know PI = 3,14 to construct a NEARLY “perfect” circle with a FIXPOINT  and a chord giving half of the diameter of the intended circle and going around the center like a PLAYING CHILD!

For more sophisticated arguments I may hint to the HEAVY discussions around the socalled BIBLE-CODE (see authors Drosnin and Satinover, writing English) , which is an equidistant “skip-frequency-code” of (meaningless) SPACE BETWEEN single letters. From that discussion I remember a detail, which I found the first time in GOEDEL-theorems (1928-1931), which latter are STATEMENTS about DEVELOPED ENOUGH SYSTEMS. Or in other words: IF YOU HAVE A HIGLY STRUCTURED SURFACE, you can have LOTS of SUBSETS, that however MAY (or may not?) DIFFER IN COMPLEXITY!

Okay, this is something for all those terribly skilled young engineers and mathematicians  elsewhere. And I have a collegue in musical composing somewhere from France, who is LEARNED ENGINEER and INDEED, constructed and programmed algorithms to PRODUCE BACH-STYLE MUSIC AUTOMATICALLY AND MECHANICALLY.

We may thus say in the end: If it is POSSIBLE, do expect, that SOMEONE at least will try it, which however DOES NOT IMPLY, that everything that can be done, should be done. EVEN GOD in his capacity as “creator of everything” DID NOT EVERYTHING POSSIBLE, but FILTERED ALL HIS ACTION by the FAMOUS DUNS-SCOTUS-THEOREM reading in Latin: DECUIT, PLACUIT, FECIT. The first 2 words however have a WIDE field of connotation, which cannot be explained in short here …

In good heavens name: HOW to come to the IDEA, to implement DUNS SCOTUS form EARLY medieval scholastic philosophy here? Well: I visited once the TOMB of Duns Scotus in the socalled “Antoniter-Church” in center of nearby COLOGNE …

Well, there are such terrible lots of things, that cannot be explained in short … so that surprising enough we have reached


Neuss, September 2013

Buike Science And Music

Postscript: On the occasion  of this Bach-transscript my organ-page was presented to some GREAT ORGANS, especially in ASIA and EASTERN EUROPE – but NOT to Mongolia, at least this time!


About bbuike

- *1953 in Bremen / Germany - since decennia in Neuss / Germany - classical composer (registered since 2005) - scientific freelance writer - registered to German National Library "Deutsche Bibliothek", search "Bruno Buike", with 246 items in 2013 1996-97 - 5000 qm Rekultivierung Obstwiese mit Kleintierhaltung 2004/05 - 3 Wochen Gartenpflege in einem orthodoxen Kloster in Deutschland 2009 - 3 Wochen Katastrophenhilfe Einsturz des Kölner Stadtarchivs 2011 - journey to Przemysl/Poland - and learning of basic Polish vocabulary and reading/pronounciation 2013 University of Tokyo - Conditions of war and peace - Coursera - Certificate 2013, December - after 15 years in mainly Russian-orthodox and Greek-orthodox affairs return to Roman-Catholic church 2014 National University of Singapur, Conservatory - Write like Mozart. Introduction to classical composition - Coursera Certifikate "with distinction"
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