Having settled in Weimar at the age of 37, Liszt spent ample time on conducting and organizing concerts, performing, as well as piano pedagogy and composition, leading a highly fulfilling life. It was also during this period that he diligently studied Bach's works and, out of reverence, composed pieces based on Bach's name.

In 1855, Liszt premiered his first organ work, Fantasia and Fugue on the Chorale 'Ad nos, ad salutarem undam', and subsequently completed the organ work Prelude and Fugue on the Name B-A-C-H.

Incidentally, Fantasia and Fugue on the Name B-A-C-H (Fantasie und Fuge über den Namen BACH) is a revision of this organ work, Prelude and Fugue on the Name B-A-C-H, further arranged for piano in 1871.

It was revised to enhance its effectiveness on the piano and is frequently performed.

At the beginning, the mysterious and striking theme heard in the left hand is derived from the letters B-A-C-H (B-flat, A, C, B-natural), and this theme reappears repeatedly throughout the piece in various guises.

The piece fully exploits pianistic effects such as alternating hand strokes, rapidly shifting octaves, dizzyingly ascending and descending arpeggios, and rumbling bass notes. The masterful expression of an inner spiritual world alongside these effects is truly characteristic of Liszt.

In performance, while many sections are played forte, it is crucial to ensure that the body does not become tense. One should aim to create a rich sound while being mindful of the body's center of gravity.