Prelude & Fugue in E flat (BWV 552), "St. Anne"

A great expression of Bach's Christian faith is a collection of works for the organ known as the Clavierubung, Part III. In this book, published in 1739, Bach composed 21 chorale preludes between a magnificent Prelude and Fugue in E flat which frames the collection. Musicologists and Theologians have explored for centuries how Part III of the Clavierubung reflects Trinitarian concepts in an overt way - demonstrating Bach’s love of the Father, Son, and Holy Spirit.

The Prelude in E flat major reflects the Trinity through its key (three flats) and its three thematic sections which are distinctively and repeatedly featured. At the start of the Prelude, “the Father appears with majestic chords and imposing motifs. Then comes the Son in an almost galant style, full of variation. And finally, after a ‘Father recapitulation’, the Holy Spirit descends to fast notes in a three-part double fugue, like fiery tongues” (Netherlands Bach Society). Special interest should be paid to the middle of the “Holy Spirit" section which features three descending pedal flourishes that would have challenged the most accomplished organists of Bach’s day.

The Fugue in E flat at the end of the Clavierubung, Part 3, is often referred to as the “St. Anne” due to its similarity to William Croft’s familiar hymn tune (which Bach likely never heard). The Fugue is even more of a monument to the Holy Trinity than the Prelude. It consists of three distinct sections which comprise three fugues in one piece, with the last two sections employing triple meter. The three sections can be said to reflect the Persons of the Father, Son, and Holy Spirit. These themes are then combined into one glorious finale where the distinctions of the previous sections blend into a heavenly harmony of exhilarating majesty and grace.