Clavier-Ãœbung III#Prelude and fugue BWV 552
Prelude and Fugue in E- flat major BWV 552 is an organ works of Johann Sebastian Bach.
Formation
The third episode of his series Clavierübung Bach 1739 published in the Nuremberg engraver Balthasar Schmidt a collection of organ works. There are mainly Choralbearbeitungen ( BWV 669-689 ), written partly responsible for a large organ, partly for a pedal -less small instrument. These (sometimes called Orgelmesse labeled) collection is framed by Prelude and Fugue in E- flat major. Both sections are overwritten with organo pleno per to specify that a mehrmanualige organ with pedal is needed to perform here.
Prelude
The expansive, consistently five-part Prelude uses with its combination of full grip - dotted, upper agree stressed and fugal passages of the landscaped primarily by Dietrich Buxtehude older type of prelude and fugue in which toccatenhafte in a single wide-ranging form sections alternated with joint parts. This makes it similar to the Prelude in E flat major from the Phase I of the Well-Tempered Clavier, which also already includes a broad furnished joint and serves as an introduction yet an independent fugue. By his grave - dotted first subject and the fast, fugal running third theme, the Prelude on the other features of the French overture.
The three thematic complexes, Schweitzer interpreted as a symbol of the Trinity: the solemn, held in dotted rhythm theme representing God the Father, the second, on - and abstrebende Jesus Christ, the third, finally, the only descending one octave in sixteenth notes and then auffächere, the Holy Spirit. This interpretation, however, is speculative; contemporary sources that could make such a mindset for Bach plausible, are not known. Rather Schweitzer's interpretation of the Baroque period seems to be strange and draw attention to its proximity to the aesthetics of Richard Wagner.
The five -part fugue also resembles a triple fugue (ie fugue with three subjects ), but dispenses with the ultimate combination of all three topics in a simultaneous process. She wears as a prelude archaic traits: that the individual sections are available in different time signatures and - possibly - their tempos are not attributable to a single basic beat, she draws on older Ricercarprinzipien. The topic of the first section is not, like most other joints themes of Bach, a late-baroque character issue; rather its neutral interval movements and its simple rhythmic figure are a train of older Ricercarthemen of the 17th century.
Only the following two sections begin to develop independent movement. The second section used as a theme but although the late baroque language belonging, within this, however widespread, little individual motion sequence. Only the subject of the third part, which is based on a case bottom sequence displays rhythmic sharper outlines. The theme of the first section, which again occurs at the end of the second and third in combination with the respective section topic, is so characteristic of always becoming, Bach's presence further and further surrounded approximate figures.