Analysis of St. Anne Triple Fugue
Jim Oppenheimer
Anne Triple Fugue are representations of the three persons of the
Trinity.
This analysis seems to me to be quite appropriate, but it may be just
another "urban myth," even if it be a century or so old...
Can anyone shed any light on this, or guide me to some authoritative
commentaries?
Jim Oppenheimer <jwa...@prodigy.net>
John E. Prussing
It's also in E-flat, which has three flats. Coincidence? I think not.
As I recall, the "St. Anne" term was used by a publisher because of the
similarity of one of the fugue subjects to an Anglican hymn of that name.
> Jim Oppenheimer <jwa...@prodigy.net>
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John E. Prussing
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Ben Crick
wrote:
> I remember hearing, many years ago, that the three subjects in the St.
> Anne Triple Fugue are representations of the three persons of the
> Trinity.
>
> This analysis seems to me to be quite appropriate, but it may be just
> another "urban myth," even if it be a century or so old...
>
> Can anyone shed any light on this, or guide me to some authoritative
> commentaries?
Dear Jim,
The St Anne Fugue in Eb major is the final Fugue of the Klavierübung
Part III, which opens with the Prelude "Pro Organo Pleno" also in Eb.
Bach's Klavierübung Part III takes the form of a series of Choral
Preludes, etc., on the main sections of the Lutheran Holy Communion
service (cf the Roman Mass). It goes through the Kyries, the Gloria,
the Ten Commandments, the Creed, the Lord's Prayer, the Baptism of
Jesus, his Crucifixion, and his Resurrection. Each theme has a
Manuals-only version, and a Manuals and Pedals version. The former
are called the "Lesser Catechism", the latter the "Greater Catechism".
The whole collection is "wrapped around" with the Pro Organo Pleno
Prelude, and the St Anne Fugue: both representing the Holy Trinity.
The name "St Anne" was given to BWV 552B by English organists familiar
with William Crofts' hymn tune to "O God our help in ages past", the
first line of which is the same as the first Fugue subject.
The first section of the Fugue is in 4/2 time; the second section is
in 6/4, and the third section in 12/8. The second and third sections
both have their own Fugue subject; but the "St Anne" theme is repeated
in each section, binding the whole work together in a Three-in-One
unity. The final Pedal Entry of the St Anne theme at the close of
the Fugue is one of the grandest "Pedal Entries" in all of Bach.
So yes, what you heard was not an urban myth, but is based on the
reality of JSB's personal faith expressed in his musical meditations
on the great themes of the Eucharist.
See Forkel, Spitta, Williams, Groves, etc for commentaries. Or the
sleeve notes to Peter Hurford's complete Bach Organ Works, under the
Klavierübung Part III.
Ben
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>>Anne Triple Fugue are representations of the three persons of the
>>Trinity.
I had several teachers in college who taught what they called "symbology" in
Bach's music. Because the music is so linear, you can actually see things on
the page. Some of the simpler representations of this concept include: falling
chromatic figures which represent Adam's fall from grace, rising diatonic
figures which represent the Ascension, musical "crucifixes" of three notes- one
below, one above and the tonic or diatonic. Even more interesting are Bach's
insertions of thematic material from other works. The most interesting examples
are fragments from chorales inserted into fugues as part of the developement.
The great G minor fugue in the developement states the tune corresponding to
the words "Auf meinen leiben Gott". This is a fascinating aspect of Bach's
music.
Markie