Johann Sebastian Bach: Dritter Theil der Clavier Übung

Description

Johann Sebastian Bach’s Clavierübung III, published in 1739, is a cornerstone of organ literature, demonstrating the composer’s unparalleled mastery of counterpoint and his deep theological insight. Commonly referred to as the “German Organ Mass,” this collection of works for organ is more than just a technical display; it serves as a profound reflection on Lutheran liturgy, doctrine, and Trinitarian symbolism. With this work, Bach created a comprehensive musical discourse that encapsulates the essence of his spiritual and artistic philosophy.
The term Clavierübung—which can be loosely translated as “Keyboard Practice”—was used by Bach to title four major keyboard collections. The first volume contained six Partitas (1726–1730), the second included the Italian Concerto and French Overture (1735), and the fourth comprised the Goldberg Variations (c. 1741). The third installment, however, occupies a unique place in this series, not only because it is almost exclusively dedicated to organ music but also because of its intricate theological structure.
Unlike a mere compilation of disparate pieces, Clavierübung III is a meticulously organized cycle that begins with a grand Praeludium in E-flat major and concludes with a monumental Fuga in the same key. Between these imposing pillars, Bach structures the collection with a series of chorale preludes based on the Lutheran Mass and Catechism, each presented in both a complex, full version and a simplified manualiter version, reinforcing a symbolic duality—perhaps an allusion to the Magnum and Parvum Catechismus (the Great and Small Catechism) of Martin Luther. Complementing these are four duets, likely representing the theological significance of the Eucharist, thereby forming an integral spiritual and liturgical cycle.
The Praeludium and Fuga in E-flat major serve as bookends to the collection, framing the theological discourse within an explicitly Trinitarian tonal structure. The choice of E-flat major (with three flats in the key signature) has been widely interpreted as an allusion to the Holy Trinity. This notion is reinforced by the structural design of both pieces. In fact, the Praeludium follows an extended ternary form (ABACABACA), mirroring the Triune nature of the Christian God. The Fuga is constructed as a three-part fugue, where each section unfolds a new thematic subject, symbolizing the distinct yet unified nature of God the Father, Son, and Holy Spirit.
Each of the three themes in the fugue “grows out of” the previous one, suggesting an organic procession analogous to the theological relationships within the Trinity. Furthermore, the meter progression across the three fugue sections (4/2, 6/4, 12/8) follows a proportionally derived relationship, further emphasizing the theological depth embedded within Bach’s compositional approach. This pair of Prelude and Fugue is also known as “St. Anne” because, in the Anglosphere, the hymn tune called “O God our help in ages past” (in turn known as St. Anne) has a pronounced likeness with the subject of Bach’s triple Fugue.
The position of this triple Fugue, at the end of a cycle intended to represent the Evangelical Gottesdienst of Bach’s times, mirrors the idea of the “Blessing of Aaron”, the concluding Trinitarian prayer through which God’s protection was invoked on the congregation at the end of a worship service.
After the Prelude, the first section of the Clavierübung III mirrors the Lutheran Mass, comprising settings of the Kyrie and Gloria (which constituted the Missa brevis as it was practiced in the Lutheran world). The Kyrie is set twice: first in a highly ornamented, elaborate form, and then in a simpler, manualiter version. The tripartite invocation (Kyrie, Gott Vater in Ewigkeit – God the Father, Christe, aller Welt Trost – Christ the Redeemer, and Kyrie, Gott heiliger Geist – God the Holy Spirit) is explicitly Trinitarian. (Originally, the Kyrie prayer was Christological only; later it acquired the Trinitarian connotations it has had for centuries). The Gloria, instead, is represented by three versions of Allein Gott in der Höh sei Ehr, a Lutheran adaptation of the Gloria in excelsis Deo. The rising key structure across these settings (from F major to G major and to A major) may symbolize the increasing glorification of God.
These chorales are presented in styles that alternately recall Renaissance polyphony and Italianate trio sonatas, demonstrating Bach’s ability to synthesize historical and contemporary influences in service of theological expression. His interest in the music of Frescobaldi, in that of Froberger and in that of Buxtehude (among many others) is the source of his original, individual, idiomatic language, which shines forth in these masterpieces.
After these, Bach dedicates the central portion of the Clavierübung III to settings of Luther’s Catechism chorales. These compositions serve both a didactic and meditative purpose, reinforcing fundamental aspects of Christian doctrine. The first element are the Ten Commandments, realized as a setting of Dies sind die heil’gen zehn Gebot. The first version (full organ) presents the cantus firmus in long note values, evoking the gravity of divine law. The second, a fughetta, suggests the faithful’s internalization and active engagement with the commandments.
If the Commandments are the Christian’s moral compass, the Creed presents the kernel of their faith. The Lutheran Chorale called Wir glauben all an einen Gott is offered in two settings. The first of them is a grand fugue, whose solemn character embodies the majestic declaration of faith. The second, a shorter fughetta, marks the exact midpoint of the collection, emphasizing the pivotal nature of belief.
And after Christian morality and Christian belief, there comes Christian prayer, embodied by the Lord’s Prayer, the Our Father, taught by Jesus to his disciples. Here too we have two settings of the corresponding Lutheran Chorale, Vater unser im Himmelreich. The first setting employs canonic writing, reinforcing the eternal and unchanging nature of prayer; the second version is more introspective, evoking personal supplication.
The following Chorales (Christ, unser Herr, zum Jordan kam and Aus tiefer Not schrei ich zu dir) explore some foundational elements of Christian life, and, in particular, the role of Baptism and Penance. Once more, these chorales reflect the sacramental journey of faith, each presented in both a grand and fughetta version.
Another crucial moment is that of the Eucharist, represented by the Chorale Jesus Christus, unser Heiland. This final pair of Chorale settings emphasizes the centrality of the sacrament, with the fugue acting as a musical parallel to the transformative mystery of communion. Summarizing, this cycle of twenty-one chorale preludes (excluding the outer prelude, fugue, and duets) mirrors the structure of French organ Masses, further linking the work to broader liturgical traditions.
As briefly mentioned above, there are also four duets. Positioned near the conclusion of the collection, they have long puzzled scholars regarding their function. For some, they are harpsichord pieces which ended up in the Clavierübung III as “fillers”, and are reminiscent of the Two-Part Inventions. However, this hypothesis seems to downplay the extreme care and attention displayed by Bach in the organization of this volume, and, furthermore, the complexity of the four Duets vastly exceeds that of the Two-Part Inventions. One prevailing interpretation is that they correspond to the mysterious dialogue between the faithful soul (seen as the “Bride”) and Christ in the moment of Communion, serving as a reflective moment before the climactic fugue. Their symmetrical key arrangement and dance-like qualities (as an expression of love), as well as their position within the cycle do in fact suggest an embodiment of communion—both in the sacramental and interpersonal sense.
Their structure forms a chiasm (A-B-B-A), reinforcing notions of unity and balance. Moreover, their tonality, when analyzed according to modal theory, corresponds to the Dorian mode, traditionally associated with wisdom and teaching in ancient Greek thought. This aligns with the idea that the Christian life, after instruction in doctrine, finds its fulfillment in action—symbolized by the Eucharist. Furthermore, there were four “application precepts” added by Luther to the Catechism, and which translated into practice the doctrine learnt in the Catechism itself; similarly, the Eucharist becomes the spiritual locus where teaching is transformed into life.
It can be said, therefore, that the Clavierübung III stands as one of Bach’s most profound achievements, an intersection of liturgical function, theological meditation, and compositional mastery. It is an auditory catechism, designed to not only adorn worship but to instruct, challenge, and inspire. The systematic inclusion of Trinitarian numerology, harmonic symbolism, and sophisticated counterpoint all serve to make this collection a spiritual and intellectual summit in the organ repertoire.
This Da Vinci Classics recording invites the listener to experience Clavierübung III as Bach likely intended: as a journey through faith and music, where every note is infused with meaning. Whether approached from a theological, musicological, or purely aesthetic perspective, this collection remains a timeless monument, a testament to Bach’s ability to translate the mysteries of faith into sound.
Chiara Bertoglio © 2025