Program Notes: Johann Sebastian Bach – "Wir glauben all an einen Gott" (We all believe in one God), BWV 680
Welcome, dear concert-goer, to a profound and awe-inspiring musical statement from the incomparable Johann Sebastian Bach. Tonight, we delve into the rich tapestry of his organ music with "Wir glauben all an einen Gott" (We all believe in one God), BWV 680. This is not just a piece; it's a monumental musical sermon, a cornerstone of Bach's magisterial Clavier-Übung III, often referred to as his "German Organ Mass."
Bach: The Theologian in Sound
Johann Sebastian Bach (1685-1750) was a composer whose faith permeated every fiber of his being and every note he composed. As an organist and Kapellmeister, he used music as a means of theological expression, spiritual contemplation, and congregational instruction. His Clavier-Übung III, published in 1739, is a testament to this philosophy. It's a vast collection of organ chorale preludes and duets, meticulously organized to reflect the structure of the Lutheran catechism, particularly the sections of the Mass and the Catechism's main parts.
"Wir glauben all an einen Gott" is one of the central pieces in this collection, a grand and powerful setting of the Lutheran congregational hymn of the same name, which serves as a German paraphrase of the Nicene Creed ("We believe in one God, the Father Almighty..."). Bach provides two settings of this chorale in Clavier-Übung III: a larger, more elaborate setting (BWV 680) and a smaller, simpler one (BWV 681). Tonight, we focus on the monumental BWV 680.
The "Giant Fugue": A Declaration of Faith in Music
This particular setting, BWV 680, is often nicknamed the "Giant Fugue" or the "Credo Fugue" due to its impressive scale and the majestic, striding character of its bass line, played on the organ's pedals. It is a three-voice fugue, meaning three independent melodic lines intertwine, but the pedal line is so prominent and powerful that it feels like a giant asserting its presence.
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The Subject and its Authority: The fugue's main subject, first heard in the pedals, is derived from the chorale tune itself. It's a strong, resolute, and unwavering melody, perfectly embodying the firm declaration of faith in the Creed. This "walking bass" rhythm creates an irresistible forward momentum and a sense of unshakable conviction.
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Contrapuntal Brilliance: Above this mighty pedal line, Bach weaves two intricate and flowing voices in the manuals (played by the hands). These voices engage in a complex, yet always clear, counterpoint, imitating, complementing, and developing the main subject. The texture is dense but transparent, a hallmark of Bach's genius.
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Building Momentum and Awe: The piece gradually builds in intensity and complexity, with Bach exploring various harmonic colors. The insistent rhythmic drive, combined with the continuous presence of the commanding pedal line, creates a sense of profound awe and unwavering spiritual conviction. It's a musical representation of the steadfastness of faith.
A Moment of Theological and Musical Grandeur:
"Wir glauben all an einen Gott" is more than just an academic exercise in counterpoint; it's a deeply expressive work that aims to reinforce the meaning of the Creed for the listener. The sheer weight and forward motion of the music convey the gravitas and universality of the statement "We all believe in one God."
When you hear this piece, imagine it sounding through a grand Baroque church, perhaps a Lutheran service in Leipzig. It's music designed not just for enjoyment, but for contemplation, for affirmation, and for inspiring a profound sense of belief.
So, lean back and allow yourself to be enveloped by the majestic sounds, the intricate logic, and the powerful spiritual message of Bach's "Wir glauben all an einen Gott." It is a testament to his unparalleled genius and his unwavering faith.
