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It is now widely acknowledged and accepted today that in the realm of his sacred music J. S. Bach was deeply influenced not only by the liturgy of the Lutheran Church but also by the writings of Martin Luther and other theologians. It is equally accepted that in general Bach used the same musical language in all of his works, sacred and secular. Might one therefore ask the question that if theology permeates the musical language of his sacred works, then does theology similarly undergird his freer instrumental works, works that stand well outside the liturgical constraints of his sacred music?The Prelude, Fugue and Allegro for Lute (BWV 998), which has received little attention in musicological literature, offers interesting issues to explore. It is a tripartite work, whose central movement is a da capo fugue, a rare occurrence in the music of Bach. The fugue subject seems to be based on Luther’s Christmas chorale Vom Himmel hoch, da komm ich her. This is confirmed by scrutiny of the theme of the concluding Allegro, which is in fact a direct citation of the opening variation of the Canonic Variations on the same hymn melody (BWV 769/769a). The quotation of this motif, which has been shown to be significant in the chorale-based works of Bach, begs the question of whether there are other theological elements in BWV 998. Bach employs the Trinitarian key of E flat for the entire work and the equally symbolic metre of 12/8 in the opening movement. He was seemingly not afraid to incorporate theological content in a secular work.

Bach’s Prelude, Fugue and Allegro for Lute (BWV 998): a Trinitarian Statement of Faith?