1. Johann Sebastian Bach's Prelude and Fugue in E Flat Major BWV 552 transcribed for symphonic orchestra by Chris Wren.

    The Prelude derives from three thematic and stylistic sections, and, again, Schweitzer is often attributed as the originator of the now popular symbolism that this represents the Holy Trinity: Father, Son, and Holy Ghost. The "Father" theme employs the dotted-eighth note to sixteenth-note rhythm of the French Overture of Bach's day, while the "Son" theme is more playful and simple. The "Holy Ghost" theme consists of a sinuous 16th-note melody that divides into two different alternating lines. These sections then intermingle, but maintain their distinct characters.

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  2. Johann Sebastian Bach's Prelude and Fugue in E Flat Major BWV 552 transcribed for symphonic orchestra by Chris Wren.

    The five-voice triple Fugue is also in three sections, continuing the prelude's Holy Trinity symbolism. Those of us in the English-speaking world have dubbed it "St. Anne" after a popular English hymn of Bach's day (usually set with the text "Oh God Our Help in Ages Past"). "St. Anne" is the name of a church in the Soho section of London, where the hymn was written. It's not known if Bach had actually heard this tune, or if the similarity to his opening fugue subject is purely coincidental.

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  3. Tablets evokes a token of something to record a memory and remind the nature of the memory. Many people have said this sounds very familiar like an echo from someplace they cannot pinpoint. And nothing could please me more than to hear that kind of comment.

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Classical Music

Chris Wren

Classical music written and transcribed by Chris Wren.

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