Prelude and Fugue in E flat major, BWV 552

The Clavier-Übung III, sometimes referred to as the German Organ Mass, is a collection of compositions for organ by Johann Sebastian Bach, started in 1735–36 and published in 1739. It is considered Bach's most significant and extensive work for organ, containing some of his musically most complex and technically most demanding compositions for that instrument.

In its use of modal forms, motet-style and canons, it looks back to the religious music of masters of the stile antico, such as Frescobaldi, Palestrina, Lotti and Caldara. At the same time, Bach was forward-looking, incorporating and distilling modern baroque musical forms, such as the French-style chorale.

The work has the form of an Organ Mass: between its opening and closing movements—the prelude and "St Anne" fugue in E♭ major, BWV 552—are 21 chorale preludes, BWV 669–689, setting parts of the Lutheran mass and catechisms, followed by four duets, BWV 802–805. The chorale preludes range from compositions for single keyboard to a six-part fugal prelude with two parts in the pedal.

The purpose of the collection was fourfold: an idealized organ programme, taking as its starting point the organ recitals given by Bach himself in Leipzig; a practical translation of Lutheran doctrine into musical terms for devotional use in the church or the home; a compendium of organ music in all possible styles and idioms, both ancient and modern, and properly internationalised; and as a didactic work presenting examples of all possible forms of contrapuntal composition, going far beyond previous treatises on musical theory.

November 25, 1736 saw the consecration of a new organ, built by Gottfried Silbermann, in a central and symbolic position in the Frauenkirche, Dresden. The following week, on the afternoon of December 1, Bach gave a two-hour organ recital there, which received "great applause". Bach was used to playing on church organs in Dresden, where since 1733 his son, Wilhelm Friedemann Bach, had been organist at the Sophienkirche. It is considered likely that for the December recital Bach performed for the first time parts of his as yet unpublished Clavier-Übung III, the composition of which, according to Gregory Butler's dating of the engraving, started as early as 1735. This inference has been drawn from the special indication on the title page that it was "prepared for music-lovers and particularly connoisseurs" of music; from contemporary reports of Bach's custom of giving organ recitals for devotees after services; and from the subsequent tradition among music lovers in Dresden of attending Sunday afternoon organ recitals in the Frauenkirche given by Bach's student Gottfried August Homilius, whose programme was usually made up of chorale preludes and a fugue. Bach was later to complain that the temperament on Silbermann organs was not well suited to "today's practice".

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