the mixolydian mode of G; it starts with a pedal point of repeated Gs; the number ten occurs as the number of entries of the subject (four of them inverted); and the piece ends on a plagal cadence. The motifs in the second half of the second bar and the countersubject are extensively developed. The liveliness of the fughetta has been taken to reflect Luther's exhortation in the Small Catechism to do "cheerfully what He has commanded." Equally well, Psalm 119 speaks of "delighting ... in His statutes" and rejoicing in the Law. The Creed BWV 680, 681 BWV 680 Wir glauben all' an einen Gott (We all believe in one God) Below is the text of the first verse of Luther's hymn with the English translation by Charles Sanford Terry: The chorale prelude in four parts is a fugue in the Dorian mode of D, with the subject based on the first line of Luther's hymn. The prominent counter-subject is first heard in the pedal bass. According to Peter Williams, the chorale prelude is written in the stilo antico Italian style reminiscent of Girolamo Frescobaldi and Giovanni Battista Bassani. Italian elements are apparent in the trio-sonata structure, which combines the upper fugal parts with the ostinato figured bass; and in the ingenious use of the full range of Italianate semiquaver motifs. The five notes in the original hymn for the opening melisma on Wir are expanded in the first two bars and the remaining notes are used for the countersubject. There is exceptionally no cantus firmus, probably because of the exceptional length of the hymn. Features of the remainder of the hymn, however, suffuse the writing, in particular the scale-like passages and the melodic leaps. The fugue counter-subject is adapted to the pedal as a vigorous striding bass with alternate footwork; its quasi-ostinato character has been consistently interpreted as representing a "firm faith in God": a striding bass line was often used by Bach for Credo movements, for example in the Credo and Confiteor of the Mass in B Minor. After each occurrence of the ostinato counter-subject in the pedal, there is a semiquaver bridging passage (bars 8-9, 19-20, 31-32, 44-45, 64-66) in which the music modulates into a different key while the three upper parts play in invertible counterpoint: in this way the three different melodic lines can be freely interchanged between the three voices. These highly original