| 15 October 2015 |

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MGS104 BAROQUE NUMBER SYMBOLISM

NUMBER SYMBOLISM IN BAROQUE MUSIC

This essay will explore the symbolism found in Baroque music. In order to understand this idea, the essay will focus on the number symbolism found in the composer JS Bach’s music. Through the analysis of three articles written by three different authors on various Bach pieces, a conclusion will be reached determining whether Bach’s symbolism “distracts attention from the music and weakens its effect” or was implied deliberately by Bach to strengthen its effect.

In “Structure and Symbolism in Bach’s Prelude and Fugue in E-Flat, BMV 552”, author Richard Benedum shows the extent of symbolism found in this infamous piece. Benedum believes that Bach’s symbolism in this Prelude and Fugue makes reference to his Christian beliefs through numbers such as 3 representing the Trinity and 4 representing mankind. Bendedum shows that Bach was attempted to almost paint a picture of the Holy Trinity. He presents a theory that states that the opening section (or ritornello, if you like) represents the Father, the first episode represents the Son and the second episode represents the Holy Spirit. He shows that each theme has its disctinct differences, but they do share many similarities (Much like the idea of a unified Holy Trinity). For example, the first episode (‘The Son’) sometimes shares the dotted rhythm of the ritornello (‘The Father’). Another link is established by Benedum with both the first episode (‘The Son’) and second episode (‘The Holy Spirit’) making extensive use of suspensions. He goes further in saying that the tripartite design furthers his theory that the piece symbolises the perfect Trinity. (Benedum, 1979)

Benedum also further elaborates on the square of the number 3, which is 9. He claims that in his study of the piece the number 9 can be found quite often, from the addition of the digits of the number of bars to the addition of the ratios of Fugue I to Fugue II. He also shows that 3 is often used as a factor in other numbers Bach implies throughout the music, such as 6, 9 and 12. Benedum also presents a diagram that shows that Bach makes extensive use of thirds in the music, further supporting his theory that this piece uses the number 3 to symbolises the Trinity. Benedum’s concluding opinion shows that, whether intentional or not, Bach’s music shows deep and profound spiritually on his part. (Benedum, 1979)

Walter Schenkman’s “Tatlow’s Bach and Bach’s Signatures in the Goldberg Variations” explores the use of the numbers 14 and 41 in one of Bach’s best examples of variation form. Before consulting Tatlows article, the first thing to consider is the significance of the numbers 14 and 41. When Bach’s surname is represented according the numerical alphabet (where A = 1, B = 2, etc.), the addition of the letters equals 14. Using the same principle, JSBACH equals 14’s mirror, 41. It is also interesting to consider that 14 is a multiple of 7, the addition of two numbers previously mentioned, 3 and 4. Schenkman further elaborates on Bach’s obsession with numbers 14 and 41. He claims that the presence of these number in Bach’s music was intentional, because Bach must convince his analysts or listeners that there are presences of these numbers in his music, that the presence of these numbers are intentional and that the numbers show that he was signing his name through his music. Schenkman understands that it is strange that Bach never put in writing that the symbolism was there, but agrees that the symbolism cannot be ignored. Schenkman also suggests that Bach hid the symbolism simply to toy with his peers and fellow musicians. He then goes on the provide some background into artists of all fields attempting to sign themselves through their art forms. He references authors, painters, sculptors, etc. using pseudonyms, anagrams and monograms amongst other things to sign themselves. He delves particularly into Albrecht Durer’s use of his initials and their relation to other abbreviations such as AD (Anno Domini). He cites these ideas as well as the idea of an emblem to have been influences for Bach to incorporate into his music. (Schenkman, 2003)

Schenkman then proceeds with Bach’s music itself, making reference to appearances of numbers 14 and 41 found in works such as Well-Tempered Clavier, Art of the Fugue and his Cantatas. He claims that even the 7 staves on the pages of the first edition of the Goldberg Variations is clear evidence of Bach’s use of number symbolism. Schenkman provides a logical approach in his analysis of the Goldberg Variations, by conducting almost scientific hypothesises on sections of the music. He finds use of the numbers 14 and 41 in the opening motifs of the work, the closing of the last variation and at various beginning and ending points in each variation. He finds that in the work, Bach’s 13th Variation is thought as the 14th movement of the piece and is given much symbolism due to this fact. Similarly

Schenkman says that Bach signs himself quite extensively in the 28th Variation because the 28 is a multiple of 14. Schenkman also goes on to elaborate on some less clear examples he found. For example, Bach uses grouping of notes to trick the listener into hearing a different beat or number of notes. He also makes reference to the number of measures in the Variations themselves and their relationship with the numbers 14 and 41. Schenkman’s conclusion shows that Bach’s use of these numbers can hardly be a co-incidence because they are encountered far too often. (Schenkman, 2003)

In contrast with the afore mentioned opinions, Walter Emery’s “Bach’s Symbolic Language” cannot be ignored. Emery states that symbolisms as well as the use of expressions to further symbolisms have been explored in Bach’s music previously. Emery further talks about a Symbolic Hypothesis he has found in his and other studies of Bach. He criticizes critics for providing conclusions on Bach symbolisms without any great explanation or relying on just feelings. Emery further expands on the unlikeliness of symbolism through works such as Dies sind or ‘These are the holy ten commandments’ containing almost no references to the number 10. He references Schweitzer, another musician’s opinion. He mocks other musicologists’ opinion of striving to always find numbers in Bach symbolism. He also criticizes their opinions of Bach’s use of elements such as melody and rhythm to express his symbolism. He concludes that musicologists are simply wasting time searching for the symbolism and making up their own ideas of Bach’s music. He says if it is there, it has not been conclusively proved. (Emery, 1949)

In conclusion, I believe Bach’s music has some potential proof of symbolism. However, I think many musicologists overthink and overanalyse his music, while ignoring the beauty of how the music sounds. If the symbolism is indeed there, it is either the result of mere co-incidence or Bach was an incredibly intelligent and spiritual man to plan and create his music with all this symbolism in mind. While Schenckman and Benedum’s opinions have their merits, as a sceptic I must side with Emery. The idea of number symbolism sounds too good to be true. If these symbols were Bach’s intentions, he should have and would have let his players and listeners know. Any composer would make sure that the player of their music was playing with the correct feeling or idea of what the music is about. If Bach is hiding the true intention of his music, what is he attempting to say to the player? To finish off, Bach would’ve let future generations know that he was using number symbolism and what he implied by it instead of leaving his music to be stripped down and overanalysed to the degree that the beauty of the music itself is lost.

REFERENCE LIST:

Benedum, Richard. 1979. “Structure and Symbolism in Bach’s Prelude and Fugue in E-Flat, BMV 552”. Bach 10(4): 19-24.

Emery, Walter. 1949. “Bach’s Symbolic Language”. Music and Letters 30(4): 345-354.

Schenkman, Walter. 2003. “Tatlow’s Bach and Bach’s Signatures in the Goldberg Variations”. Bach 34(2): 63-106.