A Neglected Guide to Bach's Use of Number Symbolism Part I

Author(s): Randolph N. Currie

Source: Bach, Vol. 5, No. 1 (JANUARY, 1974), pp. 23-32
Published by: Riemenschneider Bach Institute
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Notizbuch

fr Studenten

willpublishselectedstudentarticles
BACH'S "NotebookforStudents"
to music
interest
on Baroquemusicas well as shortpapersof particular
such
materials.
BACH welcomesqueriesconcerning
students.
of
publication
A Neglected

to Bach's
Use of Number
- Part I
Symbolism
By Randolph N. Currie
Ohio State University,Newark
Guide

The Controversy
in Bach
One of themostintriguing,
developments
yetcontroversial,
of Bach'suse of
researchoverthepast fewyearshas been therevelation
in some of his compositions.Reactionto advance
numbersymbolism
to enthuhas rangedfromoutright
this
of
skepticism
phenomenon
reports
has
a sort
been
most
attitude
of
The
siasticacceptance.
however,
scholars,
and
see
let's
wait
that
but
isn't
ofpolitereserve.("Now
interesting;
the publishedstudiesdevotedto Bach's use of number
Admittedly,
somewhathaphazard,and some of the arguments
have
been
symbolism
of detecting
On the otherhand,the difficulty
the
least.
to
tenuous, say
and by no meanslimited
is notorious
numbersymbolism
and interpreting
to theworksof J.S. Bach. In thewordsof AlisterFowler,a leadingfigure
was an essen"numericalcomposition
in the fieldof Englishliterature,
last
we
should
the
...
arcane
;
expectto findis an
thing
practice
tially
it
come as no surprise
should
unveiledauthorialexposition."1
Therefore,
absolutesilenceon
cantorof Leipzigmaintained
thattheusuallyreticent
the subject.
We do have a kind of "hearsay"evidence,by way of a debunking
remarkby Matthesonto theeffectthatC. L. Mizler (perhapsin private
bases of
conversation)had claimedto have learnedsome "mathematical
interEven
whose
mathematical
Bach.2
from
Mizler,
directly
composition"
est is well known,seemsneverto have writtena wordaboutnumerical
snideremarks,
composition.Nor did he publisha rebuttalto Mattheson's
and esotericism
of secrecy
to ourimpression
thuscontributing
surrounding
Butler
the subject.Perhapsthisis to be expected,since,as Christopher
the
of
of
"From
onwards,
out,
knowledge
properties
Pythagoras
points
Butlergoes on to quote
numberhad been regardedas a secretmystery."3
were revealed"onlyto initiates
Copernicusto show thatsuch mysteries
and thennot in writingbut by wordof mouth."4Thus, it
and friends,
standsto reasonthatmost attemptsat numericalanalysisare open to
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to findsymbolic
meaningwherenonewas
chargesthatthecriticis trying
intended.Even when the same patternsoccurrepeatedly,
skepticscan
claimthatsuchrecurrence
is simplya coincidence.
Bach's Overt Gesture
In viewof thesecircumstances,
eventheslighestindication
thatBach
in
consciouslyengaged numericalcompositionshould be regardedas
highlysignificant.It is the opinionof thiswriterthatBach made just
suchan overtgesturewhenhe wrotethenumber"84" at theend of the
Patremmovement
of the B-MinorMass (see Plate I at the end of this
article).
Friedrich
thenumberin theautograph
Smend,who discovered
score,
assuresus thatthe figuresare in Bach'shandwriting.5
Smend
Elsewhere,
has observedthat"84" represents
the numberof measuresin the movementandthatit is theproductof theimportant
7 and 12.6
"holynumbers"
he
did
not
choose
to
the
matter
further.
Had
Unfortunately,
pursue
any
he subjectedthemovement
to thekindof detailednumericalanalysishe
usedin his studyof Bach's"TriplexCanon" ( BWV, 1076), he would,no
thatthetotalnumberof measuresis justone aspect
doubt,havediscovered
of a numericallabyrinth
of monumental
proportions.It is the authors
sincerehope thatthepresentstudywill charta fewof thelargerpassagewayscontainedwithinthisedifice.
Symbolic Associations of "84"
Beforeproceedingwithan analysisof themovement
itself,it seems
advisableto take intoaccountthe numericalproperties
of 84, a number
richin symbolicassociations.As a pointof departure,
let us
particularly
considerthe relationship
betweenthe generating7 and 12 mentioned
above. To the medievalmind thesetwo numberswere closelyrelated,
sincebothare theresultof combining3 and 4:
3+ 4= 7
thethingsof heaven;
(Threesymbolized
fourrepresented
3 X 4 = 12
thethingsof theearth.)
Thus,as VincentFosterHopperstated,"fromthetriuneprincipleof
God and thequadrupleprincipleof man are producedtheuniversalsymbols,7 and 12. The additionof 3 and 4, spiritualand temporal,
produces
the firstnumberwhichimpliestotality.'7From
7, whichis, therefore,
Hugh of St. Victor,we learn that "12 signifiesthe universe,being a
multipleof the corporeal4 of the elementsand the spiritual3."8 It is
in thisregardthatthetextincludesthephrase"factorem
coeli
noteworthy
et terrae
." (See discussionof textbelow.)
To Bach,it was perhapsequallysignificant
that84 was theproduct
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of 14 X 6. It is surelywell knownby now that14 standsforBACH by

meansof gematria.9
The number"6" is also interesting
sinceit represents
thenumberof daysof Creation(anotherreference
to God as "makerof
heaven and earth"?)and is also a perfectnumber.(A perfectnumberis
anynumberequal to thesumof itsaliquotparts.Thus 6=1 + 2 + 3;
thenextthreeperfect
numbersare 28, 496, and 8,128. Interestin perfect
numbersdatesback to Old Testamenttimes;the conceptis usuallyincludedin anythorough-going
discussionof Christiannumbersymbolism.
While 84 is an "abundant"
ratherthana perfectnumber,
thesumof
itsaliquotpartsis particularly
interesting:
1+2+3+4+6+7+12+14+21+28+42

= 140 (10 X 14)

It will be noticedthatthe seriesof divisorsincludesthe mostimportant"sacred"numbers(1, 3, 7, and 12), along with the firsttwo
perfectnumbers(6 and 28), and,of course,thenumber14. The sumof
theparts,in additionto beingtheproductof 14 and 10 (the numberof
law and completion),is also thesumof the firstsevenperfectsquares.10
An even morestriking
of 84 is the factthatits primefactors
property
= 84; 2 + 2 + 3 + 7= 14 - thereare
total14 (2X2X3X7
onlytensuchnumbers).
it mightbe instructive
As a finalconsideration,
to examinethedigits
whichcomprisethisnumber.It can be seenthatboth8 and 4 are powers
= 32), a factwhichBach seemsto
of two,as is theirproduct(8X4
duringthe courseof themovement(see below). Even the
acknowledge
betweenthe numbersare powersof two
quotientand the difference
thesumof thedigits(8 + 4
(8 --4 = 2; 8 - 4 = 4). And finally,
= 12) bringsus back to one of the "universal"numberswith which
thisdiscussionbegan.
The Central Position of the Word factorem
we can deducethat,fromBach'spoint
Fromthepreceding
discussion,
a
of view,84 mightverywell be dynamicsymbolwithmanyimportant
associations.If thatis thecase,he couldhardlyhavepickeda morerelevanttextthanone whichrefersto God as theomnipotent
creatorof all
pose a bit of a
things.The actualwordsused in the Patremmovement
problem,sinceBach chose to includethe wordsCredo in unumDeum,
whichhad,of course,been set to musicin theprecedingmovement.11
By
Bachbringsthetotalnumberof words
thesewords,however,
incorporating
of theLatinrevealstheratherastonishing
up to 14. A closerexamination
charttabulates
factthatthetextcontainsexactly84 letters.The following
thelettersand syllablesalongwiththegematria(and cumulativetotals)
forthesegmentof theCredoused in themovement:
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1.
2.
3.
4.
5.
6.
7.

Table I: NumericalAnalysisof the Text

Used by Bach in the Patrem Section of the B-Minor Mass
# LETTERS# SYLLABLESGEMATRIA TEXTURAL
WORD
(TOTAL) REPETITIONS
(TOTAL)
(TOTAL)
12
2
43
Credo
5 1
22 (65)
2 (7)
in
9
4 (11)
2
65 (130)
9
unum
2
9
Deum
41(171)
(7)
4(15)
I
2
Patrem
69 (240)
6JT)
10
150 (390)
5 (14)
omnipotentem12 (33)
8 (41)
77 (467)
32
factorem
3 (17)

8. coeli
9. et
10. terrae
11. visibilium
12. omnium
13. et
14 invisibilium

5 (46)
2 (48)
6 (54)
10 (64)
6 (70)
2 (72)
12 (84)

2
1
2 (22)
5
3
1
6 (37)

42 (59)
24 (533)
64 (597)
119 (716)
80 (796)
24 (820)
141 (961)

33
34
34
22
22
24
25 (285)

of the
Thereare also manycluesto be gleanedfromBachs treatment
to makeus awareof his
text.A cursory
lookat thefullscoreis sufficient
in thewordfactorem.
Not onlydoesBach repeattheword
specialinterest
a
also
considerable
he
exhibits
varietyin settingit to music,
frequently,
treatment
to ratherextensivemelismas.
a
from
simplesyllabic
ranging
above
to
the
textural
(Table I), we findthatthis,the
analysis
Referring
seventhword,resultsin a totalof 41 lettersfromthe beginningof the
the composer
sentence.Since41 is " J. S. BACH" in gematria,
s interest
in the word is quite understandable.
Notice also thatwhen 41 is subis 43 (gematriaforCredo). In fact,the
tractedfrom84, the remainder
=
a dominant
41
84
motivebothin thestructure
becomes
43
equation +
and in manysubordinate
detailsof themovement.The symbolic
meaning
is clear:thecomposerproclaims
his faith,saying"I (J. S. Bach) believe."
One otherdetailsupportsa personalinterpretation
of thewordfactorem
for
the
the
Gematria
word
is
a
number
whosedigitsadd
77,
by
composer.
to 14 (the thirdsuchnumber,
theothertwobeing59 and 68).
The centralpositionof thiswordin Bach'sthinking
can also be seen
in the structure
of the main theme. (See Example1 at the end of this
article.) This perfectly
symmetrical
melodycan be analyzedas follows:
Words
No. ofNotes

Patremomnipotentem factorem coeliet terrae

7
3
7

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In the courseof its 17 notes,Bach managesto incorporate

all 11
diatonicpitches(in A major) whichfallwithintherangeof hisunusually
wide-ranging
subject.The threerepeatednotesat theoutsetseemto refer
to thetriuneGod,12whiletheshapeof thefinalsegmentsuggestsa typiof the textat thatpoint. The completionof
callyBaroquevisualization
thewordmeaning"earth"on thelowestpitchcontrasts
sharplywiththe
word for"creator,"
whichbeginswith the highestnote,readingdownward witha triadicmotivewhichis, in all probability,
symbolic.It is
withsomedifficulty
thatwe recallthatthismelody,in a slightly
different
dein
so
was
once
associated
with
the
words
wie
form,
Gott,
Name, istauch
dein Ruhmbis an der WeltEnde,thetextof theopeningchorusof Cantata171.13 (See Example2.)
A detailedanalysisof Bach'sdeployment
of thispivotalwordis offeredbelow (see Table II):
Table II: Repetitionsof the word FACTOREM
in the Patrem Section of the B-Minor Mass
MEAS. NO. OF NOTES
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.

3
6
8-10
9
12-14
13
16
18-20
19
22-23
22-24
22-24
23
26-28
26-28
30-33

3 (Total)
6
3
7
16
3
7
26
3
3
29
7
3
39
7
11
7
67
3
12
88
9
16

MEAS. NO. OF NOTES

17.
18.
19.
20.
21.
22.
23.
24.
25.
26.
27.
28.
29.
30.
31.
32.

30
30-32
31-32
41
44-46
45
48-50
48-50
49
52-54
53
59-61
59-62
65-66
65-67
66

3
7
6
3
7
3
7
7
3
6
3
8
10
3
7
3

120
123
133

150
159
177

190

statements.
or overlapping
Note simultaneous
totalsaregivenat theendof eachgroup.
Cumulative

27

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in viewof
The preponderance
of 3 s and 7 s is arresting,
particularly
thesymbolic
associations
of thosenumbers.Evenmorestriking
is thefact
thatthereare exactly14 statements
with3 noteseach,14
whilethe 7-note
statements
occur 10 times (7 X = 70 == 14 X 5). 15 Bach even
seemsto "count"thenumberof statements
at times,as in thecase of the
eleventhand sixteenthstatements,
whichhave 11 and 16 notesrespecEven the 32 wordsrenderedin gematria(32 X 77) yields16
tively.16
as thesumof thedigits(2, 4 6 4).
Bach marksthemidpointin therepetitions
of factorem
witha parintricate
in
Not
are
there
16
notes
the
sixteenth
ticularly
design.
only
we
find
a
but
also
total
of
16
in
notes
the
3
statement,
accompanying
(17, 18, and 19 in Table II). The resulting32 notesare
presentations
bisectedby the barlinewhichbeginsthe thirty-second
measureof the
movement.
Witha senseofwonder,
we discoverthatthe16-notefactorem
is the32ndwordin thealto part! To cap it off,Bach constructed
a brilliant 16-notecanopyin the portionof the hightrumpet
which
lies
part
overthelong alto statement.
As a finaltouch,the composerintroduced
the onlytwo sixteenthnotesin theentiremovement
at thisverymoment( trumpet
part,measure
32; see Example3 at theend of thisarticle). As notedabove in thediscussionof theproperties
of 84, 32 is theproductof the2 digits,and,like
we findthatBachwas as thorough
16,it is a powerof 2. Lookingfurther,
in his use of numbersas he was in otheraspectsof his art. Countingthe
instrumental
partsin the segmentdelineatedby thisgroupof factorem
we arriveat a totalof 119 notes. That numberwould seem
statements,
to implythattheMakerof theUniverseis visibleeverywhere
in creation.
This interpretation
is supportedby two facts:first,119 is gematriafor
and second,thatwordis theonlycompletewordin thesoprano
visibilium;
partwhiletheothervoicessingfactorem(see Ex. 3). Also noticethatin
the 3 lowerparts,the 32 noteson factorem
are augmentedby 9 notes
thetotalin thosepartsto 41 notes.17
(bass and tenor,m. 32-33), bringing
If the readerhas begunto suspectmultiplemeaningsforthe word
"Maker,"he mightfindtheevidencepresented
by thetwentieth
repetition
in
measure
the
word
Here,
41,
illuminating.
factorem
appearsin isolation
in thesopranopart,bringingthetotalnumberof noteson thatwordup
to 123 (41 X 3). This occursjust priorto the recapitulation
of the
Credoin unumDeum in measure42. In fact,the absenceof the other
voicepartsafterthefirstnotein measure40 servesto throwthesoprano
textintosharprelief:- potentem
factorem.Once again,thepatternof
notesin theotherpartsis highlysignificant
(see Ex. 4). The following
charttabulatesthenotesin eachof thefoursoundingparts:
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Table III: Tabulation of Notes in Each Notated Part

No. ofNotes

Part

14-

Trombai
Ob I & ViolinI18
SopranoI and II

12
(3x4)

6
6

21
(3x7)

7-

Continuo
Total:

33

Interpretation
BACH
( daysof creation;
<
(
perfection
thespiritual( 3 )
-f thephysical(4)

(3x11)

Christ
(or Holy Spirit?)

numand intentional
as an important
The totalof 33 is underscored
that
at
in
the
word
is
the
since
point.
ber,
soprano
factorem
thirty-third
Of the severalpossibleTrinitarianmeaningsof this number,the most
likelyseemsto be "God theSon" becauseof thenumerous33's associated
himselfas the
withChristin theBible. Thus,eventhoughBach identifies
in Christ
his
faith
that
of thismusicalwork,he implies
creator"
"powerful
the
first
number
is
sourceof hiscreativestrength.
is theultimate
Also,33
=
=
total14 (3 X 11
whoseprimefactors
14).
33; 3 + 11
thetrueexample
It wouldseemthatBach feltthathe was following
numbersin his own creasetby theMakerof all thingsby incorporating
tiveprocess.The composerseemsto have acceptedwithoutquestionthe
tenetthatGod "arrangedall thingsin numberand measure"(Wisdom
Bach wouldeasilyhave joinedCopernicusand Kepler
11:20). Certainly
that"theuniversewas orderedin a mathematically
in thinking
satisfying
of its creator."19
Thus,
way"and thatit "carriedupon it the 'signature'
even in theact of "signing"thisand otherworksby wayof numerology,
themodelof the"Almighty
Bachcouldhavefelthe was following
Father,
and
invisible."
all
visible
Makerof things,
(Note: PartII of thisarticlewill discusssomeof thelayersof 84's
wovenintothePatremalongwithotherexamplesof numbersymbolism.
and offer
of his findings
The authorwillexploresomeof theimplications
Bach's
use
of
of
the
on
someopinions
numbers.)
meaning
Footnotes
1Alister
Numbers
the
and
1964),p. 238.
ofTime(London,
Fowler,
Spencer
2BachReader,
rev.ed. (NewYork,1966),p. 440. The passageis quotedfrom
Mattheson's
(1740).
Ekrenforte
3Christopher
ed.Alister
Fowler
in SilentPoetry,
Thought"
Butler,
"Numerological
1970),p. 16.
(London,
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4Ibid.Thepassage
toPopePaul.
is from
letter
prefatory
Copernicus'
5Friedrich
NBASer.II, Bd.1 (KasselandBasel,1956),
Kritischer
Bericht,
Smend,
p. 333.
6Smend,
EndedesKirchenjahres
Kantaten:
Kirchen
1947),p. 14.
(Berlin,
7Vincent
Medieval
Number
Foster
(NewYork,1938),p. 84
Symbolism
Hopper,
mostimportantly,
St.Augustine
from
several
sources,
{sic.). Hopperis abstracting
of3 and4
thisinterpretation
tosupport
( Civitas
Dei). He citesmanyexamples
(pp.68-86).
8As summarized
of 7 and 12 is
in Butler,
op.cit.,p. 20. Thespecialsignificance
various
calendrical
as canbe seenbycomparing
indeeda universal
phenomenon
andtimekeeping
7 days,
etc.).
(12 months,
systems
9B + A + C + H = 2 + l + 3 + 8=14.
to thepractice
of "assignc. A.D. 200,refers
from
Theword"gematria,"
dating
of thealphabet."( Hopper,
valuesto theletters
op. cit.,p. 62) .
ingnumerical
itwillbe usedin placeofthesomeSincethewordis an accepted
term,
English
whatawkward
"letter-number
system."
phrase
10Thisproperty
tothefactthat14= l2 -f-22+ 32.
related
of140seems
11Theinclusion
ofthemovetheresult
ofa reworking
words
wasevidently
ofthese
As Smendpointsout ( K.B., p. 135),
at leastpartof itwaswritten.
mentafter
in
canbe seenunderneath
of thewordsPatrem
changes
omnipotentem
vestiges
meas.1-3.
textinthesoprano
part,
12Thethreerepeated
similar
tonesat theheadofa seven-note
phraseis strikingly
Wachet
ofthechorale
attheoutset
tothebassmelody
auf( BWV, 645).
prelude
inBACH, Vol.IV,No. 2,p. 26.) In
ofthatpassage
discussion
(See thisauthor's
14 (7 + 7).
liesat theheartofan enfolding
theTrinity
thepresent
example,
Thetotal17 ( 10 + 7 or 14 + 3) holdsa tremendous
symbolic
potential.
13"Asthyname,
Thecantata
untotheendsoftheearth."
God,evenso thypraise,
hasobserved,
onNewYear'sDay,1729.As Smend
first
wasprobably
performed
arequitesimilar(K.B.,p. 134). The
of bothtexts
thetheological
implications
oftheparody
thedetails
techwasextensive;
ofthemovement
however,
reworking
thescopeofthisstudy.
niqueliebeyond
14A similar
thetheme
in theorganPassacaglia
occurs
(BWV,582), where
pattern
14 times
andis varied
7 timesfora totalof21 stateform
in itsoriginal
appears
offugue
whicharethenmirrored
subject.(See also
bythe12 statements
ments,
21 notesenfold
the
theoutervoicestotaling
ofEx.4 above,where
thediscussion
wordsin
ofrepetitions
oftheother
12 notesofthemiddle
parts.)Thenumber
also:Credox 12;in unumDeumx 9;
workaredoubtlessly
thepresent
symbolic
x 10 (Godas theLawGiverandJudge?)
Patrem
; andcoelix 33.
omnipotentem
et, sincethe24 repetitions
refer
to
withthesecond
Theremaybe a puninvolved
relates
these
detailofthetextin gematria
forthatword.A curious
thegematria
totalin bothcases(andno place
wordsforBach:thecumulative
"unimportant"
of41. (533 = 41 x 13; 820 = 41 x 20).
else) is a multiple
15Perhaps
is thefactthat70 is thethirdof the10 numbers
ofequalimportance
is something
total14 (2 + 5 + 7). Thenumber
"32"itself
factors
whoseprime
thefactthatits
forBachbeyond
if it hasa personal
of a mystery;
significance
hasnotuncovered
it. There
digits(like14,23,41,and50) addto5,thiswriter
thatthesymbol
"32" is another
is thepossibility,
wayin whichBach
however,
since"S. Bach"= 32. Notice,
also,thatBachhas
signshisnamenumerically,
- e.g.,intheGoldberg
Variations.
useditelsewhere
16Noticethattheelevenpresentations
84 notes;alsonote
from11 to 21 comprise
14 to20 (m.41) withtwo
from
thesevenstatements
thewayBachhas"framed"
of67 notes:
identical
groups
14-20
21-32
1-13
Statement:
56
67
67
Notes:
Prime
Prime
14x4;7x8
Numerical
Property:
factors
total
6+7=13
(6+7=13)
13(2+2+2+7)
17Thetotalofall thenotesis 175 (119 instrumental
+ 56 voice). (See note16
bracketed
foranother
56.) 175= 7x5x5; 7 + 5 + 5 = 17.
30

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18Theoboeandviolinarecompressed
at thispoint
intoonelinein theholograph
movement
hasa someTheentire
(p. 102),as arethesoprano
partsthroughout.
tomake
from
which
thecomposer's
whatcrowded
attempt
mayresult
appearance,
scheme.
theformat
ofthescorefita numerical
19Butler,
op.cit.,p. 12.
PLATE I
B-Minor
ConcludingPage of Bach's Holograph,PatremMovement,
Mass (fromFaksimileAusgabe[Leipzig,Insel Verlag,1924,p. 105]; reof thepublisher.)
printedwiththepermission

31

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All use subject to JSTOR Terms and Conditions

basspart,meas.1-6
Ex. 1. J.S. Bach,B-MinorMass, Credo,Patremsection,

Ex. 2. Bach,Cantata171, OpeningChorus,tenorpart,meas.1-6

Ex. 3. Bach,B-MinorMass,Credo,Patremsection,
meas.30-32

Ex. 4. Bach,B-MinorMass,Credo, Patremsection,

meas.40-41

32

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All use subject to JSTOR Terms and Conditions