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

Author(s): Randolph N. Currie

Source: Bach, Vol. 5, No. 2 (APRIL, 1974), pp. 36-49
Published by: Riemenschneider Bach Institute
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fr Studenten
" will
articles
BACH's "NotebookforStudents
publishselectedstudent
interestto music
on Baroquemusicas well as shortpapersof particular
BACH welcomesqueriesconcerning
students.
ofsuchmaterials.
publication
Notizbuch

A Neglected

Guide

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

Introduction:
of thePatremOmnipotentem,
BWV 232/13
The FormalStructure
In PartI of thisarticle,it was suggestedthatBach, in writingthe
number"84" at theend of thePatremsectionof theB-MinorMass, left
clue to his use of numbersymbolism.In the following
an important
to delineatesomeof thevariouswaysthe
the
author
will attempt
analysis,
this
has
introduced
keynumberinto the musicaltextand the
composer
As the followingdiscussionindicates,the
score.
of
the
physicallayout
seemsto occur in passagesat the
of
concentration
symbolism
greatest
totalsappearat
and
the
themiddle,
end;20however,
significant
beginning,
of
the
numerical
focal
themovement.Sincemany
keypointsthroughout
it wouldseembeneficial
structural
features,
pointsarerelatedto important
of theformaldesign,at theoutset.
to examinethebasic features
as an accompaniedchoral
The Patremis, perhaps,bestcharacterized
dense
the subthe
obscured
somewhat
counterpoint,
by
fugue.Although
in
in
a
are
answer
and
its
manner,
resulting
straightforward
deployed
ject
in
IV
Table
an almostrigidlysymmetrical
below).
design (see diagram
of thisprincipalidea are arrangedin twocorrespondThe tenstatements
image(by
inggroupsso thatthesecondhalfformsan almostexactmirror
difference
theonlysignificant
inversion)of thefirst,
beingtheseparation
fromthemaingroupof the"inverted
of thefinalstatement
exposition."
of the
of thesubjectindependent
treatment
The singleinstrumental
chorusappearsin the space betweenthe two expositions,
presentedby
on thedominant.
TrombaI, whichentersin measure29 withthesubject21
alteraAfterthefirstfewnotes,themelodyis subjectedto ratherextensive
tionsin the courseof a modulationto the subdominant.
Excludingthis
a
cantus
treated
more
like
theme
is
the
orchestral
firmusthan
presentation,
in statelike a typicalfuguesubject,withonlyminorchangesoccurring
ments6 to 9.22
36

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seems
themovement
to theprimary
thematic
Withreference
material,
to be dividedintothreeequal segmentsof 28 measureseach,the middle
statements
( TrombaI, m. 29
groupbeingsetoffby thetwomodulating
divisionis reinforced
and bass,m. 51).23This tripartite
by an intriguing
in
seven
measuresof
outer
the
the
voices
concluding
patterninvolving
thefirsttwosections:
MEAS. 22-28
Oboe I
29 ( S.D.G.)
Continuo 41 (J.S.Bach)

MEAS. 50-56
Trombai 41 (J.S.Bach)
Continuo 33 (Christ?)

of notes,Bach is able to associatethe number

By thisarrangement
number
"secondary"
meaning"J.S. Bach"withtwoof themostimportant
to strucat the same timehe drawsattention
symbolsin the movement
theinverted
and reflects
turaldemarcations
patternof thesecondexposiuse of numbersis thefact
of thecomposer's
characteristic
tion.24Entirely
thatthesum (144) of all thenotesinvolved(41 -f 29 + 33 + 41), is
likewise,a relevantnumber(144 = 12 X 12); it is,also,one of theten
total14.
whosefactors
numbers
The conceptof a mirrored
expositionis also carriedout in the subin counterpoint
ordinatecontrapuntal
2, which is
material,particularly
withthe textfaccounter-subject
developedas a full-fledged
rigorously
motiveallottedto thewordfactorem
toremcoeliet terrae.The seven-note
is designedto fitsymmetrically
in the counter-subject
againstthe threenotesettingof thatwordwhichformsthecenterof themaintheme(see
is involved,Bach is able to mirror
Ex. 5a). Since doublecounterpoint
betweenthe two partsin thesecondexposition(see Ex.
therelationship
is represented
5b). This relationship
visuallyin Table V, which,forthe
of thekeywordfactorem.
to thedeployment
is restricted
sake of clarity,
For thesamereason,thisdiagramdoes not includethefreelytreatedsecond counter-subject
( visibiliumomnimn)or the primarily
homophonic
Credotheme.Nor does it showthedistancefromone wordor groupto
the next. Rather,the author'sintentionhas been to map out the main
complexpiece of musicas clearlyas pospathwaysin thisextraordinarily
thatthefullscore (and, ideally,
sible. It shouldbe emphasized,
however,
forsomeof thereferences
of theautograph)will be necessary
a facsimile
discussion.
in thefollowing
Examplesof theNumber"84" in thePatremMovement
Perhapsthe most compellingevidenceof Bach's deliberateuse of
is to be foundin thericharrayof itemsto whichthe
numbersymbolism
number84 seemsto refer.In relationto the movementas a whole,it
was notedin PartI of thisstudythatthenumeralappliesto thenumber
37

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of measuresin the Patrem,as well as to the totalof the lettersin the

text.25Some of the structural
features
of the movement
discussedabove
further.
It
this
is
to
develop
concept
particularly
interesting notethatthe
secondexposition(m. 39) beginsin the84thmeasurefromthestartof
theSymbolm
Nicenum(see Table IV).
Anotherstriking
patterncan be seen in relationto theplacementof
motives(see Table V). It will be noticedthattheadjacentfacfactorem
toremmotivesfromthesubjectand counter-subject
of thefirstexposition
forman uprighttriangular
of
10
notes
(7 + 3), whichis turned
pattern
in
down
the
second
upside
exposition(m. 44-54).26 Thus,the firsthalf
of themovement
contains123 (41 X 3) notesallottedto thatword,84
of whichfall betweenthe originaltriangular
and its subsearrangement
inversion.
the
within
of
notes
the middle
Moreover, groupings
quent
sectionare,likewise,significant:
Statements
10-13
14-15
Numberofnotes 28 (4X7) 21 (3X7)
Totals
49 (72)
(28)

16-19
32 (25 or 8X4)
81 (92or 34)

20
3
84 (7X3X4)

in PartI a detailedanalysisof the32-notegroup,the

Havingoffered
authorwill limitthe discussionhereto a fewsalientpoints. In the first
group,thenotesare placedso thatthereare 14 in boththeupper (S.A.)
and lower(T.B.) parts,whilethe21-notegroupis generated
by (3X4)
+ (3 X 3) in thetwoouterparts(see Table V). Thatan elaborateplay
on 3, 4, and 7 is involvedin thispassageshouldbe evidentfromthetabulationabove.27It shouldbe noted,however,that84 is (3 X 28) or
(4X21) and thatthesumof 28 and 21 (49) is 7/12 ofthekeynumber.
as a wholeto particular
Turningfromthe movement
passages,the
readerwill findthatthecomposerhas combinedan extraordinary
imaginationwith a prodigioustechnicalcontrolin orderto utilize84 in a
varietyof ways. In the openingthreemeasures,Bach has devisedtwo
separatewaysof hidingthenumberin themusicaltexture.The number
firstappearsas the resultof translating
the pitchesin the homophonic
block (m. l-3a) withwhichthe voice partscommence,
intogematria.28
this84 is confirmed
Furthermore,
by the presenceof 14 wordsand 28
syllables(and notes) in the samepassage.
Bach now introduces
a puzzle,thecorrect
solutionof whichprovides
a keyto severalsubsequentuses of the principalnumber.Countingthe
notesin the firstthreemeasures(28 -f-33 + 24), one arrivesat 85
ratherthan the expected84. Could Bach have miscalculated?Hardly!
one understands
thatthesignificant
Eventually
pointis not the bar line
- specifically,
butthefinalsyllableof thekeywordfactorem
themoment
38

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of attack.Thus,one mustdiscountthe finaleighth-note

in measure3
whichis confirmed
next
the
several
( continuo
) , a procedure
by
examples.
thatthis"superfluous"
noteis put to good use,resulting
Notice,however,
in the signaturenumberof 14 forthe firstthreemeasuresof the continuo.29
The nextfourexamplesof 84 all resultfromthe totalsof various
distinctcategories;however,
like theprecedingparadigm,
each seriesterminateswiththesoundingof thefinalsyllableof factorem.The firstof
theseis locatedin measure10 (bass), at whichpointtherehas been a
totalof 84 notesin the fourvocal parts,along with 168 in the instrumentalparts,fora totalof 252 (84 X 3) in all parts.30In measure14
one findsthattheattackof -remcoincideswiththe84thnotein theconof the basic word in measure14
tinuopart; thus,the sixthstatement
14
in
notes
fundamental
a
total
of
6
the
X
bass,whilegenerproduces
it
in
in
a
the
voice
which
total
of
notes
33
(tenor)
appears.
ating
of thetenthand thirteenth
stateWith thesimultaneous
completion
ments(m. 23), Bach arrivesat a totalof 84 wordsin all parts.Likewise,
in measure28 (statements
thesynchronized
appearanceof thefinalletters
14 and 15, S. and B.) signalsa totalof 84 noteson thewordfactorem,
thepatterns
of totalswhichread
itself.This incidenceseemsto terminate
fromthe beginningof the movementand culminateon the key word,
unitssuggested
the structural
analysisof 28-measure
confirming
thereby
earlier( see ChartIV ) .
the chainsof 84 s describedabove as a
It is temptingto interpret
entryof thefuguesubjectin thehightrumpet.
preludeto thetriumphant
and the symmeasure29 is a highpointforboththestructure
Certainly,
bolismof themovement.As thenumbersymbolforbothJ.S.B,and SDG
forselfthecomposera uniqueopportunity
(Soli Deo Gloria), 29 affords
of a higherpowerat thesametime. Neverand theglorification
assertion
combinesthisquantitywitha "signature"
theless,sinceBach sometimes
number(see note 29), the moreimportant
meaningseemsto growout
this
of thedesireto givegloryto God alone. Measure29, itself,illustrates
contains
the
of
84
measures
the
since
movement,
alone,
it,
among
concept,
41 notes.31In the autographscore,thismeasureis dividedbetweentwo
pages,the firsthalfbeingsqueezedintoa narrowspace at thebottomof
to the totalof 84 notesin
page 101, withtheresultof callingattention
thebasspartat thepointof separation(the wordet)?2
thememarkoffa new groupof
The firstsevennotesof thetrumpet
"model"to
a different
84 tones33
while,at the same time,establishing
of thenotes
lateron. The placement
similarpatterns
followin uncovering
is as follows:
39

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MEASURE:
Tr, Ob, Stgs.:
Voices:
Continuo:

29
21
17
3

30
21
12
4

31a
3
2
1

TOTALS

41

(37 +

6) = 43 + 41 = 84

Followingthisexampleit is nowpossibleto detectanalogousblocks

on eitherside of the numericalcenterof the Patrem?*In bothcases,a
group of 84 notescommenceswith the main theme(Patremomnipoin the sopranopartwith
tentem)
; thefirstgroup (m. 39-42) terminates
the completion
of thewordfactorem.The six noteswhichfallbetween
the two groupsincreasethe totalnotesin the entiresectionto 174 (84
efforts
onceagain,thatthecomposer's
+ 6 + 84) or 29 X 6, suggesting,
are intendedto glorify
God, alone.
numberare
to thegoverning
Perhapsthe mostingeniousreferences
to be foundat the end of themovement(and, thus,on the page where
Bach wrotethe "84" whichhas made it possibleto uncoversomeof his
cleverlyconcealedsymbolism).Quite visibleare the 84 notes on the
melismasallottedto o-mnium(m. 76-82).35 The composerhas followed
devicewitha less obvious"signature,"
sincethe
up thisfairlytransparent
41
is
set
with
notes.36
remainderof the text (-mniumet invisib
ilium)
the
84
is
that
it
The mostremarkable
about
notes
on
"o"
seems
to
thing
Bach
had
his
text
have been an afterto
since
thought,
change
original
to producethedesirednumberof notes(see m. 78 in theholounderlay
graph). (The changein thetenoris visiblein PlateI at theend of PartI
of thisplan,however,
thecomposer
of thisarticle.
) Havingoncethought
his new idea into his over-allscheme,
set about the taskof integrating
Bachianthoroughness.
witha typically
to Example6 at theendof thisarticle,it willbe seen
Withreference
thata linebisectingthe34-notemelismain thealtopartfallsin theexact
centerof measure79 in sucha way thatit dividesthe totalintogroups
divisionof the
the structural
of 41 and 43 notes,therebyreproducing
fromthebeginon a miniature
scale.37
entiremovement
Followingthrough
the
ningof themelismain each part,then,to theend of themovement,
readerdiscoversthefollowing
pattern:
- mniumet invisibilium
Text:
Notes:

4l|43 || 41

The symbolism
is fairlyobvious:J. S. Bach's faith(43 = Credo)
at
lies thecenterof his being.38
40

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final
The line whichdividesthe melismasmarksoffa meaningful
as
notes
total
of
subdivides
the
in
all
the
270
resulting
parts;
segment
follows:
NOTES
Orchestra: 158 ( 15 in TrombaI)
84
Chorus:
Continuo: 28
TOTAL:

270 = 10 X 33

The readerwill observethatthereare 43 (15 + 28) notesbetween

thetotalfortheinstrumental
theoutervoices;moreover,
partsexclusiveof
since
is thegematria
a new signature
158
thecontinuogenerates
number,
for"JohannSebastianBach."39
of the 34-notemelismais theclue to a finalgathThe termination
notes.
of
84
Beginningwiththesecondsyllableof omniumin the
ering
in thechoruspartsencompassed
alto (m. 82), thereis a totalof 33 notes40
aresummed
internal
The
instrumental
in
the
notes
84
groupings
parts.
by
chart:
in
the
following
up
Trpts.and Tymp.: 42
14
Oboes:
21
Strings:
Voices:
33
7
Continuo:

(7 in TrombaI)

(11 X 3)

each groupof
N.B. Countingthe continuoas a stringinstrument,
the
outer
is a 14 multiple(42, 14, 28);
instruments
partstotal14, while
of 33 add to 14.
thefactors
84 in Relationto OtherPartsof theMass
in fact,
to thePatremomnipotentem'
Bach'suse of 84 is notconfined
B-Minor
Mass.
entire
for
the
factor
it mightwellbe a basicorganizational
format
the
actual
involves
Sincea greatdeal of thestructural
manipulation
withan examinait seemsadvisableto beginthisdiscussion
of thescore,41
tion of the positionand layoutof the Patrem,itself.In the autograph
score,thismovement
beginsat thebottomof page 100 and runsthrough
42utilizingan even 100 five-line
staves,groupedin 9 bracesor
105,
page
thenumberof staves
the
other
most
of
to
In
contrast
movements,
systems.
have
exercisedconsidto
seems
Bach
in
not
is
fact,
constant;
per system
erable ingenuityin tailoringthe notationso thattheseprecisefigures
and (doubtlessly
wouldresult43 Thathe hasdoneso fordefinite
symbolic)
41

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purposes,can hardlybe doubted.The dispositionof the stavesand systemsis as follows:

PAGE:
NO. STAVES PER SYSTEM:

(a)
(b)

100b 101 102 103 104 105

10

10

11

10

14

14

of thisarrangement
The probablesignificance
can be deducedfrom
thenumerical
of thesumsinvolved:9 = 32; 100 = 102;and
properties
theprime
105 is thesumof all thenumbersfrom1 to 14; furthermore,
detailof theformat
is thatthetwo
factors
of 100 total14. An interesting
middlepages (whichfaceeachotherin thescore) contain41 staves,thus
at theheartof themovement.44
another"signature"
introducing
thenumberof notes,measures,
SinceBach has controlled
staves,and
it
that
should
no
one
has
commandeered
he,
likewise,
surprise
systems,
evipage totalsin workingout his numerical
plan. The mostremarkable
denceof thiskindof controlcan be foundbysimplycountingthenumber
of pages of musicfrompage 105 to the end of theMass.45Here,Bach
has includedeven thepage countamongthevariousreferences
to 84; at
to thesimilarorchestration,
thesametime,he has drawnattention
which
14
in bothmovements
uses staves.46
It wouldseemlikelythatthe84 pagesof musicprecedingpage 105
structure.
are also involvedin thesymbolic
Indeed,it appearsthatsuchis
the case, althoughit is perhapsnot quite so obvious,since the eightyof
fourth
page precedingthelastpage of thePatremis notthebeginning
thatpage is not
the Mass,but page 20 of the holograph.Nevertheless,
withoutsignificance,
sinceit containsthefinalmeasuresof Kyrie11 and
of this
the first12 measuresof the Gloriain excelsis.The importance
to page 84 itself,
which
can be understood
bestwithreference
conjunction
thephrasein GloriaDei patris,Amen. Thesewordsseemto sigpresents
God whileat thesametimebinding
goalof glorifying
nifyBach'sultimate
and
end
of the entirework.47Page 168
the
middle,
beginning,
together
(the end of theSanctus)echoesthismeaningwiththewordsVienisunt
coeli et terragloriaejus ("all creationis fullof His glory"). Also noteat thispoint,is thefactthat168 is notonlythepage numberbut
worthy
on thatpage;
also thenumberof measuresof themovement
terminating
the remainingportionof the Mass occupies20 pages, in
furthermore,
in Table
are illustrated
parallelto theKyrie.The variouscross-references
VI below:
42

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TABLE VI
of Pagesin theHolographof theB-MinorMass
Arrangement
(Page numbersare givenoutsidethe brackets;the numbersinside
indicatethenumberof stavesusedin each 20-pagesegment.)
1

20

105
11

328
4I0H0)1*
!
8U
1
ofpage20(beginning
oftheGloria)
*Extra
staves
at thebottom

188
387
M
|
168169 188

The pagesaregroupedas 20 -'- 84 -f-84 fromeitherdirection,

while
thecombination
ofbothreadings
a
third
at
set
of
produces
twenty
pages the
centerof the entirescore.This groupingseemsto be confirmed
by the
numberof stavesin each group. The numericalrelationship
of thestave
41 X 5 X 2;
onceeachnumberis factored:
groupsis particularly
interesting,
41 X 23; 43 X 32. The 41 -f-43 composition
of 84 is hereextendedto
eitherend of thecompleteMass,41 multiplied
bythenumberof theOld
Covenant(10), 43 by thenumberof spiritualfulfillment
(9), whilethe
centersectionis relatednumerically
to boththe beginningand the end.
Eventhe"extra"10 stavesat thebottomof page 20 are relevant,
bringing
the totalup to 420 or (84 X 5) staveson the firsttwentypages. The
sectionsat the beginningand end of the
desireto set up corresponding
Massmayhelpexplaintheunusualgroupingof Osanna,Benedictus,
Agnus
Dei et Dona nobispacemwithwhichBach choseto concludehis setting
of theMass.
It shouldbe notedthatthestavetotalgivenaboveforthefinaltwenty
pages includestheblanklinesat thebottomof thelast fourpages. This
that
amountof evidencesuggesting
is merelyone facetof a considerable
a complexweb of crossreferences
Bachconstructed
bythecarefulmanipudetailsof the notation.His overallplan seemsto
lationof "irrelevant"
of whichis evidence
all of theunusedstaves,theveryexistence
encompass
of thelimitsto whichthecomposerwas willingto go in workingout his
oftenelaboratenumerical
designs.The authorwill offera fulleraccountwhich producedthese extrastaves in
ing for Bach's "miscalculations"
readerswithaccessto a facsimileof the
PartIII of thisarticle;however,
of theone unusedpage (followscorewill be able to see thesignificance
no
doubtexistforpurelysymbolic
14
which
staves
of
the
152),
ing p.
reasons.
The number84 also appearsin a significant
wayin bothof themoveAs Friedrich
Patrem
the
to
mentsimmediately
omnipotentem.
adjacent
in
unumDeum
the
words
with
thephraseassociated
Smendhas observed,
43

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The Et in unum
appears84 timesin thecourseof theCredomovement.48
the
to
the
Deum presents
a moreemphatic
Patrem,
reiterating
relationship
associationbetweenthe number41 (J. S. Bach) and divinecreationas
describedin Part I of thisarticle.In directparallelto the isolationof
em in measure41 of the choralfugue,the wordsper quem omnia
/actor
duet.49Thus,this
formeasure41 of thesubsequent
jacta suntarereserved
measures
afterthe key
occurs
84
to universalcreation
secondreference
measureof the Patrem.Once again,the nuwordin the corresponding
of Christian
mericalpattern(41 43 41) is symbolicof thecentrality
faithin Bach'sthinking.
to the number84
There are probablymanyadditionalreferences
of the Mass. To locateand describeeach
containedwithinthe structure
taskwithoutaddallusionto thenumerical
keywouldpose a monumental
involved.There
of
the
our
to
symbolism
understanding
ing appreciably
whichbecomes
involved
of
another
is, however,
layer possiblemeaning
into
4
"translated"
are
8
and
pitchesbymeansof
apparentif thenumbers
=
=
do
4
d.
h (b natural);
Not only thedigitsyieldthe
gematria:8
twoprincipaltonicsof theMass; theyalso presentthemin the sequence
is valid,
If thisinterpretation
established
by thefirstand lastmovements.
of the entirework.
the numberis trulya basic conceptin the structure
In viewof themanyallusionsto 84 whichare builtintotheveryfoundathatthearchitect
chose
tionsof theMass,it seemsparticularly
appropriate
to revealthiskeyelementin his plansat thecenterof his musicaledifice.
NOTE :
PartIII of thisarticlewill be publishedin theJuly1974 issueof BACH.
Footnotes
20According
at thesepointsis oneof thethreebasic
to Wilhelm
Port,emphasis
of booksof Latinpoetry
thearrangement
whichgovern
of structure
principles
in Gedichtbchern
thegoldenera. (See Die Anordnung
Augusteischer
during
thepossibility
81 (1926), pp.458-461.)Port's
suggests
analysis
Zeit,Philologus
structure.
Other
forBach'suseofchiastic
ofa classical
(orsymmetrical)
precedent
later.
willbediscussed
influences
probable
21Or shouldthisstatement
is compounded
The ambiguity
be calledan "answer"?
intervallic
inmaking
subtle
(seenote22
adjustments
byBach'slackofconsistency
sincethe
areobscured,
distinctions
traditional
subject-answer
below).Atanyrate,
is inthedominant.
first
statement
22Eachofthesestatements
thana half-note;
rather
witha quarter,
also,statebegins
thana D, whiletheninth
withanE rather
ment6 (m. 39) commences
presentato G major.In
a modulation
to effect
tion(m. 51-51)is altered
chromatically
instatement
toquarters
areshortened
9. In spite
onterrae
thehalf-notes
addition,
theappearance
of an
retain
statements
these"developmental"
of thesechanges,
oftonicanddominant.
alternation
a regular
presenting
exposition,
23An interesting
in "28" is thefactthatthe
interest
of thisstructural
correlary
oftheparticular
is reminded
Thereader
in 28 measures.
is absent
theme
signifiis 28); it is also
number
canceof28 as a perfect
(i.e.,thesumofall itsdivisors
44

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from1 to 7. Noticethatthereare28 notesin the

thesumofall thenumbers
intheopening
and28 syllables
blockoftext(m. l-3a).
first
measure
2429 = S. D. G. orJ.S. .,while33 represents
Christ's
ageat hisdeathas wellas
forthelatter
total14. TheRomannumeral
whosefactors
number
beingthefirst
it with
to thetradition,
associating
(XXXIII) seemsto havecontributed
figure
ofChrist
a triple
oftheinitials
theSaviorbydisplaying
Jesus(X. I.).
repetition
thusre-enforcing
thatthewordFineequals33 in gematria,
It is alsointeresting
wrote
thephrase
with29,sinceBachoften
therelationship
Fine,S.B.G.at theend
ofhisscores.
25Although
there
contrived
andletters
seems
ofwords,
thecounting
today,
syllables,
in whichtheseveryfeaDe Musica,
in St.Augustine's
is an important
precedent
risetoa lengthy
outin thepoemDeusCreator
arepointed
tures
Omnium,
giving
ofAugustine's
ruleofnumbers"
discourse
onthe"eternal
(BookVI). Thesubject
sentence
in theopening
to thethought
identical
expressed
is,ofcourse,
example
tradition
ofa numerical
totheexistence
oftheCreedandshouldalertthereader
Lostis one of many
Paradise
Milton's
of creation.
withthesubject
associated
thiscontention.
which
couldbecitedtosupport
examples
literary
26The inverted
of thetwenty-third
somewhat
is obscured
bytheinclusion
pattern
thereis a likelynumerical
explanation,
(m. 48-50,sopr.);however,
repetition
wordin thesoprano,
is theforty-first
sincethisfactorem
againnaming
"J.S.
Bach"as creator.
27All ofthetotalscanbe evenly
divided
byoneor moreofthesethreenumbers.
one14 is given12 (3 X 4) notes,
statement
representing
enough,
Significantly
anattempt
of3 and4 seemtostemfrom
combinations
of84. Thevarious
seventh
a persistent
of spiritandmatter,
the"opposing
goalof
to reconcile
principles"
oftheword
detailofBach'streatment
An interesting
all mystical
systems.
nearly
dividofhisconsistently
thedigits
3 and4 : as a result
againemphasizes
factorem
forthetwo
equivalents
, thegematria
(neverfa-ctorem)
ingthewordas facto-tzm
intwodifferent
thedigits
ofthewordcombine
ways.
parts
- REM
FACTO
17 5 12 = 77
6 1 3 19 14
34
43
"f"
forCredo(43) butitsmirror
notonlythenumber
image,
Thisproduces
symbol
as well.Thesesametwonumbers
appearat keypointsin ThomasMann'sThe
hasbeencited
ofthedigits
ortransposition
thereversal
; in fact,
MagicMountain
in a penetrating
oftherelevant
by
analysis
as a vitalcluetothemeaning
chapters
TheMynherr
GameofNumbers:
Peeperkorn
Episode
OskarSeidlin("TheLofty
states
PMLAVol.86,pp.924-939).Seidlin
DerZauberberg,
Mann's
inThomas
in thenumber
34 was,no doubt,stimulated
by Drers
thatMann'sinterest
a magicsquareusingthenumbers
shows
I" which
"Melancholia
famous
engraving
thatBach,
It is possible
1 to 16,34 beingthesumofthesquarein anydirection.
in Drer's
since"itspresence
withthesamesource,
wasfamiliar
widely
himself,
to
of educated
Europeans
known
helpedto drawtheattention
probably
picture
vanRensselaer
EncycloCamman,
"MagicSquare,"
(See Schuyler
magicsquares."
XIV,1973,p. 575.)
paediaBritannica
28Thefirst
foritsexcluThereason
inthissystem.
is notincluded
noteoffactorem
oftext(i.e.,whenall fourparts
thechange
before
sionwaseasiertocomprehend
inflections
chromatic
Bachignores
) . Evidently
omnipotentem
beganwithPatrem
topitches
inapplying
(e.g.,Cis- 3,not30).
gematria
29Thepattern
meanis likewise
ofthecontinuo
sevenmeasures
ofnotesin thefirst
:
ingful
4-7
Measures 1-3
14 +
43
29 =
Notes
withthe
of 7, thistimeassociated
Onceagain,we see the3 + 4 composition
three
totalsfor"Bach,""S.D. G.," or "J.S..,"and"Credo,"
certainly
gematria
andtherestoftheMass,
in boththismovement
ofthemostimportant
concepts
arealsointeras well.Thenotesin thetopvoice(OboeI) in thesamemeasures
theouterparts(23 + 41 = 64
esting(9 + 12 = 21), as is thetotalbetween
= 26= "Kyrie").
45

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30This/actor
occuron the
of theword;itsfinalletters
emis thethirdrepetition
is a totalof86 (28
there
notein thebasspart.Atthesameinstant,
thirty-third
addto
theouter
Ob.1 + 58 Cont.)notesbetween
digits
parts.Notonlydo these
to43 X 2,
factors
of84) , butthenumber
48 (mirror
toproduce
14andmultiply
of"Credo"(S. and
to thetworepetitions
reference
a possible
in context,
present
thiswordcanbe seenin
numerical
Another
playinvolving
A.) at thatmoment.
a
measure
generate
repetition
16,at whichpointthethreenotesof theseventh
totalof 29 noteson thewordfactorem
cumulative
(see TableII, PartI). This
a stepfurther
is carried
bythetotalof177 (59 X 3) notesat theendof
pattern
the29thstatement
(59 = "GLORIA").
31Theuniqueness
of
thenumber
thatBachcontrolled
totalsuggests
ofthismeasure
tabuFurther
evidence
ofthiskindof"vertical"
measure.
notesineachindividual
andendof themovement:
lationcanbe seenat thebeginning
4
82 83 84
1
2
5
3
MEASURE:
70 49 14
28 33 24 18 16
NO. OF NOTES:
133= (7 X 19)
119= (7 X 17)
TOTALS:
(119 + 133= 232 = 84 X 3)
(133 - 119= 14)
numall three
measures
is particularly
in thefinalthree
Thepattern
noteworthy:
measure
82
ofboth70 and49 total14; finally,
bersaredivisible
by7; thefactors
measure
84 thefewest.
of notesin anymeasure,
number
hasthegreatest
Thus,
enfold
extremes
thenumerical
49,thesquareof7. (N.B. 70 -f 14 = 84. Since
82 is hardly
accidental
itsusein measure
70 is "JOH.SEB.BACH"in gematria,
[82 = 41 X 2].)
32Thetotalof337notesin thevoiceparts
of
an average
atthepageturnrepresents
onbeatoneofmeasure
84 notes
29,
perpart;also,the84thnoteinthealtooccurs
with86 (43 X 2) attheedgeofthesheet.
33The41 + 43 composition
continuo
notesin
Thethree
of84 is,again,apparent.
"nodal"
of41 notes
marked
offby7-measure
m.29 aresurrounded
bytwogroups
is represented
below:
units.Thepattern
bythediagram
42
22
28 29 30
MEASURE:
41
41
NOTES (Cont.):
3
of themovement
to theexactcenter
N.B. Thisdesignreaches
and,thus,binds
Thepattern
andthenumerical
of "enfolding"
thestructural
midpoints.
together
withpersonal
should
numbers
befamiliar
a sacred
bynow.
quantity
34Thesetabulations
in whichtheactualnotated
arebasedon theautograph
score,
arereduced
bytwo(Vln.I = Ob. I; Vln.II = Ob. II). Of
partsin thispassage
oftheseblocksbeginsin measure
is thefactthatthefirst
interest
39,
particular
thebeginning
oftheSymbolm.
from
or84 measures
35Themelismatic
to itsbeingthe
oftheletter
"O" is,no doubt,
related
treatment
oftheRoman
14thletter
alphabet.
36Another
ofa 41-notesignature
canbe seenat theend
accessible
example
readily
inmeasure
fromWTCI ( BWV, 847) starting
oftheC-minor
29 (!) with
fugue
and
theoctaveC's in thelefthand.At theendof thegreatorganPassacaglia
are41 notesin boththepedalandsoprano
after
the
Fugue(BWV,582), there
fermata.
37Thenumber
forChriste.
It is,no doubt,
that41 (J.S.
79 is gematria
significant
and43 (Credo)begunon either
sideofthecenter
ofmeasBach)is completed
ofthemovement
is alsoreproduced
ure79. Thesecondary
(28 X 3) structure
in Example
areshown
6.
Theseandother
details
in thisremarkable
passage.
38The34 notesofthelongest
a
involve
mirror-transformation
melisma
may
playon
thealtoto theotherparts
number
theimportant
43 (see n. 27). Comparing
is alsointeresting:
34 - 5 = 29; 34 - 20 = 14;34 - 24 = 9.
39Interestingly
in Bachsworks
this
158 is notfound
veryoften.Perhaps
enough,
in thenumber
14 bythe"mystical"
addition
of
itis already
is because
expressed
itsdigits.
46

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40Thereis a pleasantly
in thefourvocalparts,
backto
reaching
pattern
complex
ineachindividual
therests
phrase:
on"O" (alto) totheendofthemovement
finalmelisma
33- after
ofeachindividual
"O" totheend
41- after
termination
thecenter
ofmeasure
84- after
79
last7 measures
123- (41 X 3) total,
Credo)
(m.78 = m.123from
ineachpart
rests
215- (43 X 5) totalafter
Onceagain,theideaofFinemaybe suggested
bythe33 notesin thefinalsegment
ofthechorus.
41TheideathatBachcontrols
dimensions
ofsomeofhiscompositions
theexternal
in relation
to theformat
of theSechsChorle,
noticed
wasfirst
bytheauthor
in 41 systems
on 14 pages(see
's edition
Schbler
123staves
containing
grouped
BACH, IV,No. 2,p. 25).
42Thepagination
in viewoftheconis notin Bach'shandafter
page95; however,
withotheraspects
there
canbe
ofthenumerology,
ofthepagenumbers
gruence
Bach'sintentions
littledoubtthatthelaternumbers
(see notes44 and
represent
45 below).Theblankpageat theendoftheGloriais 96 byimplication
(see
Nachwort
at theendoftheBrenreiter
facsimile
Dlirr's
chart
onp. 12 ofAlfred
oftheautograph
edition
score).
43Perhaps
is to be seenon
of thenotation
of manipulation
theclearest
example
At thetopof thepage,Tr. I hasa separate
staff,
page103 of theholograph.
Vln.I andOb. I arebothwritten
ithasonlyonenote;furthermore,
out,
although
ofthepage,Vln.I = Ob. I and
Atthebottom
thepartsareidentical.
although
toTr.I andII.
oboestaves
Vln.II = Ob.II, theoriginal
beingallotted
44It is,perhaps,
divisible
thatthesumof 102and103is evenly
noaccident
by41.
of
onp. 100is echoed
of 100staves
Theappearance
beginning
bythe153staves
on p. 153. N.B.: Thefigure
theSanctus
153,thesumofthenumbers
, starting
of fishcaught
as thenumber
in theNewTestament
1 to 17,appears
bythe7
Faustum)offered
an exten(Contra
(seeJohn21:11). SaintAugustine
disciples
of 17 as
basedon a reading
ofthenumber
siveexplanation
involved,
symbolism
interest
Bach'sapparent
"Law"tempered
bythe"Spirit"(10 + D- Concerning
BACH"via
alsorepresent
"SEBASTIAN
thatthenumber
in 100,observe
might
thetitle
doesnotinvolve
either
of counting
Noticethatthismethod
gematria.
- in other
words,
onlythe
pageattheendoftheSymbolm
pageortheunused
numbered
pageshavebeencounted.
45Noticethatthismethod
thetitlepageor the
either
doesnotinvolve
ofcounting
- in other
unused
words,
onlythenumbered
pageat theendoftheSymbolm
pageshavebeencounted.
46Thesearetheonlytwomovements
outon 14 staves.Observe
in theMasswritten
forthetext),is
identical
totheDona (except
which
is virtually
thattheGratias,
on thelastpageoftheautoouton 15 staves.Another
written
playon 14 occurs
14 syllables
thevoicepartscontain
(and27 notes);also,
graph(p. 188),where
in the
totheuseofthatnumber
thetotalof100noteson thelastpageis parallel
Patrem.
47Themusicof theKyriemovements,
of 270 measures
(10 X 33), is
consisting
of
in 59 systems;
on 410 staves(41 X 10) grouped
notated
thus,theconcept
ofbracesof the"penievenin thenumber
is implied
Gloria(59 in gematria)
oftheMass.Thephrase
section
tential"
Fine,D S Gl at theendofthescoreis
of
butan integral
notjusta routine
gesture
partof Bach'sconception
evidently
is not
letters
ofthefamiliar
forthetransposition
thereason
theMass;however,
clear.
immediately
48Kirchen-Kantaten,
forCredois
thatthegematria
IV,p. 19. Smendalsoobserves
he
ofthatwordin thevoiceparts.Nevertheless,
in the43 presentations
reflected
ofthatwordinmeasure
43 (tenor),
ontheforty-first
doesnotcomment
repetition
are41 notesin thevoiceparts(and 14 in the
there
ofwhich
thebeginning
from
totheendofthemovement.
continuo)
49As in manyoftheinstances
in this
ofnotescontained
thenumber
cited,
already
itssymbolic
tends
tosupport
Etin UnumDeum(in theautograph)
from
passage
offbythe
whilethepassagemarked
41 contains
27 notes,
measure
importance:
47

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entire
implications
phrase(m. 40b-42a)is madeup of41 notes.Thetheological
to Christ
as the
inflection
to thewordswhichrefer
ofBach'sgivinga personal
ofgreatimportaremade"is surely
whomall things
"GodofGods. . . through
Bachseemsto portray
of thecomposer's
anceto ourunderstanding
self-image.
fulfillment
in
hisownegofinding
himself
as an instrument
ofDivineCreation,
to a higher
thesubmission
purpose(see note37 above). Notethatthewords
41.
omnia
iactaarestated
onlyinmeasure
Examples
Ex. 5a. J.S. Bach,B-MinorMass, Patremomnipotentem
, Tenorand Alto
meas.
13-14
parts,

Ex. 5b. Bach,Mass, Patrem,

Sopranoand Altoparts,meas.45-46

Ex. 6. Bach,Mass,Patrem,
meas.76-82

48

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TABLE IV
MelodieMaterialsin thePatremomnipotentem
Divisionof Primary
Sectionof Bach'sB-MinorMass
TABLE V
Motivesin thePatremSection
Placement
offactorem
of theB-MinorMass

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oo
r^l
^rsl . II
II

I
i

"

i
001

>
ai
_
<0
h

hj

r-

(^)(^)

<su

^ <4I

r-'
^

H"

0
^1I 0)
4I
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I ,
sevi
:0
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49

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