| 15 October 2015 |

|Student 215025946 | Simon Mowatt |

MGS1
04

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 Bachs music. Through the
analysis of three articles written by three different authors on
various Bach pieces, a conclusion will be reached determining
whether Bachs 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 Bachs Prelude and Fugue in EFlat, BMV 552, author Richard Benedum shows the extent of
symbolism found in this infamous piece. Benedum believes that
Bachs 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. Benedums
concluding opinion shows that, whether intentional or not, Bachs
music shows deep and profound spiritually on his part. (Benedum,
1979)

Walter Schenkmans Tatlows Bach and Bachs Signatures in the

Goldberg Variations explores the use of the numbers 14 and 41
in one of Bachs best examples of variation form. Before
consulting Tatlows article, the first thing to consider is the
significance of the numbers 14 and 41. When Bachs 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 14s 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
Bachs obsession with numbers 14 and 41. He claims that the
presence of these number in Bachs 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 Durers 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 Bachs 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 Bachs 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, Bachs 13 th
Variation is thought as the 14 th 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. Schenkmans conclusion
shows that Bachs use of these numbers can hardly be a coincidence because they are encountered far too often.
(Schenkman, 2003)
In contrast with the afore mentioned opinions, Walter Emerys Bachs
Symbolic Language cannot be ignored. Emery states that symbolisms as
well as the use of expressions to further symbolisms have been explored
in Bachs 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 musicians opinion. He
mocks other musicologists opinion of striving to always find numbers in
Bach symbolism. He also criticizes their opinions of Bachs 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 Bachs music. He says if it is
there, it has not been conclusively proved. (Emery, 1949)
In conclusion, I believe Bachs 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 coincidence or Bach was an incredibly intelligent and spiritual man to plan
and create his music with all this symbolism in mind. While Schenckman
and Benedums 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 Bachs 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 wouldve 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 Bachs Prelude and
Fugue in E-Flat, BMV 552. Bach 10(4): 19-24.
Emery, Walter. 1949. Bachs Symbolic Language. Music and Letters
30(4): 345-354.
Schenkman, Walter. 2003. Tatlows Bach and Bachs Signatures in the
Goldberg Variations. Bach 34(2): 63-106.