"It is difficult; it seems, to find any area in Bachs music that was a little studied.

But still there is

an area that not so greatly known, and represented in the symbolism of Bachs music. It is an
inner world of his sense of music. The legacy of the XIX century we got emotionally and
intuitive approach to the music of Bach. The symbols that exist in his music are not any more
connected with the clear visual images. It turned out to be forgotten. These symbols were
familiar to the man of that time with their mental word. Bachs contemporaries were listening
his music with the understanding of the meaning of the stable melodious figures, emotions, or
the melodies and lyrics of the Protestant Chorales. They were listening through them with the
associations with thoughts, images, and stories of Holy Scripture.
For listeners of his time, Bach's instrumental music was filled with concrete shaped,
psychological, and philosophical and religious content. People listened to at that time otherwise
than it is now. "In those days, They came to listen not emotionally, but listened to the familiar
types of tunes that they knew by heart, and instantly remembered the verbal text and images of
text ...
Possession of this language can reveal those secret, hidden "message", which can be hidden in
Bachs music. The world of Bach's music is revealed through musical symbols. "When
considering the works of Johann Sebastian Bach once it becomes noticeable that in all his works
curtain melodic pattern are occurred. Under the musical symbol we understand certain motivic
structure having permanent compliance with certain verbal concepts.
Bach's symbolism evolved in line with the aesthetics of the Baroque period, it was characterized
by the widespread use of symbols.
The figures could wear the iconic character, expressing the direction and character of the
movement, for example, anabasis - climbing and catabasis - descent; figure circulatio - rotation,

fuga - jogging, tirata -An arrow, shot, etc. The figures imitating the intonation of human speech:
interrogatio - question (a rising second), exclamatio - exclamation (rising sixth). Especially
attracted composers expressive shapes that convey affect such as suspiratio - sigh, or passus
duriusculus -Chromatic course, used to express sorrow, suffering. Thanks to sustained musical
semantics figures become "signs", the emblem of certain feelings or concepts. The descending
melodies were used for the symbols of sadness, dying. rising musical scales are strongly
connected with the symbols resurrection. Pauses all voices (aposiopesis figure -default) used for
the "image" of death.
Revealing the semantics of these figures, you can get the key to the figurative and semantic
content of Bach's works.
Stylistic undivided "spiritual-secular" is typical to Protestant music in Germany, where
composers, including Bach, followed the precepts of Luther, praising the music as "priceless,
physician, joyful God's creation", as "a gift of the Lord. " Bach created in Nomine Dei (in the
name), his manuscripts abound abbreviations JJ (Jesu juva - Jesus, help) and SDG (Soli Deo
Gloria - One God glory).
Bach served at the church, most of the music he wrote for the church, he had a vast knowledge of
theology and worship. He knew the Scriptures, church texts, traditions, religious rites and their
essence.
All people in Germany at that time knew the chant melodies by heart. They are so strongly
associated with a certain sense that could serve as the password in the recognition of associates.
Therefore, for the time listeners of Bach and his cultural area chorale tunes are essentially signs,
reflecting the content of the chorale. Meeting in the musical text with other similar signs, they

lined complex associative series, bringing the sense of acquiring a variety of shades, they
enriched and transformed into symbols. Listeners could have several associations - with the
content of the chorale, with a particular episode of the biblical story, the terms of holidays or
ritual actions, which meant that the chorale. For example, Symphony (3-voice Invention), a
minor-based on the chorale Christ lag in Todesbanden (Christ lay in death shrouds), which
belongs to the circle of Easter. Accordingly, the text of the chorale, musical content of the
Symphony includes both images sadness, grief, and joy at the resurrection of Christ, and praise,
"Hallelujah." Quoting from the chorales indicate the similarity of their content.

The chorale What my God wants, then shall come to pass" on a similar melodic turnover is an
important semantic accent of the predetermination accomplishments will of the Lord (the word
"will come true": str.24

This motif is used in fugue C sharp minor-3 rd theme, g minor II book, the theme of invention C
Major, leitmotiv of French suite B Minor
Boreslav Javorskii developed the system of symbols based on his studies of cantatas and
oratories.

1. Rhythmically stable motion of the lower voice represents pacing, walking of the human being.
2. Fast ascending and descending movement expressed flight of angels, based on the words of
the New Testament, when the shepherds on Christmas night saw the star and angels in the sky.
3. Short, fast, leaping shapes portrayed jubilation.

4. The same, but not too fast figures quiet contentment.

5. Dotted rhythm portrayed courage, greatness.
6. Triplet rhythm ... - fatigue, depression.
7. Big interval leaps down; sevenths, ninths -Senility. Octave is considered a sign of peace,
welfare.
8. Equal chromatics of 5-7 sounds - acute sadness, pain (both up and down)
9. Group of two sounds repeated and going down - a quiet sadness, grief worthy ...
10. Trill movement - joy, even laughter, laughter at the appropriate register and timbre.
11. The suffering of the crucified Christ are represented with diminished intervals.
STR. 26

12. The motif of redemption (resurrection, ascension): str.26

13. The symbol of suffering with persistent rhythm depicts predetermination, an inevitable
necessity, "Thy will be done, not mine": str.27
14. The symbol of the cross, the crucifixion, the Lord's Passion str.27

15. Comprehension of the will of the Lord - the ascending tetrachord. Str. 27
16. The symbol of the fulfillment of Gods wills ascending or descending first inversion triad
chord: str.28

17. Symbol of sacrifice: second inversion of the triad: str. 28

18. Symbol of the cup of suffering: figure circulation. 28

19. The symbol of sadness - a drop in the third.

As you can see, music symbols, and choral music have a clear semantic content. Their reading
allows depicting the musical text, filling it with the spiritual program.

An example of the composer's work with the chorale can serve a-minor symphony. The material
for the symphony was taken from Easter Chorale Christ lag in Todesbanden(Christ lying

wrapped in swaddling clothes of death "). The contents of the chorale describes several hours
before resurrection, and resurrection itself. Str. 31

The first theme of the symphony - the initial melody of the chorale without the first two sounds.
The bass line has the symbol of cross. The interlude (bars 9-12) is built on a descending scale
(catabasis figure) that represents the position of the grave.
In the Mm. 16-19 the figure of anabasis-the scale going up-the resurrection of Christ, also the
movement on the interval of fourth- the symbol of the Christian believer.
In the m. 21 there is a new theme based on triads with the symbol of predestination. Also it is
very close to the chorale depicting the glory to God:
Str. 32
In m. 36 there is another motif from this chorale Alleluia. Str.32

In the 58-59 there is a chromatic movement symbolizing the victory over the Death.

Prelude and Fugue in C-Major.

The associative image of the cycle - "The Annunciation".

The basis of it served as the text of the Gospel of Luke. Archangel Gabriel, sent by the Virgin
Mary, told her the good news that she would have a son, conceived immaculately by the descent
of the Holy Ghost, and shall be called Jesus, and it will be the Son of God and Savior.
Sound transmits foreplay "angelic light, purity. It reflected imaginative perception: "the earth, the
sky, the air, the vibrations of the wings in the air" .Lute texture is associated with beautiful
images of angels, in whose hands the music indtruments, among them - the lute.
Texture discharged Bach differentiated: bass - middle voice - arpeggiated figuration. This
corresponds to the three levels: the land the man the sky.
Recitative at the end of the prelude interpreted as "word", "news".
The fugue theme consistent draining of the gospel: "Behold the handmaid of the Lord; be it unto
me according to thy word "
(Heb. Luke, Ch. 1, verse 38). The basis of the themes put the initial stanza of the chorale Was
Gott tut, das ist wohlgetan ( What the Lord is doing, then the good") and its third stanza "Egist
mein Gott, der in der Not ... ( He is my Lord, in which my need ... ")
On this basis, the ascending motif of 4 sounds is a symbol comprehending the will of the Lord.
Subject contains an interval ascending 4th. It has long been used for the expression of vitality,
stability, reliable support in chorals and cantatas on motives of 4 th intervals often fall keywords
talking about resistance in the faith, acceptance of God's will, hope and confidence. In the "WellTempered Clavier" 4th also express resistance, earnest faith. It is no accident so many interval of
fourths intonations in preludes and fugues Es-dur I and II volumes dedicated to the dogma of the
Holy Trinity (Tone Es-dur, having the key to the three flat, semantically associated with the

sacred concept of the trinity ) Just devoutly heard quart intervals in the final section of the Fugue
E-dur II volume, the content of which defined theme, citing the beginning of the chant "Praise
Lord "and" Jesus, be exalted. Interval of fourth is an abbreviated exposition symbol of
understanding the will of the Lord.
Down the motif of the three groups of four sixteenths
It corresponds to the numerical symbols of the Christian sacrament
Eucharist - Blessed Sacrament 444- it is a sacred number is a numerical symbol of Holy
Communion. This tradition is extended to music. Researcher numerical symbolism in Baroque
music Yuri Petrov first drew attention to the fact that JS Bach writes graphically by the number
of intervals and scales segments (10). Thus, downstream from the motive three groups of four
sixteenths number 444 and forms a musical symbol of this important sacrament of Christianity.
Thus, the theme of the Fugue C-Major contains disclosure of the following ideas: comprehension
of the will of the Lord, unshakable faith, the communion of the Holy Mysteries (Sacrament).
Fugue is based only on the theme, which does not stop for a single interlude, it is completely
absent. This suggests the sublime rigor of content, focus on one idea.
Fugue concludes climbing (anabasis figure) corresponds words of the Gospel: "And the angel
departed from her.
We believe that the same deep thoughts on content inherent 1st Two Part Invention C-dur,
opening "Small cycle" Inventions and symphonies.
At the heart of Inventions is the same symbolism in comprehension is the Lord:
Fourth intonation with the completion of a second interval symbol of predestination, acceptance
of God's will. Inventions in C-dur this symbol sounds enthusiastic, expression joyful willingness
acceptance of God's will.

The bass goes through the symbol of the Holy Communion three times movement of group of
fourth notes - also common for Inventions and Fugues:
Prelude and fugue f sharp minor

prelude characterized as "Sorrowful thoughts about the upcoming suffering (aria).we offer an
analogy based on the analysis of motivic symbolism contained in the prelude, and the
chronology of events gospel.
Perhaps a prelude reflected episode libations world before the Last Supper.
Foreplay begins a symbol of imminent achievements -rising 6/3 to conclude its symbol of
predestination. Together with the bass sound, it forms a rising minor triad with completion on the
movement of the second. The same motif is present in the opening chorus
"St Matthew Passion" with the words "Come, O daughter, help me to lament".