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

Author(s): Randolph N. Currie

Source: Bach, Vol. 5, No. 3 (JULY, 1974), pp. 3-12
Published by: Riemenschneider Bach Institute
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A Neglected

Guide

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

"84" in OtherBach Works

in thenumber"84" at the
AlthoughBach choseto revealhis interest
end of thePatremsectionof his greatMass,his use of thenumberis certainlynotlimitedto thatworkalone. In fact,thecomposerseemsto have
delightedin workingout variousways to introducethis same numberOf course,the
symbolat keypointsin quite a fewof his masterpieces.
84s foundin the Mass movement(see
elaboratesystemof interlocking
PartII of thisarticle,BACH, Vol. V, No. 2, pp. 36-49) is notnecessarily
of the totalis
evidentin such works;however,the 41/43 composition
located
in
a
of
the
highpercentage
examples
by this
manifestly
present
is
which
for
of
writer.The following
purpose comparison limited
survey,
Bach's
use
of the numberin representative
will
show
to keyboard
works,
career.(Scoreswillbe needed
his
entire
productive
spanning
compositions
BWV 641,801,869,and 668.)
fortheensuingdiscussion,
particularly
of several
of "84" is apparentin thestructure
The specialsignificance
the 84 measuresof the great
worksby the youngorganist-composer;
C MajorToccata ( BWV 564) presentan obviousexample.Muchearlier,
though,is the evidenceofferedby the youthfulC Minor Preludeand
Fugue,BWV 549, one of Bach's earliestknowncompositions(1709, or
earlier). Here, it will be noted,the younggeniussignedhis virtuosic
withthe B-A-C-Hmotivein the 84thmeasure(meas. 55 of
show-piece
thefugue;see L.H., beats1 and 2 ) .50This procedure
appearsonce again
the
with
three-fold
allusion to the
on a much higherartisticplane
B-A-C-Hmotivein measure252 (84x3) of themighty
, BWV
Passacaglia
582 (meas.84 of thefugue).51
theorganchoraleWennwir
Also datingfromtheWeimarperiod,52
in hchstenNthenseyn ( BWV 641) atteststo Bach's interestin conSmend
theuse of 84 notes.Friedrich
passagesinvolving
structing
symbolic
53
to thetotalof 158 notesin thecantusfirmus,
has alreadycalledattention
to
JOHANN SEBASTIAN BACH in gematria.This reference
signifying
nameis echoedbythe41 (J. S. BACH) notesof thecantus
thecomposer's
as Vor deinemThron,BWV
of thecomposition
firmusin thereworking
Smenddid not mentionthatthe first
668 (see below). Nevertheless,
measureof BWV 641 contains14 notesin thecantus-bearing
part (with
15 notesin the3 lowervoicesfora totalof 29 = JSBor SDG), and,fur3

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thatthecompletion
of 41 notesin thetop partcoincideswith
thermore,
a totalof 43 in theaccompanying
partsfora totalof 84 (see meas.3).
The disposition
of thepartsis as follows:
R.H. ( Cantusfirmus
) : 41
=
=
30) + (ped. 13) : 43
(L.H.

( J.S. BACH )
(CREDO)

Total: 84
It seemsworthnotingthatthispatternis completedat theend of 9
of 9 measures;it also standsin parallelto the
beatsin a workconsisting
finalphraseof the cantusfirmuswhichoccupiesthe last 9 beats,with
thefollowing
patternof notes:
R.H. ( cantusfirmus
):
(L.H. = 36) + (ped. = 12):

33
48

( Christ
)
(BxAxCxH)

Total: 81 =

9x9

Finally,it shouldbe mentionedthatthispreludeis the forty-third

out of a projectedtotalof 164
completedchoralein the Orgelbchlein
(41x4), whichif completedwould have made Wenn wir in hchsten
NthenseynNo. 100 in thecollection.54
FromtheCthenyears,two well-known
worksoffera rekeyboard
a
of
use
of
the
same
number.
Not only
vealingexample
parallel
important
are thetwopiecesin thesamekey (B-minor),butalso theyare thefinal
collections
of clavierworks- the
piecesin twoof Bach'smostimportant
Book
I
and
Two- and Three-Part
the
Clavier,
(1722)
Well-Tempered
Inventions(1723). The Well-Tempered
Clavier,Fugue XXIV (BWV
fourmeasures(73-76).
869,2) containsexactly84 notesin itsconcluding
Once again,thenumberof notesin each partseemsto suggesta hidden
symbolicmeaning:
NOTES VOICE NOTES
S
T
23
A
18 Quintapars55

VOICE NOTES VOICE

B
14
23
6

41 (J.S. BACH)

29 (SDG orJSB)
(29 + 14) = 43 + 41 = 84

N.B. The voicescan also be groupedas follows:

Innerparts (18 + 23) =41
Outerparts (23 + 6 + 14) = 43
4

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14 (BACH)

A similarpassage occursin the last six measuresof Sinfonia15,

BWV 801. Here,thethreevoicesare deployedthisway:
S A B -

41
10
33

A + B = 43 + 41 = 84
S + A = 51 (17 X 3) + 33 (11 X 3) = 84

The symbolism
is quite interesting,
that"J. S. Bach" is
suggesting
=
his
which
consists
of
33
faith,
supportedby
JesusChristand 10 =
to the
God the Fatherand Law-Giver.There is yet anotherreference
in
in the
this
measure
the
fermata
since
33
(after
Savior,
passagebegins
41
in
an
the
notes
the
voice
precedingmeasure). Also,
top
provide inter14
notes
at
the
B-Minor
reversal
of
the
the
end
of
bass
Fugue.56
esting
This surveyconcludeswithtwoexamplesof significant
84-notepassages both of whichoccuron what seemsto be the last page of music
to paper.57The finalthreemeasuresof the autograph
Bach committed
' ich
versionof the CanonicVariationson "Vom Himmelhoch,da komm
of the84
her" (BWV 769) presenta particularly
ingeniousarrangement
in
41
is
articulated
two difthat
the
construction
so
43
notes,
+
plainly
ferentways (see Example7 at the end of thisarticle). Moreover,this
of the
clear presentation
followsan exceptionally
patternimmediately
B-A-C-Hmotive (tenor,meas. 39), which is "answered"by the same
(meas.41 plus thelastnotein meas.40). 58
pitchesin retrograde
ationem
Directlybeneaththe conclusionof the Canon per augment
(in the manuscript)thereare the first25Vmeasuresof Vor deinem
Throntreich,BWV 668, scribedin Bach'sown hand. (The remainder
is knownonlythroughthefamous"dictated"
of thecomposition
version,
BWV 668a,whichwas printedin thefirsteditionof Die KunstderFuge
variousstudentcopies.) The 84-notepassage
and is also knownthrough
withthe secondphraseof the cantusfirmus
whichoccursin connection
is part of an elaboratenumericalscheme,the dimensionsof whichlie
thepatterninvolvedat the
beyondthescopeof thisarticle.Nevertheless,
follows
the
now familiarprecedent
indicated
(meas. 19b-22a)
passage
describedabove. This time,the pointof subdivision(43 + 41) occurs
- thatis,midway
at thecenterof the41 notesof theentirecantusfirmus
the
notes
of
and
21st
20th
the
between
toppart (meas.21; see Example8
internal
is
the
detail
A
below).
groupingof the43-notesegfascinating
the
end
of the smallergroupbeing
14
and
of
units
mentinto
29 notes,
of
note
thepedal part.59The folthe
84th
of
indicatedby thesounding
the
of
the
distribution
shows
partsalongwiththecumulowingtabulation
of
the
the
from
lativetotalof all parts
composition:
beginning
5

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Meas.:
S:
A:
T:
B:

19b
(2
(6
(2
(4

+
+
+
+

4)
6)
11)
8)

21a
=
=
=
=

21a
6
12
13
12

+
+
+
+

2
15
12
12

22a
=
=
=
=

Cumulative
Totals
22
(2x2x2)
141
(3x3x3)
133
(5x5)
104
(3x2x2x2)

Totals
8
27
25
24

41 = 84 (3x4x7)
Totals: (14+29) = 43 +
Cumulative
Totals:[330] + 29 = [359]* + 41 = [400]
* 100 notesfromhereto theend of the
holograph
copy.

400

a comparison
In orderto place thispassagein context,
of thenumber of notesinvolvedin each of thefourcantus-jirmus
sectionsmightbe
instructive:
Phrase
I
II
III
IV

Notesin C.F.

(meas. 8-11)
(meas.19-22)
(meas.29-32)
(meas.40-45)
Totals:

14
8
10
9

(A)
25
27
12
27

Notesin OtherParts
(T)
21
25
19
31(+18)*

41[*or28(+9)

Totals

(B)(sum)
22 68 82 =41x2
24 76 84 = 42x2,etc.
25 56 66 = 33x2; 11x6
33 109 118 = 59x2

39 33] 309 350= 14x25

N.B. - The numbersforphraseIV of thecantusfirmusfollow

NBA, whichgivesa tie in thetenor,meas.41.60
it can be seenthatthe84 notesof
to thistabulation,
With reference
in a large-scale
whichincorporates
organization
phraseII participate
many
discussedin thisarticle.Particular
of theimportant
numbersymbols
attention shouldbe givento the reference
to the number"59" in phraseIV,
whichstandsforthe wordGLORIA by meansof the numberalphabet.
The conceptof offering
gloryto thecreatorseemsto have loomedlarge
in Bach's thinkingin his finaldays. It is interesting
to notethatwhere
theholographbreaksoffin measure25, thereis a totalof 459 ( 17 x 33)
notes,and thus59 notespast the end of phraseII.61 It is temptingto
thetotalsof each successive
phraseas a kindof spiritualodyssey
interpret
to
by meansof faith(41+43)
progressing
away fromself-absorption
theglorification
of a greaterPower. And yet,Bach seemsto suggestthat
in theveryact of subjugating
his own will to divineauthority,
he finds
himself
theinfinitely
greater
gloryof God.62Thereis,of course,
reflecting
a scriptural
basis forthisparadoxicalconceptto be foundin the often6

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quotedsayingof Christaboutlosingone's life (see Matt.10:39; 16:25;

Mark8:35; Luke9:24, and John12:25-28).
MeaningsSuggestedBy theNumber(<84"
the number
JudgingfromthevariouswaysBach choseto introduce
it
intoso manyimportant
worksat highlysignificant
points, seemsplauan entirecomplexof interrelated
ideas. As
siblethat84 mightrepresent
themostimportant
theprecedingsurveyhas indicated,
meaningseemsto
be "J-S. BACH CREDO - I, J. S. Bach,believe."This meaningis reinforcedby the numericalproperties
relatedto the othermain signature
"14"
(BACH):
number,
(a) It is evenlydivisibleby 14
(b) Its primefactorstotal14
(c) Its aliquotpartstotal140,or 14 x 10
The constantuse of thenumber"43" in the construction
of "84" is
to theLatintextof theCreed,thefirst14 words
quitepossiblya reference
of whichcontain84 letters.This is, of course,theverytextused in the
Patremmovement,
whichseemsto be Bach'sonlysettingof thosewords.
theconceptof universalcreation
The meaningof thesewordsintroduces
in thaton-goingprocessas a willing
and the composer'sparticipation
of "84" is
instrument
of God.63In thisregard,the 7 x 12 composition
in view of the ancientstatusof thosenumbersas "universal"
important
heavenand earth.
symbolsrepresenting
relatedconceptis conveyedby theintricate
A somewhat
relationship
of Cantata171, whichuses
betweenthePatremand the firstmovement
clue thatthereis a delibthesamemusic.64Thereis a strongnumerical
since the
connectionbetweenthe two movements,
erateand significant
Germantextcontains14 wordsand 48 letters.The parallelto theLatin
to ignore,particularly
is too striking
whichhas 14 wordsand 84 letters65
sinceGott,wie deinName is a versefromPsalm48.
to Psalm 84, and if so, forwhatpurpose?
Is Bach callingattention
and othershavepointedoutplaces
It shouldbe notedthatMartinJansen66
wherethe composerseemsto allude to scriptural
passages,particularly
to by number.This practicemay
individualPsalms,whichare referred
and manyof
havebeenan ancientone byBach'stime,sinceSt. Augustine
thetheme
between
was
a
there
that
held
hisfollowers
agreement
"complete
of a
number."67
The
notion
its
ordinal
of
the
and
of a Psalm
symbolism
Psalms
was
acknowlof
in
the
tacitly
sequence
arrangement
meaningful
on a returnto the "original"(i.e., the
edgedby Lutherin his insistence
firstcentury)Hebreworder.
7

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A comparative
tendsto suggest
readingof the two psalmscertainly
a strongthematic
since
extol
both
the
relationship,
beautyof theCityof
God and thetemplein its midst.The famousopeninglinesof Psalm84
("How lovelyis Thy dwelling. . . ") tendto suggesta mysticrapture
(fainting)broughtaboutby theverythoughtof thecourtsof the Lord,
to the designof
whilePsalm48 impliesthatthereis greatsignificance
theentirecity:
"MaketheroundofZion in procession
countthenumberof hertowers,
takegoodnoteofherramparts,
pass herpalacesin review,
thatyoumaytellgenerations
yetto come:
Such is God,
ourGod foreverandever;
He shallbe ourguideeternally."
Ps. 48: 12-14(New EnglishBible)
structure
is strongly
The notionof significant
impliedelsewherein
in theelaboratedescriptions
of sacredplaces- the
theBible,particularly
thetempleof Solomon,the templeof Ezekiel (neveractually
tabernacle,
are
built) and the Holy Cityas seen by John. Detailed measurements
the last two,in whichthe
particularly
givenforall of thesestructures,
is emphasized
of thedimensions
bytheappearanceof an angel
importance
stick( gold = purityor truth;see Ex. 40-43and
witha goldenmeasuring
featureof the prophet'svisionis
Rev. 11:1; 21:15-17). An interesting
weretaken,clearlydefining
thestructhatas soonas all themeasurements
ture,thegloryof theLordappearedand filledthetemple(Ex. 43:1-5).
is notexplainedin theBible
themeaningof thesestructures
Although
itself,thereseemsto have been a traditionin ancienttimesthatthese
sacredplaces,particularly
the temple,werebuiltaccordingto a divinely
of theuniverse.The
revealedPatternwhichcontainedthesecretstructure
and thetempleis,in fact,
of boththetabernacle
significance
cosmologica!
spelledout by FlaviusJosephusin thefamousHistoryof theJews,a copy
of whichBach is knownto havehad in his possessionat thetimeof his
death.68Since it appearslikelythatthe composerwas awareof thistraditionof symbolic
meaning,it is certainly
possiblethattheinvolvedplay
on "48" and "84" was intendedas a meansof introducing
the concept
via thetwopsalms.
It is worthnotingthatthe Germanversion(based on the 48-letter
versefromPsalm48 ) is usedas thefirstmovement
of a cantataforNew
Year's Day. Is Bach introducing
the idea of cyclictime,as well? In the
8

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thatseemsto be the case; at any rate,

contextof the othermovements,
thephrase,"bisan der WeltEnde,"acquiresa distincteschatological
ring
as theresultof itspositionin Cantata171.69
of a hostof theologians
to unravelsuch
While it maytaketheefforts
the outlinesseem clear enoughto add
a complexweb of associations,
anotherlevel of meaningto thosesuggestedabove. At the riskof diss
of thecomposer
themarvelous
and/orlimiting
depthand subtlety
torting
of
is
offered
for
Bach's
use
the
number
thought, followingexplanation
"84" in theB-MinorMass:
"I, J.S. Bach,believe:andbecauseof myfaith
of theMakerof
I am thewillingservant
in
All Things;as suchI participate
thecontinuing
processof divinecreation;
withtheHelp of theSpirit,
furthermore,
a
in thisworkto construct
I haveendeavored
of
eternal
God."
for
the
of
sound
Glory
temple
and
of references
network
constructed
Thus,by meansof a carefully
1
his
Bach is able to use thenumberso thatit contains( )
signaallusions,
of faith,and ( 3 ) his purposein writing
ture,( 2 ) his personalconfession
the music.70If the composeracceptedthe traditionthatthe Almighty
createdaccordingto a numericalPattern,thenhis own use of numbers
becomesan imitatioDei as he strivesto createorderout of chaos. Seen
the
whichreflects
becomesa Microcosmos
in thislight,the composition
secretorderof theuniverse.71
Editor'sNote: The finalportionof Mr. Currie'sarticle,"A Neglected
will be publishedin the
Guide to Bach's Use of NumberSymbolism,'
October1974 issueof BACH.
Footnotes
50In all majoreditions
thenotesin
that
Kilian,where
byDietrich
prepared
except
version
theD-minor
are"H-A-C-H"
(seeNBA IV/5,p. 34); however,
question
ofthesameedition
volume
in another
ofthiscomposition
(BWV 549a) printed
seeNBA IV/6,p. 105.
themotive(in transposition:
C-H-D-C#);
doescontain
of
is thesymmetrical
detailof thepassagein question
placement
An interesting
of14sixteenth-notes
areenclosed
(14-8-14;
as thatthey
thepitches,
bytwogroups
motion
ofcontrary
).
thefirst
groupis setoffbytheintroduction
51According
in Weimar
at
theworkwas"probably
to DavidMulbury,
composed
NotesRein C minor:
1713and1717";("Bach'sPassacaglia
sometimebetween
BACHIII [October
andPerformance,"
1972}
Its Background,
Essence,
garding
divisible
"84" is evenly
bythe
:20; alsoIII [April1972] :18-22).Thenumber
usedin thePassacaglia
numbers
(12 and21) as wellas bythe
keystructural
thefugue(meas.168= 84x2)
before
14. Thelastmeasure
number
signature
on the
whilethe84thnoteofthepedalpartoccurs
contains
33 (12 + 21) notes,
43.
first
beatofmeasure
9

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52Thechurch
Cf.ZurEnsteyear1713/14is thedatesuggested
byErnstArfken;
BachJahrbuch,
desOrgelbchleins,
52 (1966) :50.
hungs
geschickte
53Friedrich
thatthemany(29) ornaments
Smend;
op.cit.,p. 17. It seems
plausible
in thispiecearetheresult
desireto control
of
thenumber
of thecomposer's
written
notes.
54Thecomposition
is onp. 115oftheautograph
score(BB Mus.ms.BachP 283).
Bachhimself
didnotnumber
thechorales;
thetwoversions
Liebster
Jesu
however,
should
be
( BWV633and634) aretreated
(pp.60 and61) and,thus,
separately
notas 35 and35a,as is often
numbered
35 and36 of thecompleted
preludes,
Thenumerical
inBWV641playanimportant
roleintherevision
stated.
patterns
oftheworkas BWV668.
55As itoften
is thecase,it is difficult
to be sureexactly
where
an addedvoicebea secondtenoror basspartin this
it wouldseemto constitute
longs;however,
thiswriter
hasnothadaccesstoan autograph
piece.Unfortunately,
copyto confirmor refute
thisreading.
of 14 notesfromthe
thepresence
Note,however,
ofthisparttotheendofthefugue.
entry
56Another
to the84 notesat theendofthelastpiececanbe seenat the
parallel
ofthefirst
Invention
( BWV 772), in whichtheuppervoicehas84
beginning
notesbefore
thefirst
restin thatpart(meas.7). Furthermore,
the25
bisecting
that41 -fbeatsofthisphrase(12 + 12Vi,meas.4), onefinds
43 construction
onceagain.Thissamedivision,
extended
divides
the50
intotheL.H.part,
evenly
notesofthatvoiceas well.Thesumofthetwoparts(134) might
the
represent
SOLIDEO GLORIAin gematria.
phrase
57Mus.ms.BachP 271,p. 106;facsimiles
inBG XLIV (Bl. 142) andNBAIV/2,
- theorgansonatas
contains
twolargesections
andthe
p. XII. Themanuscript
- separated
chorales
great
Leipzig
bytwoblankpages(56 and57). TheCanonic
- i.e.,pp.43-49ofthe
werewritten
on pp. 100-106
Variations
byBachhimself
section.(See description
chorale
byHansKlotzin NBA IV/2,KB,p. 15.) For
another
playon "43"and"49,"seenote58 below.
58Thereis a totalof 14 noteswhichbeginwhiletheretrograde
B-A-C-H
is soundthepagebeginswiththesecondhalfof
ing (see Ex. 7). In themanuscript,
meas.38,so thatthere
are49 (7x7) noteson thepagebefore
the84-note
passin a totalof 133 (7 X [7 -f12]) notestotheend.Fromthehead
age,resulting
ofthepagedownthrough
theretrograde
there
are43 notesin theL.H.
B-A-C-H,
and6 in thepedalfora totalof49,which,
withthe49 notesof the
combined
R.H.at thesamemoment
oftheB-flat),
a grandtotalof98
(theattack
produces
are49 notestothecompletion
oftheoriginal
(7 X 14) atthatpoint.Thus,there
motive
and49 moreto thecompletion
of theretrograde
version
in addition
to
the49 (R.H.) + 49 (lowervoices)vertical
the
arrangement,
thereby
reflecting
two-fold
division
of"84"as givenin thelastthree
measures.
Thenumerical
play
within
the84-note
to notevalues(41 thirty-second-notes,
21
groupmayextend
14 eighth-notes,
and8 longer
seeEx. 7).
sixteenth-notes,
notes;
59Thelowest
theuseofpedalsis necessary
since
partis notso designated;
however,
thehandsalonecannot
(seeKlotz,op.cit.,p. 106). Other
spanall theintervals
a subdivision
factors
atthispointinclude
thetotalof100notes
between
suggesting
theouterparts(84-f 16) and230 (120 altoand110tenor)between
theinner
voicesfora totalof 330 (33 X 10) in all parts.Furthermore,
thetwomiddle
crossat thisonepoint,
butnowhere
elsein thecomposition.
parts
(Thereis also
a transposed
B-A-C-H
hereon "F" whichis answered
oneon "C" in
byanother
meas.21- with14 notessounding
between
thetwo!A similar
can
procedure
- known
inthefamous
be found
chorale
inEnglish
as "Jesu,
accompanied
Joyof
Man'sDesiring" from
Cantata
twoB-A-C-H
contains
motives
147,which
separatedby 14 notes,
all in onepart,meas.47-50). The 14-f29 construction
of
attheendof WTCI (seediscussion
"43"is alsoevident
ofBWV869above).
60SeeNBAIV/2,KB,p. 105,n. 31.
61Thenumber
number
whosedigits
willaddto"14." Furthermore,
"59"is thefirst
thetotalsof "41" ( cantus
and"350" (14 X 25 = notesin all parts)
firmus)
involved
in thefourphrases
a newself-affirmation.
The number
"25"
suggest
a bitofa problem,
sincethere
is no traditional
involved.
Is it
presents
meaning
thatthisnumber,
whichis alsoprominent
in otherworks(e.g.,BWV
possible
10

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to himself
to Christ's
reference
as A and or "A andZ"
680) is an allusion
= 1 + 24? A somewhat
moreintriguing
is posedbythedoublerowof
mystery
as follows:
at thebottom
ofthepage,whicharearranged
figures
1089L h i A' JL i h
1. 2. 3. 4 5
In facsimile
(see note57), thedigits
appearto be in Bach'shandreproduction
mean?WeretheyusedbyBachin working
If so,whatdo thenumbers
writing.
themselves?
It
or do theycontain
outhisnumerical
meanings
symbolic
patterns,
whenaddedtogether,
thattheunderlined
is interesting,
however,
digits,
yieldthe
first
twoperfect
numbers
(55 + 15)
(6 and28), andthatsumofall thefigures
number
theotherwise
"70" (JOH.SEB.BACHin gematria;
significant
produces
total"14").
factors
14X 5; anditsprime
62A similar
as partof the
of theego hasbeensuggested
of purification
process
Bachund
inJohann
Sebastian
ofanother
lateworkbyErichSchwebsch
symbolism
Die KunstderFuge(Stuttgart,
1931),pp. 137ff.
63Seenote49 attheendofPartII ofthisstudy.
64Thecantata
usedintheMass;
oftheversion
lacksthefirst
sixmeasures
movement
in theinstrumental
is lessindependence
parts.(See note69 belowfor
also,there
thetwoversions.)
between
moreon therelationship
65The mirror-image
the
is obvious;however,
thenumbers
between
relationship
ifany,is notquiteso clear.It is likelythattheseandother
meaning
signified,
sets(e.g.,- 12 and21, 14 and41, 23 and 32, 34 and43, etc.) are
similar
Once
or evenalchemical
withcabalistic
transformation
origins.
symbols,
mystical
forthiskindof
a longtradition
whichsuggest
ofevidence
arescraps
again,there
TextandZahlin
zwischen
numerical
Zusammenhnge
play.SeeKeesVellekoop,
voorNedervande Verenging
artJacobObrecht,
derKompositions
Tydsschrift
XX (1966), p. 108. Another
landseMuziekgeschiedenis,
playon "48" is sugouttobe the48th
turns
intheMass,which
pageof14 staves
gested
bytheunused
pagepasttheendofofthePatrem.
N.B. Thispageandpages104 and 105 aretheonlyleaves
Dona
with14 staves,
although
p. 152 and theentire
couldhavebeenso notated.
66Bach'sZahlensymbolik,
Passionen
an seinen
34 (1937):
Bach-Jahrbuch
untersucht,
107ff.AlsoseeSmend,
op.cit.,pp. 10,17.
67Maren-Sofie
of Biblicalexegesis
: theinfluence
as prophecy
"Structure
Rostvig,
ed. A. Flowler(London,
in SilentPoetry,
of literary
structure,"
upontheories
is speaking
of
MissRostvig
specifically
1970), p. 41. In thepassagequoted,
to the
contribution
The entire
Cassiodorus.
essay(pp. 32-72) is an important
is deeply
andoneto whichthiswriter
numerical
of Christian
traditions,
history
indebted.
68See Antiquities
thecosmological
extends
III, vii/7and WarsV, v/5. Josephus
the
candlestick
tothetemple
(the7-branched
represents
furnishings
interpretation
vestthezodiac,
whilethe12 loavessymbolize
etc.)andeventhepriest's
planets,
theMiddleAgeswithreferweredeveloped
ments.
during
concepts
Quitesimilar
Dininorum
of
The Rationale
cathedrals.
enceto thegreatChristian
Officiorum
of theseandothertraditions;
it,in turn,
Durandus
(c. 1290),is a compilation
andusefor
tochurch
related
formatters
document
theauthorative
design
became
ofMedihundred
thenextseveral
significance
years.Formoreon thespeculative
rev.ed. (NewYork,
TheGothic
seeOttovonSimson,
evalarchitecture,
Cathedral,
thatthe"musical"
ratios
interest
1 and2. It is of particular
1962), Chapters
Also,the
(1:2, 2:3, 3:4,7:8) seemtohavebeenusedin mostoftheseedifices.
of
Bach'sconcept
oftheBiblicalstructures
axialsymmetry
mayhaveinfluenced
form(seenote20).
69Foryearsit hasbeenassumed
ofthecantata
moveis a parody
thatthePatrem
Cantata
111closely
whohavestudied
scholars
Whittaker,
(Spitta,
however,
ment;
as an origversion
withtheideaofthecantata
andothers)havebeendissatisfied
seemsto be a "revision
The manuscript
inalcomposition.
copy"of an earlier
a lostinstalNeumann
( NBA 1/4,KB, p. 105 f.) to suggest
work,
prompting
li

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mental
model(alsoseeMarshall,
op.cit.,pp. 19,30,154). Mightnotthemodel
havebeentheMassmovement
itself?If so,theideaofsetting
theentire
Latin
thecompletion
oftheKyrieandtheGloria'in
might
predate
Ordinary
actually
couldverywelldatebackto 1724 (Diirr'sdateforthe
fact,theconception
Sanctus
) orevenearlier.
70Thefunction
of"84"as a qualified
seemstoexplain
signature
whyBachusedit
at theendofseveral
collections.
Thelast3 measures
of Ciavierbung
important
Part111( BWV552) alsocontain
84 notes.
71A quitesimilar
hasbeensuggested
foratleasttwo
interpretation
byM. vanCrevel
masses(see critical
commentaries
Obrecht
hiseditions
of Missae
accompanying
Subtuumpresidium
andMariaZartin Jacobus
Obrecht
, OperaOmnia
, Vols.VI
andVII). Withreference
totheformer,
vanCrevelremarked,
"A microwithin
a macro-proportion,
oneis inclined
to callthisadmirable
pieceof architectonic
withthePythagorean-Platonic-harmonic
builtinaccordance
orcosmic-scale."
music,
theconcept
of orderthrough
it is
( MissaeVI, p. XXII). Regarding
numbers,
worth
thattheLatinwordordohasbothmeanings.
noting

Examples
Ex. 7. Bach,CanonicVariationson "Vom Him?nelhoch, da Komm!ich
her" lastthreemeasuresof autograph
version

Ex. 8. Bach,VordeinemThrontreich,meas.19-22of autograph

version

12

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