An attempt to approximate the numbers symbolism in Bach`s music in historical, Christoph Bossert`s researches and Bach-Societät group context
DOI:
https://doi.org/10.15633/pms.1117Keywords:
Bach, Smend, Societaet, Societät, Bossert, Christoph Bossert, Lorenz Mitzler, Mitzler, Kolof, musica theologica, Philipp Nicolai, signature, Gesamttakt, symetry, Clavieruebung, Clavierübung, symbolism, symbol, numbers, number, Hexachordum, gematriaAbstract
In 1947 F. Smend has developed the theory about numerological symbolism in Bach`s music. In similar way to the cabalistic gematria, he discovered, the coinherence of symbolic name Bach as the number 14, and J.S.Bach as 41. He claimed, that it is possible to find that Bach has used that symbolism in his compositions. The exaple of this operation is possible to find in the first part of ClavierUbung: this work is made from 41 movements, and was published as the first printed work from Bach in his life. And Bach started to write this work, as he was 41 years old. On the Hausmann painting, Bach has got the manuscript contain fragment of 14 canons. The painting was made because of Bach`s joining as 14th member to the Mitzler Society. Those simple conclusions lead to establish the international searching group for common platform for music, theology and symbolical numbers in Bach`s ouvre. This group has mainly researched the text-based works, and didn`t focus on the correspondence among the series-work of Bach. Profesor Christoph Bossert with his over 20 years of his research work discovered the special code, which Bach might to used for his compositions. Based on that discoveries, he constitute the Bach-Societät group, which is focused on researches and discovering connections among the theology, symbolism and musical structures in whole Bach`s music.
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