Hoi Taco > What is __the__ book on bach's numerology? There are several ones, the > classic > 'goedel, escher, bach' and another by tutlow/tatlow(?) come to mind.
'Bach en het Getal' by Van Houten en Kasbergen (De Walburg Pers 1985). It's in Dutch, but here's an (OCR sorry for the mistakes) scan of the English summary: +++++++++++++++++++++++++ Summary In 'Bach and numerology' the authors attempt to show, with a host of well-documented examples, that it is highly probable that a certain form of number-symbolism played an essential role in the life and work of Johann Sebastian Bach. The cogency of this view is based upon the fact that the many given examples continually highlight the same phenomenon. This applies not only in the case of small notational detail, but also to complete musical structures e.g. the Goldberg Variations taken as a whole. This theme is allied to a very profound almost superhuman esoteric train of thought. The author's method of approach remains the same throughout: Names and conceptions are converted into figures using the numbers of the Roman alphabet e.g. Bach = 2138, sum 14. The process is also used in reverse with bar groupings and sums of notes etc. producing numbers which in turn represent names and conceptions. It is not possible to discuss in detail the limits of this method in this summary. In any case, the credibility is strengthened by the fact that this method has been consistently applied and that the resulting notions form a logical relationship. Moreover, the authors confine themselves mainly to examples which encompass a complete composition. The esoteric nucleus is approached step by step, a nucleus in which all factors are brought together and from which a cohesive understanding of the whole can be reached. In the first chapter (`The name Bachsigns and pointers') it is made clear, with the aid of 25 precisely worked out examples, that Bach interwove his name in his compositions in refined and diverse ways. Once the reader is convinced of the fact that these `signatures' are indeed present, the next step can be taken. This step (chapter II: `Bach and the Rosicrucians') may initially strike the reader as a leap in the dark. A connection between Bach and the Rosicrucians may indeed seem less likely than the fact that he continually incorporated his name in his compositions. One must be alive to the fact however that even the latter can never be proved, only the plausibility of the arguments and the outcome is decisive. In the second chapter it is convincingly demonstrated that Bach also incorporated an epitaph in his works. This tomb inscription forms an essential part of the official Rosicrucian charter, the Fama Fraternitatis RC (1614). This is most apparent in the series of 15 three-part Sinfoniae. The epitaph (`ACRC Hoc Universi Compendium Vivus Mihi Sepulchrum Feci') has a numerical value of 544 (ACRC = 24, Hoc = 25, Universi = 111, Compendium = 107, Vivus = 87, Mihi = 38, Sepulchrum = 129 and Feci = 23). The total number of bars in the three-part Sinfoniae is 544 and thus corresponds with that of the epitaph. Further research reveals that the 8 words of the epitaph are precisely reflected in the number of bars contained in the Sinfoniae. This can be arrived at in 8 different ways which Bach brilliantly narrows down to one by means of a possible parallel in the corresponding series of 15 two-part Inventions. Consequently the entire example assumes an intentional and convincing character. This is important as the 15 Sinfoniae produce the only rounded total of 544 in the works of Bach. The bar totals are in this case so small that the epitaph can be fitted in without having to split up larger sections on the basis of musical analysis. In works other than the Sinfoniae 544 occurs in combination with other numbers. This forms the starting point for the last step towards the essence of the subject. In the Magnificat in D the 544 encircles the chorus `Fecit potentiam', the 35 bars of which divide naturally into 28 + 7. In the case of the last three organ sonatas, the fourth and sixth produce a total of 544 bars. They in turn encircle the fifth which comprises 372 bars. In the third chapter (`Johann Sebastian Bach 21 3 1685-28 7 1750') a possible explanation is put forward for the meaning of these numbers. In Rosicrucians writings the date 1378 is given for the birth of Christian Rosencreutz. In the same way that the Christian era is calculated from the birth of Christ, we can also imagine a Rosurucian system in which the year 1378 is identified by the figure 0. Johann Sebastian Bach was born on the 21 st March 1685 or 21 3 307 (1685-1378 = 307) in the Rosicrucian calender. He died on the 28th July which in Rosicrucian terms is 28 7 372. This leads to an improbable but inescapable conclusion: it appears that Bach employed the epitaph , Christian Rosencreutz in the Sin foniae. In the Magnificat the epitaph encircles 28 + 7 and in the lan t h;: ~; organ sonatas it encircles the number 372. In relation to this inscription we find in one case 28 ' and i: the other case 372, the date and year of Bach's death when calculated by the Rosicrucian calendar. T Magnificat dates from 1730 and the organ sonatas probably date from 1727. [n other words Bach rately registered the date of his death in relation to the epitaph long before the actual event. The overall structure of many of Bach's most important works is dealt with in the context of the abov e vr.sights into the esoteric relationship. The connection Bach - Rosicrucians (epitaph) - date of death, h~:comes more and more evident and the numbers involved are very relevant to Bach himself and have a t u,~damental symbolic meaning. A special chapter is devoted to the number 23869, the total sum of the days of Bach's life. The last chapter deals with the question of the development of Bach's esoteric insights and poses the question whether a clear beginning and ending can be indicated in the course of his life. lt appears that the whole phenomenon is already to be found in the early cantata 'Gott ist mein Konig' (1708). It thus seem, that even at the age of 22 Bach was well aware of his final destiny. On the other hand, the choral `Vor deinen Thron tret' ich' is evidence of the fact that even in his final hours Bach was still making use of the numbers relevant to Rosencreutz and to the date of his death. The substance of `Bach and numerology' may be considered both sensational and questionable and aa such is very vulnerable. This summary offers no opportunity for argument and can therefore produce a negative effect. The reader must be well aware of the fact that the most convincing arguments are the examples to be found in this book. +++++++++++++++++++++++++++ > I would love to hear your analysis of Madonna. I'll play it for you, next time I see you. An analysis should be pretty obvious: B-major, mostly I VI IV V. I don't know about numerology here ... But I did fill 4 pages of writing about it (just looked it up again). David To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
