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The Diapason an International Monthly Devoted to the Organ, the Harpsichord and Church Music

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The Diapason an International Monthly Devoted to the Organ, the Harpsichord and Church Music THE DIAPASON AN INTERNATIONAL MONTHLY DEVOTED TO THE ORGAN, THE HARPSICHORD AND CHURCH MUSIC Sixty-Seventh Year, No. ! - Whole No. 795 FEBRUARY, 1976 SYITIbolisln In .I. S. Bach's Prelude and Fugue lin E-.lal And 115 Enecl On Per'orl.~ance By John David Peterson SYMBOLISM IN THE Rcligious symbols may be pictorial or ment stating belief in God the Father is bers are 29 «(he sum of )-S·B and S·D· MUSIC OF BACH numerical according to their content; in 412: the movement with the words G, which are the initials of the ascrip­ they are expressed in music metrically. "and in one Lord. Jesus Christ" is in tion Soli Dco Gloria/ and 59 (21 + 38, The presence of hidden signs and melodically. or compositionally. One 4/ 4; the movement for the Holy Spirit or BA + CH) . Mult pie! such as 42 symbols in music is 50 pervasive in the pictorial Sign is the depiction of violent is in 6/8. A similar progression exists in (14x3) are as significant as the originals. Baroque that it is often thought of as weather in the turbulence and concitato Cantata 129: the pan for the Father is Bach often signed his name to a the peculiar province of that era when. writing of the chorus "Sind Btille. sind in 4/4: for the Son. 8/8: for the entire work by relating important musical in fact. every period in Western music Donner in Wolken verschwunden" Trinity. 6/8. events with one or more of these num· history has worked with its own tif.yle ("Ha\'c lightnings and thunders in Melodic figures. not inherently math· bers. A structural idiosyncrasy may oc· of extra-musical associations. The ap­ douds disappeared', from The Pas· ematical. are generally more involved cur in the /durteenth measure of a parent pre-eminence or the Baroque In ~i()n according to St. Matthew. Another with pictorialism than are the metrical piece (e.g.. startling chromaticism in this regard is due largely to our venera· hi the writing o[ music having to do symbols. Fast scalewise passages may "Herr Jesu Christ, dich zu uns wend". tion of the late. speculative works of with Shepherds in the com'entional mao represent angels (Orgelbiichlein, "Vom nwv ·709, which also contains the mel· Johann Sebastian Bach. whose manipu­ jor key and compound triple meter o[ Hunmel kam der Engel Schaar'') • odic motive B·A·C·H: or double pedal lation of symbols was truly virtuosic. the pastorale; the most familiar exam· douds (Cantata 26. opening chorus) , in "Christum wir sollen loben schon" Much like the Medieval artists who pies of this come not from the music or watcr (Cantata 26. the tenor aria). from the Orgelbilc1,lein ) . The number built and adorned cathedrals in a com­ of Bach but from Christmas music of Chromaticism was often used in the o( measures in a section of music or in plex symbolic code "showing men onc other Baroque composers, notably Co· baroque to signify grief: in conjunction an entire piece may be a Bach number; thing and inviting them to see in it the relli (the "Christmas" Conceno, Op. 6 with religious thought it often symbo. the final section of the Fugue in F rna· figure of another:" Bach created an No.8) and Handel ("Pasto.ral Sym· lized the Passion of Christ (Mass in D jor, BWV 540. is 59 measures long; in imposing edi£icc out, of the symbolic phony" and "He shall f~d his flock" minOT. "Crucifixus:" Cantata 78. the the Prel1lde and F1lgue in C minor., treatment of musical materials known lrom Atessial,). The numerical sig· opening chorus) . The suspension. aural· BWV 549, the prelude is 29, the fugue as the "doctrine of affections" which nificances, all of early Christian and ly a dissonance and visually a picture 59 measures long. The only piece in he had inherited from his anistic prede­ Medieval origin, are briefly explained o[ Christ's outstretched arms, is another the Orgelbiichlein which uses double cessors. The distinction between this below. figure for the Passion. pedal and has a single cantw /irmw in anachronistic. almost Gothic technique Or,elbiichlein, "Da Jesus an dem a voice other than the soprano was and a Wagnerian sort of leitmotivic or­ 1 prime: the unity of God Kreuze stund" originally projected a5 the fourteenth ganization (to which it bears a superfi. 2 the divine and human natures of C'Christum wir sollen loben schon',. cial resemblance) has been generally One should not make the mistake of recognized since the writings of Arnold Christ 3 the Trinity; the Holy Spirit presuming that he will hear all of these Schering.· We will first provide a cata· 5 the wounds of Christ The figures in the last of our three symbols blaze to life in a sensitive per. log of the most common of these sym. 7 the gUts of the Spirit fonnance. While many symbols can boIs as Bach used them. and then dis· categories use compositional techniques cuss their significance in the pieces in 9 a Trinity number (3x3) to effect symbolism. A cantus tirrnw in help a performer in choosing tempi, Book III of Klavier·Uebung. 2i a Trinity number (8x8x!l) a piece dealing with Christ is often registration. and other musical prob. A chorale text or a pictorial image found in the middle voice, as Christ was lems, the symbolic reason for the de· drawn from the Bible or Christian dog· The metrical expression of symbob (he Mediator (German Mittler. from cision will probably go undiscemed in ma may suggest to the composer a mu· is ineVitably bound up with reJigious Mitte. middle): one connected with the perfonnance, and many of the symbols sical figure or techni9.ue. This may ap· numerology rather than pictorialism. Holy Spirit is often found as the bot­ are completely inaudible. Bach's tech· pear once in a piece hke a sign. or may God the Father, as origin of all and tom voice. as his inspiration is the basis, nique is the objective, impersonal pro· become the organizational basis for an therefore prime, is associated either 01' ground, of the Christian faith (Eigh. jection o( symbols. Though they will entire composition. A typical example with no particular number or else the teen Chorales. "Komm, heiliger Geist" be noticed by a (ew initiates. their con· in the music of Bach is the canon. As number three, for the Trinity (as it in F major). "0 Lamm GotleS," from scious recognition is not important for one voice obeys the other. it may depict is in the all'encompassing concept of the same collection, illustrates a pro· the listener. They fonn, 'Juite simply the obedience of Christ to God the God that the individual persons of the gression in position of the cantw: in - and the adjective here IS important Father (this is a very common symbol Trinity exist). His ancient majesty may the verse to God the Father it is in the - a lecret language. , for the Passion: see Orgelbiiclllein., 0 be symbolized by a musical setting in soprano. in the verse to God the Son in the alto, and in the verse to the Lamm Cottes." "Christe, du Lamm Got· old·fashioned rica-care style with long KLAVIER-UEBUNG, BOOK III les," "Christus, der uns selig macht:, notes. a rhythmic conception which Holy Spirit in the bass. The consistent The same technique may ilIustrale some· implies no regular metric organization answering of a motive by its mirror· thing entirely different; as one voice (Magni/icat, "Sicut locutus est:" Mass fonn may depict the answering of pray· Bach's usc of symbolism reaches a high leads the other. it may illustrate a pray· in B minor. "Credo in unum Deum", er, as prayen rise to God and God's point in the four books of Klavier· er that the Chrfistian be led in the way God the Son is the second person of answers descend (Eighteen ChorDlel, Uebung. His signature is found hidden of truth (Orgelbiichlein., "Liebster the threefold god, and so is associated "Wenn wir in h6chsten Nothen sein", throughout: in the 41 movements of Jesu") ; or may even show in the testi· with duple meten - especially 6/8, a These figures, and othen like them, the first book. the 14 of the second, mony of the two false witnesses from triple subdivision of two - and with (orm an intellectual bridge which spans and the 27 (2x7= 14) of the third. The The Passion actOrdiflg to St . .Matthew the opposition of two to three (Orgel. from a basic part of the text into a 82 movements of the Goldberg Varia· that one is merely imitating the words bilchlein., "]n dulci jubHo:" "Vom Him· musical setting, thus allowing the mu· tionl (aria. 30 variations. and aria da or the other. The specific ' Significance mel hach," BWV 738) . God the Holy sic to do wordlessly the work of music capo) which comprises Book ]V bring always depends upon the immediate Ghost. the third person of the Trinity, with words. tbe total of the movements in the four circumstances of the textual and/or pic. is often siginified by a triple meter, Two kinds of signatory figures are as· parts to 114 (2 + Ix38, or B + AxCH). torial derivation. ]n much the same way especially a compound one such as 9/8 sociated with the name Bach. The first The figure 27 for the third book also Medieval artists could use the lion as or 12/ 8 (Eighteen Chorales, "Komm, is a melodic figure, the well·known has a religious significance.
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