Próba przybliżenia zagadnienia symboliki liczb w muzyce Johanna Sebastiana Bacha w kontekście historycznym oraz badań Christopha Bosserta i grupy Bach-Societät
An Attempt to Approximate the Numbers Symbolism in Bach’s Music in Historical, Christoph Bossert’s Researches and Bach-Societät Group Context

Summary/Abstract: In 1947 Friedrich Smend has developed the theory about numerological symbolismin Bach’s music. In similar way to the cabalistic gematria, he discovered, the coinherenceof symbolic name “Bach” as the number 14, and “J.S.Bach” as 41. He claimed that it ispossible to find that Bach has used that symbolism in his compositions. The exaple ofthis operation is possible to find in the first part of ClavierÜbung: this work is made from41 movements, and was published as the first printed work from Bach in his life. AndBach started to write this work as he was 41 years old. On the Hausmann painting, Bachhas got the manuscript contain fragment of 14 canons. The painting was made becauseof Bach’s joining as 14th member to the Mitzler Society. Those simple conclusions leadto establish the international searching group for common platform for music, theologyand symbolical numbers in Bach’s ouvre. This group has mainly researched the text-basedworks, and did not focus on the correspondence among the series-work of Bach. ProfesorChristoph 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 constitutethe Bach-Societät group, which is focused on researches and discovering connectionsamong the theology, symbolism and musical structures in whole Bach’s music.

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