Numerology in Bach's Music

Johann Sebastian Bach (1685-1750) was deeply interested in symbology and ciphers. His works often contain a special significance connected with the number 14, since this is sum of the letters in his name (B=2, A=1, C=3, H=8). He was also fortunate to have a “musical” last name, each letter of which can stand directly for a musical pitch. To understand how such a motive works, we need to address how Germans refer to musical pitches. Many of the pitch names are the same as in English: C, D, E, F, G, and A. But there are a few crucial differences which make it possible to represent the letters of Bach’s name in tones. Everything hinges on the letter “H,” which in German parlance refers to the pitch B-natural. Just to make it confusing, the Germans use “B” when referring to what we call B-flat. Confused?
This curiosity makes Bach’s name musically very interesting. BACH translates to the pitch pattern B-flat, A, C, B-natural. This motive contains two falling semitones (B-flat to A; C to B-natural) that convey tension and a searching quality. The four pitches imply some kind of modulation or chromaticism since A, B-flat, B-natural and C do not appear together within a single key. Thus, drama about the tonal center—and even whether the motive is tonal at all—becomes a point of inspiration for composers exploring the name’s musical potential. It’s not surprising that members of the Bach dynasty, including Johann Sebastian, used the family name as a theme. He wrote at least one fugue on the BACH subject, as we will see, and in the 19th century many composers wrote variations on the theme.

(c) Jason Stell