Week Eleven

 

Sound Title Transport

Thema of Passacaglia, J.S. Bach BWV 582; point. Importance of structure extends far beyond this work; the "secret" division of the piece into six groups has special significances in number symbolism, traditionally an occult subject, along with what we call "science". Also conforms to architectural and rhetorical devices.

Statements 2-4, ends first subdivision; anabasis, catabasis, combination of 2.

Statements 5 and 6; second subdivision; line
Statements 7-9; third subdivision; triangle (equilateral)
Statements 10-13; fourth subdivision; square; at statement 13 have 21:13 (there are 21 variations, note differences in texture and rhythm at this point notating Golden Section)
Statements 14-18; fifth subdivision; equilateral pentagon (method of construction difficult and its geometric method of construction reserved for initiates, who had to apply the golden section to arrive at the shape). The music lends to division into two parts unless looked upon geometrically. Fourteen is also Bach's number.

 Statements 19-21; sixth subdivision; hexagon, two triangles used to construct; resonates with Group III.
Fugue starts at the end of 21, is the 21st variation, and consists of the first half of the theme joined with the second half of the theme played at the same time--a double fugue. Twelve (21) subject entrances, 3 in each of four voices.
Theme derived from Andre Raison's famous trio; theme contains both Bach's and Buxtehude's initials. Neopolitan pause on Db major would have sounded very bad on most organs of Bach's day. Bach's numerology was certainly similar to that of Werckmeister, who developed temperments with Bach and whose theoretical work was published at the time.