Music, Meaning and Bach

Just as we learn to speak a language, or to understand how meaning is conveyed in poetry, so there is a musical language – or more properly, languages – to be learnt.

Stapert, Calvin R., My Only Comfort: death, deliverance and discipleship in the Music of Bach (Grand Rapids MI / Cambridge UK, Eerdmans, 2000) is helpful (and accessible to the non-specialist) on how Bach “speaks”. Here are some examples of the techniques Bach uses to suggest meanings and associations (p14ff):

Music that suggests particular affects or emotions etc.:

A. In general:

Large, expansive musical intervals: joy;

Contractions: sorrow etc.

c.f. similar physical effects in the human body associated with these emotions

B. More specifically:

(1) Dance types associated with particular effects:

minuet: moderate cheerfulness;

gavotte: jubilation;

courante: sweet hopefulness.

(2) Styles:

French overture: dotted rhythms, ceremonial pomp e.g. victory celebration or funeral of king – other factors tell us which

(3) Instruments with associations:

trumpets: majesty, glory;

the oboe: love (in Bach);

can be used in combination: e.g. majestic love

(4) Compositional techniques:

canons are used (a) with associations of rule and authority, because of the meaning of the word “canon”, measuring stick, rule etc. (b) with ideas of following in imitation (e.g. discipleship) since this is what the parts in the musical canon do

(5) Keys with particular associations:

D Major: majesty and splendour;

E Minor, the central theme of St Matthew’s Passion, suffering

(6) Relationship / movements between keys:

Flats / lower: e.g. sorrow / milder / soft / feminine characteristics: e.g. gentleness, sympathy

Sharps / higher / harsher / hard / masculine characteristics: e.g. strength,

Flat or sharp could be used positively or negatively depending on context

(7) Use of melodies associated with particular lyrics without the words being used but with which listeners will still associate the music

(8) Form:

Chiastic structures – repetitions of the form ABCACBA – suggestive of the cross

Arrangements of the notes in the score so that they form crosses! (see diagram on p17)

(9) Number symbolism:

(a) 3: Trinity

10: 10 commandments, law

Christ:

2: second person of the Trinity (Son);

33: Jesus’ age at the crucifixion;

5: Jesus’ wounds at crucifixion (hands, feet, side);

5: the 5 “mysteries” (revealed truths!) of Jesus’: incarnation, death, resurrection, ascension, return

(b) Numbers assigned to letters: A,1; B,2 etc.

Possible number symbolism of Bach (14) and J. S. Bach (41) – disputed (see p17)

(c) Number of bars and notes in a work

(10) Notes used for letters: BACH = B flat, A, C, B natural (see p18)

Stapert gives a number of worked examples of these techniques, such as the key part of St Matthew’s Passion when the crowd shout “Crucify Him!” and the aria is “For love will my Saviour die” sung by disciples, soprano with flute and two oboes. The music is unique (in ways Stapert explains) in the Passion and so stands out as its interpretive heart.

As Stapert says, Baroque composers were not as bothered as the Romantics about being original. Like orators using rhetorical techniques, the Baroque spoke a common language with established conventions – an accepted musical parlance - and wanted to be understood.

Bach aims to persuade his listeners of the truth of the gospel and move them to the Christ-like virtues of discipleship. His music is an invitation.