I have a thing about numbers. I don’t think it is an obsession, but there is something there that has an effect on me. I seem to prefer even numbers or numbers that can easily be divided. Even numbers that can be divided by more numbers seem especially good, so 24 is better than 22 or 26, but all are better than 21 or 23. 25, despite being odd, is good because it is made up of five fives.
How does this manifest itself? Let’s say I am setting the volume on my car radio, or selecting time on my microwave. I will pick certain numbers over others. On my car radio 10, 12, or 14 are my normal choices. I’ll go to 11 if I have to, but I really avoid 13 (that may be another issue). I don’t think it rises to the level of an obsession because I can live with the less desirable numbers if I have to. It is just a preference.
What does that have to do with my role as Artistic Director of a significant music festival? Normally not very much. However, this year may be the exception. Like most program planners, I often take an initial look at which composers may be up for a special celebratory year. This year for instance it turns out to be Leonard Bernstein’s 100th birthday anniversary. He is being well recognized by many musical organizations. Unfortunately, he wrote virtually no chamber music. Generally speaking, I actually don’t really like the anniversary thing unless it is a particularly big one because so many other organizations do the same thing. It often seems a little too routine and unimaginative, but I usually take a look, as a matter of course, to see which composers are up for special treatment.
When we started to plan this year, I did a little investigating, but couldn’t find much of note beside Bernstein. However, as I was checking out Haydn (286), Beethoven (248), and Mozart (262), I discovered something interesting about J. S. Bach. On March 31, he turned 333! Well, that number speaks to me. I can’t quite explain it. I guess there is a little Rainman in me, but I don’t have his kind of ability to remember numbers. When I hear telephone numbers in a radio commercial, I am amazed that they think someone can remember ten numbers said so quickly, even if they repeat them. If I can relate the numbers somehow, I can remember them. 800-246-2468 might stick, but if it is 800-215-3841 – forget it!
However, the reason 333 speaks to me about Bach is more about Bach than my own peculiar numerical interest. We know Johann Sebastian had his own numbers thing – one much more interesting than mine. Part of Bach’s numerical fascination stemmed from his own name. In his part of Germany, there were so many musicians from his large family going back generations that the name Bach became a kind of nickname for a musician. Johann Sebastian was thus proud of his name and used it occasionally as the theme in some of his works. “B” in German usage stands for B-flat, while “H” stands for B natural. Therefore, his name could be spelled out musically as B-flat, A, C, B natural. Ever since Bach’s time, other composers have used the same theme to honor Johann Sebastian.
However, Bach also gave his name a numerical value. As the second letter of the alphabet, “B” equaled 2. In the same fashion, “A” was 1, C was 3, and H meant 8. Therefore, the total of 14 was the numerical symbol for “Bach.” Especially as he got older, Bach became more and more fascinated by such numerical symbolism, so made up themes of 14 notes, or 14 entrances of a subject, etc. He also used the reverse number, 41, in the same manner. This is just a small example of Bach’s interest in imbedding numbers in his works, as if writing beautiful and complex counterpoint was not enough. Numerous articles and whole books have been written on the subject.
In addition, Bach also revered the number “3” following a tradition among composers that goes back to the Middle Ages. It was a symbol for the Trinity. That is why the Kyrie and Agnus Dei of the mass each have three parts. Three was a perfection – much better than two. Therefore, triple meter was deemed more reverential than duple meter.
So when I realized that Bach was turning 333 this year, I thought, he especially would really appreciate this birthday, and it would probably be more significant to him than a round number like 100 or 200. Since we haven’t done any Bach for several years, it seemed like the perfect time to pull together some of his greatest masterpieces for an all-Bach birthday bash. This will require our largest ensemble in sometime, really a small orchestra, and it will feature four different soloists – David Perry, violin; Margaret Butler, oboe; Heather Yarmel, flute; and Mark Shuldiner, harpsichord.
This unique celebration (perhaps the only 333 Bach commemoration in the world) starts at Woodwalk Gallery on Wednesday, July 18th, and continues on Friday, July 20th at Sister Bay Moravian Church, Saturday at Old Gibraltar Town Hall in Fish Creek, and Monday, July 23 in a special dinner concert at The Fireside Restaurant in Ellison Bay. All concerts start at 7:00 pm except for the Fireside dinner concert, which begins at 5:00. For tickets or more information, please call 920-854-7088 or visit www.midsummersmusic.com. Of course, in the spirit of the occasion, we will salute Johann afterwards with birthday cake and other goodies.