Source: Magazine "Rosicrucian" Rosicrucian Fellowship of Portugal
Translated text on above links:
The Rosicrucians and Baroque Music
Johann Sebastian Bach
Johann Sebastian Bach and the Rosicrucians
The sound has a physical influence as important as the intellectual, emotional or spiritual. The body reacts demonstrably certain resonances, tones
and rhythms. The Church in the High Middle Ages, knew that power. He used it to provoke reactions defined in believers.
With the secularization of music, also the culture, before confined to monasteries, spread into the popular domain. The music is heading, then,
increasingly, to connoisseurs, in contrast to the sacred music for the crowd eager for satisfaction religious rather than aesthetic and
The secularization of music, begins with the troubadours and reaches its peak with the oratorios of Johann Sebastian Bach and the music of Heindel.
Vitality and Rigor
The spiritual mission of Bach was to promote unity of the intellect with the soul. The remarkable mathematical rigor of his music appeals to the
intellect while the feat Music awakens the powers of the soul opposing the materialistic West.
Bach lived in the historical period we call "Rosicrucian period" between the Renaissance and pseudo-scientific revolution of the eighteenth century.
It was not alien to the Rosicrucian influence and became apparent on one of its members. Bach announced that membership in the baroque way, in code,
according to tradition. In fact, the first vote is the start of the silence.
No real brother calls himself publicly, "Fellowship" and therefore one who publicly proclaims one of them, already by that fact is not.
The initiates, and they alone know who in the past were Rosicrucians, because in his works shine unmistakable signs, words and phrases that link the
fraternity, although they are hidden from the profane.
Let us follow the thread of Ariadne through the labyrinth and outline some of his works to find the communication that we seek.
The "Fame Fraternitatis"
The Fraternity was publicly revealed in 16l4, as editing a document titled "Fame Fraternitatis (Echoes of the Fraternity) of the Most Laudable Order
of the Rosicrucians. Its authorship is attributed to J. V. Andreia.
This work describes the life of Christian Fellowship (Christian Rosenkreutz), who founded the Rosicrucian Fellowship. Explains how Father Fellowship
was buried, after leaving the physical body and how the society of the Rosicrucians was kept secret for 120 years.
When it began the transformation of the temple, the Fraters ripped from the wall a brass plate, revealing a secret door, bearing the inscription Post
CXX annos Patero (after 120 years will be open).
This door gave access to a temple with seven sides, vault, with inscriptions of familiar symbols.
In the middle of the room was a round altar with various inscriptions. In one of them read: "ACRC Hoc Universi Compendium Vivus Mihi Sepulchrum
Feci" (In life I gave to me as a tomb, this summary of the universe).
Bach used the coded language of numbers in all his work. According to tradition, the origin, order, harmony and the influence of the heavens can be
explained by means of certain operations based on the numerical value of letters.
Each letter in addition to the numeric value, also contains an idea because the word and number combined, according to the Kabbalists are the
instruments through which God called the cosmos into existence.
I mean, the numbers can not be understood only as a useful means to logically order the universe, but also as symbols of the Absolute.
Thus, according to the Talmudic rule, each letter has a certain numerical value. Based on this equivalence Bach wrote his work in a logical schema
that can be neither intellectual game or simple coincidence.
Author of a vast work, including songs, dances, church services, etc.., Bach uses the ambiguity of the veil, which is both transparent and opaque to
reveal their membership of the Rosicrucian Fellowship.
The first veil was woven by determining the numerical value of his own name: Bach (A = 1, B = 2, etc.). As was customary at the time, "J" had the
same value as the "I" and "U" the same as the "V". The result is 14. Will use this number frequently.
The Christmas Oratorio is 14 crowns and 14 arias. In the Passion According to St. Matthew, Christ "sings" in 14 recitatives, etc..
In the second veil is the link between his name and Christian Rosenkreutz (Christian Fellowship), using also the numerical equivalent. 97 is the value
of the word Christian (Christian) and 155 corresponds to Rosencreutz (Fellowship), totaling 252.
He used this symbolic figure in a number of works for keyboard instruments. The author called "Inventions" to a group of these works. There are 15
pieces in 2 parts or "voices". In a second group called them "Symphonies." There are over 15 pieces, the "3 parts".
The symphonies are written in various shades. The most important starting with C (do) more (the 1st Symphony), C (do) less (the 2nd symphony) and D
(re) higher (third), etc..
In this group there are scores written with the same tones and the order in which the author would write his name BACH, ie
B A C H
Si la si (flat)
As long as the number of bars all of these four scores observed that: the Symphony No. 14 in B-sharp is 24 bars, the No. 13 in A-flat is 64, the No. 2
in C-flat is 32 and No. 15 H has 38 flat.
The sum of the scores of these four bars is 158, which is the numerical value of his name: Johan Sebastian Bach.
In the group of "Inventions" there are also parts with the same tones. The number of its bars is as follows: 20, 25, 27, 22, adding 94. The addition
of 158 + 94 gives the result 252, which is the numerical value of the name of Christian Fellowship, in German!
The antiquity recognized the existence of a higher reality, inhabited by invisible energies. From the man, she naturally placed in the center, the
universe was divided into a triad of manifestation.
Bach follows a similar trend. Part of self-knowledge, their profundity, of interiority, for transcendence. Weaves, finally, the third veil, basing the
structure of some works in the numerical value of the key phrase found in the temple where was the tomb of Christian Fellowship.
The numerical value of words of this sentence is: ACRC, 24; Hoc, 25; Universi, 111, Compendium, 107; Vivus, 87; Mihi, 38; Sepulchrum, 129; Feci, 23.
Sum: 544, which is the sum of all bars of the 15 symphonies.
In the Christmas Oratorio and Magnificat, among other works, Bach joins the other 544 number that we see, relate to a date.
Based on years of the birth of Christian Fellowship in 1378, according to Fraternitatis Fame, which led to the "calendar Rosicrucian", Bach shows,
many years before, the day, month and year of his own death. Found the days and months in the work Magnificat, surrounded by the numerical value of
In this piece for chorus, soloists and orchestra, the chorus (Fecit Potenciano) is of particular importance. It occupies 28 bars in quick time (the
text begins by Fecit Potenciano ...) and another 7 in slow tempo (the text begins by Mentecordis sui ...). The sum of all the measures of the piece is
579, as it follows:
28 + 7
544 + 28 + 7 = 579
Thus, we have the day (28) and the month: July (7).
If we analyze now the last 3-trio sonatas for organ, we see that:
The Sonata No. 4, has 207 bars;
The Sonata No. 5, is 372 bars, and
The sonata No 6 has 337 bars.
The sum of the bars of the fourth and the sixth is 544! The sonata number 5 is 372. The sonata is the key for determining the year, because he had
initially 155 bars, with numerical value equal to the word Rosicrucian (Rosenkreutz).
Bach was to die, so in the year 372 of the Rosicrucian calendar, which begins in the year of the birth of Christian Rosenkreutz: 1750 of the Gregorian
calendar, or 1378 are +372.
In view of this interesting revelation, we can only thank, as Plussihem the first known composer Felix Mendelssohn, for having "rediscovered" Bach
in 1829, 79 years after the death of the architect of music, by then almost forgotten, and "find the grave of Brother JS Bach which might as well be
engraved the words "Post Anno patebo LXXIX.
Christmas Oratorio (BWV 249, the St. Matthew Passion (BWV 244), Inventions, the two parties (BWV 772-86), Inventions (Sinfonias) to three parts (BWV
787-801), Magnificat (BWV 243rd).
Source: Magazine "Rosicrucian" Rosicrucian Fellowship of Portugal
[edit on 4-3-2010 by hawk123]