Johann Bessler's small world of paragrams and chronograms.

It was while seeking for corroborative evidence that Bessler's MT 137 was derived from David Heinichen's circle of fifths (see my page at http://www.theorffyreuscode.com/html/mt_137_a.html ) that I found a thesis describing how JS Bach, a friend and colleague of Heinichen, had included in his works a system known as alphanumerics; the subject of numerology and the old Hebrew system of Gematria involved the use of similar alphanumeric manipulation ..and of course so did Johann Bessler.

In 1947 Friedrich Smend, published the first of four studies in which he presented his theory that Johann Sebastian Bach had used a alphanumerics to incorporate significant words into his music as part of a grander scheme of compositional number symbolism. Smend collected historical testimonies and musical examples which confirmed his theory,

By the seventeenth century, alphanumeric were known about in many parts of Europe. They seem to have been most popular in German-speaking countries, where they were most frequently used as a means of solving mathematical puzzles,decoding cryptographic messages, in cabbalistic gematria and in the poetical paragram. It is common knowledge that Bessler was fascinated by paragrams and used them extensively throughout his works, most obviously in the form of chronograms.

These paragrams were described by a certain professor Christian Weise, in one of his many publications. He was headmaster of the school In Zittau that Bessler attended. He became Bessler's mentor and his teachings had a profound effect on him.  Professor Christian Weise was famous as a German writer, dramatist, poet, and teacher.  Although he was Rektor of the Zittau school, he had previously worked at the court of Duke Augustus at Weissenfels.  Following his success at designing, building and exhibiting his perpetual motion machine at Gera and Draschwitz, Bessler had moved to Wesenfels in 1714, where he worked on the new two-way version of his wheel.

JS Bach applied for the position of the organist in Weissenfels but failed to obtain the post then, although he wrote works in praise of the Duke later, so there was no bad feeling between them. In 1717 David Heinichen became a colleague of Johann Sebastian Bach and in 1721, Heinichen married in Weissenfels where he had been born and where he lived for much of his life. I continue to believe that Heinichen passed on to Bessler his ideas on the circle of fifths because they all lived and worked in close proximity to each other and their fields of interest, music and organs overlapped, but I suspect that the alphanumeric system so popular in Germany at the time was also discussed.

It seem to have been a small world in which Bessler lived.  His headmaster worked for many years in Weissenfells, where JS Bach and David Henichen also flourished. Bach used some of Weise's poetry in his operas.  He wrote his own version of the circle of fifths which, although it bore no similarity to Heinichen's was based on the same theory.  Weise wrote knowledgeably about paragrams and it would seem unlikely that Bessler would not have leaned all about these popular number-alphabets directly from his mentor.

I'm writing a longer article examining these paragrams as they may hold one of the keys to deciphering much of Bessler published te xts. I'll publish it later on one of my websites.

PS the above information I culled from a varierty of web sites too numerous to mention, other than wikipedia.

JC

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