Another revelation of Life is recorded in the third world and is perhaps the most vivid of all evidence, as it is presented in the form of a solution, and that is the solution to one of the greatest mysteries in the field of classical music. Thousands of musicians and music historians around the world have grappled with it, but so far, in 293 years since its creation, no one has succeeded in deciphering it. The secret is connected to the musical genius Johann Sebastian Bach and his masterpiece Passacaglia in C minor, designated BWV 582.
It is known that J. S. Bach often hid messages in his musical works, encoded in the musical notation. And since the original manuscript of the Passacaglia is considered lost, so it is not even known when it was written, it has become one of the hottest topics and the subject of numerous discussions in the music world, speculating whether Bach also hid a message in this exceptional musical work.
In 1717, in Dresden, where J. S. Bach lived and worked at the time, the famous French composer and organist from the court of the French King Louis XIV, Louis Marchand, visited. At that time, the still little-known Bach challenged the esteemed but conceited Marchand to a musical duel, and it is said that the challenge was accepted.
Such duels were popular and common in those times – the musicians competed by exchanging melodies, then improvising on each other’s melodies. And to make the duel fair, the musicians also played their own melodies at the end – they were, of course, prepared for this.
However, the duel between Bach and Marchand never took place. On the eve of the duel, Marchand is said to have secretly listened to Bach’s playing. And realizing that he could only embarrass himself the next day, he hastily left Dresden during the night, without telling anyone or communicating otherwise. Thus, the duel never took place, and music historians have so far only speculated on what Bach played that evening, which put the great Marchand in such embarrassment.
Passacaglia is a French musical form, and its name originates from the Spanish language, meaning “to walk down the street.” The peculiarity of Bach’s Passacaglia is that it starts with an ostinato theme in the bass, with a simple melody, followed by twenty-one variations. It is presumed that Bach borrowed the first part of this melody from the French composer André Raison, while he slightly altered the melody in the second part. And it is precisely in this second part, composed of seven tones, that Bach hid an unusual message, which is read backward: Lo. Marchand – Hannes.
“Hannes” was a mocking term for people with foolish behavior, derived from “Johannes.” John the Baptist – Johannes – was beheaded.
The revelation of this message shows that Marchand’s mysterious departure is directly related to the Passacaglia. Bach intended to annoy Marchand by giving him a melody on which he would unknowingly improvise all the time on a message that says he plays headlessly – that’s what Bach also thought of Marchand’s playing.
Another interesting fact: Passacaglia also concludes unusually, with a rarely used chord of seven tones.
The probability that the message in the musical notation of Passacaglia is a coincidence is 2 x 10-13, which is much smaller than the probability that the first part of this melody aligns with Raison’s melody entirely by chance. The hidden code is mathematically perfect in its notation, as it leaves nothing to free assumption or interpretation. Those who do not believe should try to find the name of any other musician with at least five letters anywhere in the Passacaglia. Even if this were successful, it should be realized that the probability of this coincidence is still much higher than the probability of coincidence in the message revealed by Life.