Weiglsymmetry

Symmetry and symbolism in Weigl’s Sonata for Viola and Piano

Weigl’s Sonata demonstrates a fondness for symmetry and symbolism. The following table describes various conjectures observable from the new edition of the work produced by the Karl Weigl Association, licensed by ACE, published by ACA. This edition is largely based on a pre-1957 version and the last one also published by ACA. There are several cuts to the original manuscript, notably around bar 72 whose sacred significance is noted below – there might be extramusical, numerological reasons for these omissions.

Weigl	sonata for viola and piano		notes
	I: homogenised bar length: 4/4
key signature: German notation	duration
B	4½	24½
H	6
B	4½
E	6		The pink bars add up to 28 - the lunar month - Jewish calendar.
H/C	8
B	4		The green bars also add up to 28
D	14		Two extra bars found in the original manuscript (rehearsal no. 8) making 16 in total, destroys the symmetricl scheme common to all three movements - hence their removal.
D Moll	8
E	6
C Moll, Es Dur	25½
G	9		Also the length of two 4½ bar B sections framing the opening. Note also the close similarity between the lengths of the first three sections and the last three (with a one bar anomaly) although the total number of bars of these framing six sections does add up to a biblical 40.

Weigl	sonata for viola and piano	notes
	II: homogenised bar length: 4/4
key signature: German notation	duration
B	10
As	16
B	10
D	12
F	10
D	14
Transition	8	Excluding this transition, the main body of the Minuet adds up to 72: The 72 Names of God \| Live Kabbalah written about by the Maltese Kabbalsit Abulafia from Comino: Abraham Abulafia - Wikipedia
B	10
As	16
B	10	]

Weigl	sonata for viola and piano	notes
	III: homogenised bar length: 2/4
key signature: German notation	duration
B	64 (28/36)	The first six sections are multiples of 32 - Kabbalistic and Freemason favourite number - although the subdivision of this B section (28 bars) is nearly equivalent to the final C section (27 bars) which makes a link between the blue and pink sections.
E	32½	Three harmonic symmetries: E - F - E are mirrored by the next three: C - H - C and even another symmetry G - C - G spilling over into the last pink section.
F/E Moll	32 (16/16)
B	6	The pink bars add up to 28 - the lunar month - Jewish calendar.
H/C Moll	32 (20/12)
C	32
G Moll	43½	The pink section shifts the tonality towards G and also no longer relies on 32 as a measure of regularity.
C	27	The two sections in B = 70 (64+6) The G Moll and C sections = 70½ (43½ + 27)
G	12