🇬🇧 Aria on the fourth string by J. A. Bach 🇪🇦 Aire en la cuarta cuerda de Bach

The air on Bach’s fourth string is not a composition in its own right by the great musician of the Baroque period as perhaps someone may think, but is part of a Suite, Suite n.3 in D Maggiore BWV 1068 which in turn is part of a collection of four orchestral suites cataloged as BWV 1066-1069, composed by Johann Sebastian Bach between 1721 and 1730 approximately. 3 in D Major BWV 1068 was written by Bach when he was in Leipzig (Germany), here the great musician occupied the prestigious position of musical director of the main churches of the city, a position he held from the spring of 1723 until his death in 1750 .

These years of Leipzig are often associated with Bach’s choral masterpieces such as The Passion of St. Matthew or the Mass in B minor and with the writing of most cantatas. Yet despite the heavy workload that Bach had in this period, his liturgical responsibilities involved not only composing new music but also preparing and supervising artists, teaching young students, managing programs, etc. .

In 1729 Bach began directing a civic institution called Collegium Musicum, founded by Georg Philipp Telemann in the early 18th century, an ensemble of local musicians who met every Friday to play at Café Zimmermann, a venue close to Leipzig’s central market. , which Bach immortalized in his Kaffeekantate BWV 211.

Conducting this Collegium Musicum gave the composer the opportunity to introduce and rehearse his instrumental pieces from the 1730s and 1740s. Here, Bach, may have “tested” the Orchestral Suite no. 3 in D major, BWV 1068 with the well-known Aria on the fourth string.

The Suite n. 3 provides a broad demonstration of Bach’s compositional genius. This is entertainment music, full of melodic beauty, rhythmic vigor and joyful spirit. In fact, the various types of dances of the time are an integral part of the suites, as well as in many other Bach compositions that remind us of the importance of Bach’s spiritual and intellectual thought. The Third Suite represents a more enjoyable and relaxed about what is usually found in Bach’s compositions, but without renouncing his usual high standard of quality and technique that with the Zimmermann musicians who played for him, he could certainly afford
The Suite n. 3 was written for three trumpets, timpani, two oboes, two violins, viola and basso continuo and is made up of five movements: Ouverture, Aria, Gavotta I and II, Bourrée I and II and the final Giga. The second movement, Aria, only includes a string of strings, and it is this Aria that was nicknamed Aria on the fourth string (Air on the G String) after the famous German violinist August Wilhelmj made it an arrangement for violin and piano.
Wilhelmj, born on September 21, 1845 in Usingen and died in London on January 22, 1908, reorganized Bach’s piece by moving it from key to king, and lowering it by one octave so that the melody could be played entirely on the G string, the fourth string of the violin. Hence the nickname Aria on the fourth string.

On the side we find the page of the Aria movement from the manuscript of the copyist Christian Friedrich Penzel of about 1754 which is located at the Staatsbibliothek zu Berlin and which you can download for free on the site http://imslp.org

Not surprisingly, this has become one of the greatest hits of the Baroque era.The great success of Baroque music Aria on Bach’s fourth string has also become a rock classic, thanks to Procol Harum’s riff on the motif of A Whiter Shade of Pale.

Curiosity
Aria on the fourth string is also very famous in the version of the Swingle Singers that the famous Italian popularizing journalist Piero Angela chose as the theme song for Quark over twenty years ago.
And here I post the video of the transmission in which Piero Angela invites the Swingle Singers to Quark where they sing the Aria on the Fourth String live and tell some secrets of their “a cappella singing”.

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Aire en la cuarta cuerda de Bach

L’aire en la cuarta cuerda de Bach no es una composición separada del gran músico del período barroco como quizás alguien piense, sino que es parte de una Suite, Suite n. 3 en D Maggiore BWV 1068, que a su vez es parte de de una colección de cuatro suites orquestales catalogadas como BWV 1066-1069, compuestas por Johann Sebastian Bach entre 1721 y 1730 aproximadamente. 3 en re mayor BWV 1068 fue escrito por Bach cuando estaba en Leipzig (Alemania), aquí el gran músico ocupó el prestigioso puesto de director musical de las principales iglesias de la ciudad, cargo que ocupó desde la primavera de 1723 hasta su muerte en 1750 .

Estos años de Leipzig a menudo se asocian con las obras maestras corales de Bach como La Pasión de San Mateo o la Misa en si menor y con la escritura de la mayoría de las cantatas. Sin embargo, a pesar de la gran carga de trabajo que tenía Bach en este momento, sus responsabilidades litúrgicas involucraban no solo componer música nueva sino también preparar y supervisar artistas, enseñar a jóvenes estudiantes, administrar programas, etc. .

En 1729, Bach comenzó a dirigir una institución cívica llamada Collegium Musicum, fundada por Georg Philipp Telemann a principios del siglo XVIII, un conjunto de músicos locales que se reunían todos los viernes para tocar en el Café Zimmermann, un lugar cercano al mercado central de Leipzig. , que Bach inmortalizó en su Kaffeekantate BWV 211.

La realización de este Collegium Musicum le dio al compositor la oportunidad de presentar y ensayar sus piezas instrumentales de las décadas de 1730 y 1740. Aquí, Bach, puede haber “probado” la Orchestral Suite no. 3 en re mayor, BWV 1068 con la conocida Aria en la cuarta cuerda.

La Suite n. 3 proporciona una amplia demostración del genio compositivo de Bach. Es música de entretenimiento, llena de belleza melódica, vigor rítmico y espíritu alegre. De hecho, los diversos tipos de bailes de la época son una parte integral de las suites, así como en muchas otras composiciones de Bach que nos recuerdan la importancia del pensamiento espiritual e intelectual de Bach. La Third Suite representa una experiencia más agradable y divertida. relajado sobre lo que generalmente se encuentra en las composiciones de Bach, pero sin renunciar a su alto nivel habitual de calidad y técnica que con los músicos de Zimmermann que tocaron para él, sin duda podría permitirse
La Suite n. 3 fue escrito para tres trompetas, timbales, dos oboes, dos violines, viola y bajo continuo y se compone de cinco movimientos: Ouverture, Aria, Gavotta I y II, Bourrée I y II y el Giga final. El segundo movimiento, Aria, solo incluye una cadena de cuerdas, y es esta Aria la que recibió el apodo de Aria en la cuarta cuerda (Air on the G String) después de que el famoso violinista alemán August Wilhelmj hiciera un arreglo para violín y piano.
Wilhelmj, nacido el 21 de septiembre de 1845 en Usingen y muerto en Londres el 22 de enero de 1908, reorganizó la pieza de Bach moviéndola de la llave al rey, y bajándola una octava para que la melodía se pudiera tocar completamente en la cuerda G, La cuarta cuerda del violín. De ahí el apodo de Aria en la cuarta cuerda.

En el lateral, encontramos la página del movimiento Aria del manuscrito del copista Christian Friedrich Penzel, de aproximadamente 1754, que se encuentra en el Staatsbibliothek zu Berlin y que puede descargar gratuitamente en el sitio web http://imslp.org

No es sorprendente que este se haya convertido en uno de los grandes éxitos de la era barroca. El gran éxito de la música barroca Aria en la cuarta cuerda de Bach también se ha convertido en un clásico del rock, gracias al riff de Procol Harum en el motivo de A Whiter Shade de pálido.

Curiosidad
Aria en la cuarta cuerda también es muy famosa en la versión de los Swingle Singers que el famoso periodista popular italiano Piero Angela eligió como tema musical para Quark hace más de veinte años.
Y aquí publico el video de la transmisión en la que Piero Angela invita a los Swingle Singers a Quark, donde cantan en vivo la Aria en la Cuarta Cuerda y cuentan algunos secretos de su “canto a cappella”.

Follow me please! A big hug! 🤗

⬇️ https://twitter.com/PierPaoloMacca/status/1238358728610635777?s=19
✉️maccarronepierpaolo@gmail.com

My Life

PIER PAOLO MACCARRONE born in Catania in 1978 undertook the study of the cello at the age of 10 under the guidance of maestro Alfredo Borzì. He then continued his musical studies at the V. Bellini Music Institute in Catania with the teachers Giuseppe Rizzari, Paolo Ognissanti and for a long time with the teacher Benedetto Munzone under whose guidance he graduated. Later he perfected himself at the Hipponiana Academy of Reggio Calabria with the masters Arturo Bonucci, Claudio Marini, Demetrio Comuzzi and Luca Signorini and at the Music Academy of Santa Cecilia with the maestro Francesco Strano. Also in November 2004 he graduated in Pharmacy with specialization in phytotherapy at the University of Catania. In March 2007 he graduated in Music Disciplines from the V. Bellini Music Institute in Catania. In June 2010 he graduated with a II level qualification to teach the cello in secondary schools. In July 2010, to study the conducting in greater depth, he attended a master class held by the illustrious maestro Daniele Belardinelli. In October 2010, under the guidance of maestro Antonio Mosca, he obtained the qualification for teaching cello with the Suzuki method in Turin at the Italian Suzuki Institute. In recent years he has deepened the study of the execution practice on ancient instruments and at the Vincenzo Bellini Conservatory in Palermo he achieved the II level Degree in Baroque Cello and Basso Continuo at the Vincenzo Bellini Conservatory in Palermo and in 2017 under the guidance of the maestro Cristiano Contadin the first level Degree in Viola da gamba. He attended the Music Interpretation Course held by the famous conductor Francisco Navarro Lara and the Conducting course held by him in the “Escuela de Dirección de Orchestra y Banda” of Huelva in Spain endorsed by ABRSM (Royal College of Music of London) and in August 2019 he obtained the Advanced Diploma. In December 2022 he took the exams to obtain LRSM (Licentiate of the Royal School) in Orchestral Conducting from the Royal College of Music in London. He also attended masterclasses of Cello and Chamber Music with the teachers: A. Niculescu, M. Kougel, V. Taddeo, A. Meunier, S. Laffranchini, E. O. Hutter, R. Bovino and W. Ranck, M. Flaksman , M. Chen, L. Toten, A. Lefevbre, V. Pavlov, E. Bronzi, R. Filippini, B. Canino, S. Girscenko. Winner in numerous national and international competitions such as: Magma di Gravina of Catania, “Alfio Pulvirenti” from Comiso, “P. Mandanici “City of Barcellona Pozzo di Gotto (Messina)” Luigi Denza “of Castellammare di Stabia, Campobello di Licata (Agrigento), City of Palmi (Reggio Calabria), Competition” B. Albanese ”City of Caccamo (Palermo). Awarded in the following music competitions: FIDAPA SICILY “Young Talents”, “Dino Carovita” of Fusignano (Ravenna), Young Musicians “Napolinova”, “City of Palermo”, “B. Albanese ” in Caccamo, Promenade of Vibo Valenzia, City of Massafra (Taranto), TuttArte of Catania, City of Sol of Portopalo di Capopassero, National Music Competition Amygdala – Giuseppe Raciti Prize of Viagrande (Catania), International Music Competition” Lucio Stefano D’Agata ” of Acireale (Catania), National Music Competition “Salvatore Gioia” of Villarosa (Enna). Having supported the selections at the RAI TV Studios in Naples, he was eligible for auditions for the Italian Youth Orchestra of Fiesole for the academic year 2002-2003. He has performed in numerous concerts as a soloist and in orchestral training in numerous Italian and foreign cities such as: Catania, Syracuse, Ragusa, Palermo, Enna, Caltanissetta, Agrigento, Messina, Sorrento, Reggio Calabria, Naples, Macerata, Camerino, Perugia, Turin, Lucca, Florence, Cividale del Friuli, Rome, Graz, Nancy, Huelva, Palos with famous soloists such as: G. Sobrino, L. Degani, S. Zorza, P. Berman, S. Pagliani, C Marini, J. Lee, B. Giraud, A. Niculescu, E. Ligresti, D. Comuzzi, D. Schillaci, L. Aliberti, S. Piazzola, L. Lanzarini, K. Ricciarelli, M. Giordani, S. Girscenko , C. Gigli, M. Drapello, D. Russo, G. Di Stefano, D. Sinkosky, Luis Santana, Montserrat M. Caballè. He has collaborated with renowned directors R. Muti, C. Rizzari, T. Bugaj, M. Brousseau, O. Pulin, S. Ranzani, D. Soga, C. Volpini, G. Latil, W. Themel, G. Meditz , C. Patanè, G. Bufalini, M. Incarbone, A. Florio, Montserrat De La Cruz, C. Cavero Garcia, G. Estrada, J. Rodriguez, M. Baghboudurian, Juan Carlos Dos Santos, Leandro Botto Schuhmacher, F. Navarro Lara, Elisabetta Maschio. He has published books for publishing houses: Simple from Macerata, BookSprint from Salerno. In recent years he has achieved some qualifications for teaching Cello, Theory, Rhythm and Musical Perceptions and Ensemble Music for Bowed Instruments in the Music Conservatories of Palermo, Vibo Valentia, Reggio Calabria, Trento, Avellino, Trapani, Cesena, Lucca, Cagliari, Verona, Vicenza at the Pareggiato Musical Institute of Ancona, at the G. Paisiello Pareggiato Musical Institute of Taranto, at the “Rinaldo Franci” Higher Institute of Musical Studies of Siena, at the Riccardo Zandonai Civic School of Rovereto (Trento) , At the G. Verdi Civic School of Music in Prato (Firenze), at the Musical Institute Città di Noto, at the Regina Margherita Music High School of Palermo and at the “Dante Alighieri” Musical High School of Enna.

He plays on a 1985 cello of the Stöhr Baieridori-Igelidori of Zurich, Stradivari model, on a 1994 cello by Luthier Claudio Giurba, Guarneri del Gesù model, and on a French low-leg viola model Jaye of Luthier Nicola Vendrame of 2008. He has been associated with S.I.E.M since 2008 and with the Suzuki Italia Institute since 2007.

In 2007 he founded the Suzuki Cello School of Catania. Some students of this have already distinguished themselves in music festivals of national importance such as: Regional Music Festival “Musical Meetings” promoted by Camerata Accentus in S. A. Li Battiati and in Trecastagni; Review for Young Musicians promoted by A.M.E.A. Mascalucia at the Expo Pedara exhibition center; they were also suitable in auditions for prestigious youth orchestras such as the Junior Orchestra of the National Academy of Santa Cecilia in Rome. Some students were also awarded in some music competitions such as: “Alfio Pulvirenti” of Comiso (Ragusa), “Placido Mandanici” of Barcellona Pozzo di Gotto (Messina), National competition “Nellina Cappellani-Costa” of Catania, Music Competition “Vittorio Blanco” of San Gregorio; Amigdala School Competition “Giuseppe Raciti” prize promoted by the Amigdala association of Viagrande (Catania).

President of the A.M.A.C. Association since 2010 (Music and Art Association) of Gravina in Catania which deals with promoting musical editions and the diffusion of music in the Sicilian territory, organizing courses on musical instrument, theory and propaedeutics (with particular attention to teaching at an early age and to study and performance practice of Baroque music) and musical events such as: Classical music concerts, five editions of the “Nellina Cappellani Costa” Music Competition and two editions of the Santa Cecilia Music Festival at the Rex Theater in Giarre in collaboration with the Music Academy Etnea Santa Cecilia in Giarre (Catania). The association actively collaborates with the Haffner Orchestra of Catania and has collaborated with: the S. Giorgio Polyphonic Choir, the Sicilian Grand Opera Choir, Banca Mediolanum, Physics Department of the University of Catania, Municipality of Catania – Municipality II, AFEM (Euro Mediterranean Festival Association) for the organization of concerts at the Ancient Theater of Taormina in the summer season of 2017 in concert with the Haffner Orchestra in the concerts “Hollywood Music Movie” and “Opera Gala I & II” alongside internationally renowned singers such as Gonga Dogan, Filippo Micale, Giovanni Di Mare and Maria Ratkova; he also collaborated with the “L’Impulso” Association of Acireale and recently with Inside Events.
The A.M.A.C. association It also collaborates with numerous charitable and voluntary associations of the Sicilian territory such as: the non-profit association “Progetto Madagascar” of Messina, the non-profit association “Anfass” of Messina, the Donors Association San Marco of Catania, AVIS of Catania, Caritas of Catania.
He has recorded for the record companies PDR of Catania and Shine Records of Ragusa. He is co-author of two books with the famous conductor F. Navarro Lara bestsellers on Amazon “El Gran Libro de la Interpretation Musical” and “La Forja de un Maestro” published in 2018. From 2019 they are available in three languages (English, Spanish and Italian) on Amazon also in e-book format his books on the cello, on the bow, on their history and structure and on the Six Suites by J. S. Bach for solo cello.
He participated in the Cumbre Mundial de Dirección Orquestal 2018 and 2019 in Huelva and he also performed as the cello of the O.I.D.O. (International Orchestra of Conductors) also interpreting Haydn’s Cello Concerto in C major conducted by Monserrat De La Cruz. In March 2019 he founded the “Vincenzo Bellini” Chamber Orchestra of Catania of which he is director, the orchestra composed of young talents from the Sicilian territory debuted in the Opening Concert of the Holy Week Rites of Enna flanked by the Band Band “City of Enna ”and from the Polyphonic Choir Passio Hennensis of Enna with unanimous approval.
In May 2020 he obtains the Mindfullness Educator certification recognized by IPHM Holistic Accredited Board and becomes a member of the International Practitioners of Holistic Medicine. He was a cello teacher at the Didactic Center of Catanzaro – “Fausto Torrefranca” Conservatory of Vibo Valentia. From 2011 to 2015 was engaged in the Cello Suzuki Music Workshop at the “Michelangelo Virgillito” Primary School in Paternò. Later he taught violoncello at the Liceo Musicale of Enna, at the laboratory of musical instrument of the III Scholastic Institute of Giarre and at the laboratory of musical propaedeutics promoted by the School of Music Mousikè of Enna. He also taught cello with the Suzuki method at the Bruno Maderna Conservatory of Music in Cesena.

He teached cello in sicilian Secondary School: “F. Petrarca”, “Montessori-Mascagni” in Catania, “De Cruyllas” in Ramacca (Catania) and currently in “Don Lorenzo Milani” Secondary School in Misterbianco (Catania).

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