Award-winning Early music ensemble Voices of Music performs the second movement, Aria, from Johann Sebastian Bach’s orchestral suite in D Major, BWV 1068, popularly known as the “Air on the G-String,” using original instruments from Bach’s time.
Air on the G String is German violinist and teacher August Wilhelmj‘s (21 September 1845 in Usingen – 22 January 1908 in London) arrangement of the second movement in Johann Sebastian Bach’s Orchestral Suite No. 3 in D major, BWV 1068.
Air on the G-String by Johann Sebastian Bach
Johann Sebastian Bach is considered one of the greatest composers of the Baroque era and, indeed, of all time. His music is known for its technical brilliance, emotional depth, and artistic integrity. Among his most beloved compositions is the piece known as “Air on the G String,” which has captured the hearts of listeners around the world with its serene and elegant melody.
The “Air on the G String” is an arrangement derived from Bach’s “Orchestral Suite No. 3 in D Major, BWV 1068.” The original orchestral suite, composed between 1717 and 1723, was created during Bach’s tenure in the court of Prince Leopold of Anhalt-Köthen. Bach served as the Kapellmeister (music director) for the prince, and it was during this period that Bach focused intensely on secular music, as Prince Leopold was a Calvinist and did not require the regular church compositions that Bach was accustomed to producing in other roles. Bach’s orchestral suites from this period reflect the courtly elegance and sense of joyous celebration often associated with his secular works.
The third movement of the orchestral suite, simply titled “Air,” is the origin of what we now call “Air on the G String.” The “Air” movement is known for its lyrical, flowing melody, supported by a simple but effective harmonic structure. It is written in a slow tempo, creating a mood that is both graceful and introspective, while still retaining a sense of optimism. The original instrumentation for this movement includes strings and continuo, with the violins playing a central role in carrying the melody.
The Arrangement by August Wilhelmj
The piece became famous as “Air on the G String” thanks to the violinist August Wilhelmj, who made a significant and creative arrangement of the movement in the late 19th century. Wilhelmj was a talented violinist and an important figure in the classical music world of his time. In his arrangement, Wilhelmj transposed the piece from its original key of D major down to C major and lowered the melody by an octave. These changes allowed him to perform the entire melody on just the lowest string of the violin – the G string.
The G string of a violin is the thickest and produces a warm, rich, and resonant sound. By choosing to play the entire melody on this string, Wilhelmj achieved a deeper, more soulful tone that offered a different emotional quality compared to the original version. The richness of the G string added a certain intimacy to the music that listeners found captivating, and thus this particular rendition became very popular. Despite the beauty of this arrangement, a spurious story circulated for some time suggesting that Bach originally intended the “Air” to be played entirely on the G string, which is not true—this was purely Wilhelmj’s artistic interpretation.
Historical and Cultural Significance of Bach’s “Air”
Interestingly, the “Air on the G String” holds an important place in music history as it was the first work by Bach ever to be recorded. This recording took place in 1902 and featured Russian cellist Aleksandr Verzhbilovich accompanied by an unknown pianist. It was titled simply as the “Air from the Overture No. 3 in D Major, BWV 1068.” The fact that this was chosen as the first recording of a work by Bach speaks volumes about the widespread appeal and beauty of the piece even in the early days of recorded music.
The piece has since become synonymous with tranquility and is frequently used in various contexts beyond the concert hall. Its calm, reflective qualities have led to its inclusion in films, television, advertisements, and even weddings and funerals. It is versatile and poignant, able to evoke feelings ranging from nostalgia to peaceful contemplation. The “Air on the G String” has become one of the most recognized examples of Baroque music, beloved by classical music enthusiasts and casual listeners alike.
Musical Analysis
Musically, the “Air” from Bach’s orchestral suite is a testament to the beauty of simplicity. It follows a structure that is harmonically rich but not overly complex. The harmonic progression is a sequence of chords that support the lyrical melody, weaving a musical tapestry that feels both uplifting and soothing. This simplicity allows the beauty of the melody to shine, and the counterpoint—Bach’s signature compositional technique—is evident in the interplay of the instruments, creating a texture that feels lush and full despite the relatively small number of players.
Bach’s ability to blend structural precision with emotional expression is perfectly captured in the “Air.” The melodic lines are expressive, flowing seamlessly between tension and resolution, while the harmonic underpinning adds depth and richness without overpowering the gentle character of the piece. The result is music that feels effortlessly graceful yet profoundly moving, a hallmark of Bach’s genius.
Lasting Legacy
“Air on the G String” has endured for centuries because of its universal emotional appeal. It speaks to the human experience in a way that transcends language and culture, embodying the essence of Baroque music’s beauty and grace. Whether performed by a full string ensemble, as a solo violin piece or even adapted for other instruments, the “Air” continues to inspire and bring comfort to listeners everywhere. It stands as a testament to Johann Sebastian Bach’s mastery and the timeless nature of his work, reminding us of the power of music to convey the depth of human emotion.
Voices of Music
One of the most popular early music ensembles in the United States, San Francisco-based Voices of Music performs both Renaissance and Baroque music, drawing upon the many and varied sources for historical performance practice. Performances are primarily one-on-one, with an emphasis on combining instrumental and vocal styles of interpretation and ornamentation.
Voices of Music is a pioneer in digital technology for the arts, and more than 8,000 people watch concerts and programming from our ensemble each day–more than three million viewers a year. In addition to our acclaimed Concert Series in the San Francisco Bay Area, Voices of Music sponsors the Young Artist Program and the East Bay Junior Recorder Society.
Voices of Music is a Non-Profit 501(c)(3) organization.
Directors:
- Hanneke van Proosdij
- David Tayler
The musicians and their instruments
- Carla Moore, baroque violin by Johann Georg Thir, Vienna, Austria, 1754
- Maxine Nemerovski, baroque violin by Timothy Johnson, Indiana, 1999 (after Stradivarius)
- Elizabeth Blumenstock, baroque violin by Andrea Guarneri, Cremona, 1660
- Kati Kyme, baroque violin by Johann Gottlob Pfretzichner, Mittenwald, 1791
- Lisa Grodin, baroque viola by Mathias Eberl, Salzburg, Austria, 1680
- William Skeen, five-string baroque cello, Anonymous, Italy, c1680
- Farley Pearce, violone by George Steppani, Manchester, 1985, after Amati, 1560
- David Tayler, archlute by Andreas von Holst, Munich, 2012 after Magno Tieffenbrucker, Venice, c1610
- Hanneke van Proosdij, baroque organ by Winold van der Putten, Finsterwolde, Netherlands, 2004, after early 18th-century Northern German instruments
Sources
- Air on the G-String on Wikipedia
- “How ‘Air on the G String’ got its name” on the 8 Notes website
- “Bach’s Air On The G String: The Listen Guide” on the Classical Beatz website
- “The Meaning Behind The Song: Air on a G String by Johann Sebastian Bach” on the Beat Crave website
- “Bach: Air on the G String” on the University of California website
so cool!
Thanks for watching!
Maravilloso!
Thanks for watching, Gabriela!