The Father Of Music

THEME: LISTEN TO THE MUSIC, ENJOY ITS COLOURS (FRAGMENTS OF MUSICAL WORKS).TITLE: THE FATHER OF MUSIC (Aria of suite nº 3 by Johann Sebastian Bach. Tempo Adagio. Metre: 4/4, key: D major. Fragment: from metre 1 to 6, repeating to the beginning until THEME: LISTEN TO THE MUSIC, ENJOY ITS COLOURS (FRAGMENTS OF MUSICAL WORKS).

TITLE: THE FATHER OF MUSIC (Aria of suite nº 3 by Johann Sebastian Bach. Tempo Adagio. Metre: 4/4, key: D major. Fragment: from metre 1 to 6, repeating to the beginning until metre 3 inclusive).

TECHNIQUE: Mixed technique on wood.

SIGNED: 15 / 12 / 2006

DIMENSIONS: Wood 123x72 cm. 1 cm. thick.

COMMENTARY: Johann Sebastian Bach is one of the greatest and most influential composers in the history of music. A lot of his works reflect a great and profound intellect, emotional expression and above all, the very highest command of technique.
In my painting I have represented a small fragment of one of his best known works: Aria of suite nº 3. Adagio with a soft, fresh melody in turquoise blue accompanied by the continual bass so characteristic and important for this great composer, considered the father of music. A bass represented with its musical values in the painting and, with some warm earthy colours, which go from greyish-brown in the lowest notes, passing to a carmine-tanned sienna then reaching a reddish brown, in contrast with the melody.

DESCRIPTION OF THE PAINTING: THE FATHER OF MUSIC. ARIA OF SUITE Nº 3 BY JOHANN SEBASTIAN BACH


Johann Sebastian Bach, as I said to you in the commentary, is one of the greatest and most influential composers in the history of music. Lots of his works reflect a very deep intellect, emotional expression and above all, the highest command of technique.
In my painting I have represented a small fragment of one of his best known works: Aria of suite nº 3.
I paint a background of warm orangey colours, which begin in the lower part with the darkest colour, a colour between tanned umber and reddish tanned sienna; as we go up, we pass the red and orangey colours which become a salmon colour in the top part.
For this Adagio with this fresh soft melody I have painted notes (figures from C 4 to C 6) with a turquoise blue colour, which begins in its darkest colour from C 4 and getting clearer towards the top, dirtying the notes with the background colour (salmon colour).
In the notes of the lowest, low and middle register (continuous bass melody, so characteristic and important for this great composer, considered the father of music), I use a succession of warm colours which are more intense and darker than the colours of the background, which go from a natural umber colour in the lowest notes, passing through some carmine browns to reach the reddish siennas, these notes also contain brush strokes of the colour of the background. I have wanted to represent this so very important continuous bass in the painting, adding the musical bars (stems) of the notes with their musical values (quavers and semiquavers), some large musical bars which take up three quarters of the painting and, in the lower part form a zig-zag drawing.
In the central part of the painting I represent the face of Bach, embossed on the wood and in negative, with a greyish-blue colour. The notes and musical bars (stems) which are above his face I paint in the same colour as the background so as not to take away from the portrait.
In this music-colour relationship I use some colours for the melody and other colours for its accompaniment, represented with its musical values, given the importance this has. A fresh soft melody in turquoise blue colour in contrast brought about by complementary warm colours in the background and the continuous bass. I paint the musical bars in the lower central part beginning with the colour of clear ivory which moves to the left and right into ochre and earth colours darkening the colour, and which returns to become its clearest colour (ivory) at the sides of the painting. In the middle of the painting more or less, and about the musical bars which are at each side of the portrait, and following a line going down and up, I paint the musical bars with the turquoise blue of the melody, with its clearest colour to the sides of the face and turning to its dark colour at the sides of the painting.
With all this I am able to illuminate some points of the painting, create contrast through complimentary colours and through tones between the musical bars and create contrast through complimentary colours between the musical bars of turquoise blue and the background, obtaining a better composition of colour in general between the cold colours (blues) and the warm colours (earth and oranges) giving more life to the whole painting.

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