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Canon D

Canon D

With this work, Pachelbel, who was born in Nuremberg, created one of the most popular orchestral pieces of the baroque period. In the canon two of the strictest contrapuntal forms are combined: The three violin parts form anextensive canon with entries of two bars distance. To this, a ground bass (basso ostinato) has been added repeating its two-bar tone formula 28 times. The technical mastery of the piece can be ad-mired just as much as its effectlies in the melodic and sensuous power of its string tones. The modest technical demands on the musicians are diametrically opposed to the compositional level: they do not go beyond the third position.

SEK 192.00
1

Canon D

Canon D

While Pachelbel has been most admired as a composer of organ works and Lutheran church music, his Canon in D has long been one of his most celebrated compositions. It combines two time-honored compositional devices. The firstof these is of course the canon, a procedure whereby a melody in one part is strictly imitated by one or more other parts; a round (such as, for example, Frère Jacques) is a type of canon. The second device involves a shortbass line (refeered to as a ground bass) that is repeated constandly, over which the composer writes continuous variations. In its original form, the work consists of an initial statement of an eight note ground bass, followedby27 variations in strict canonic style for three violins above that bass. In addition to these four essential parts, an appropriate harmonic background would have been improvised on harpsichord, lute or organ. In thepresent arrangement, Pachelbel's note values have been doubled for greater ease of reading, and the work's canonic structure has been somewhat modified in order to make it more readily playable by violinists and pianists at anintermediate level. Since dynamics, bowing indications, articulations, and slurs were not customarily provided by composer of the Baroque era, the arranger and the editor have added them here, as well as a metronome indication anda few cadential trills. Obviously these editorial additions should be regarded only as suggestions.

SEK 112.00
1

Elliott Carter: Canon For Three Equal Instruments 'In Memoriam Igor Stravinsky' (C and B Flat Parts)

Elliott Carter: Canon For Three Equal Instruments 'In Memoriam Igor Stravinsky' (C and B Flat Parts)

Composer's NoteThe Canon For Three - In Memoriam Igor Stravinsky (for three equal instrumental voices: at the augmented fourth by inversion and at the unison) was composed for one of the Stravinsky memorial issues of the English music magazine Tempo, at the request of David Drew, its editor.In proposing the canonic form to a group of European and American composers, he was following the lead of Stravinsky himself, who wrote a number of commemorative pieces in this form.This canon may be performed by three trumpets with different mutes; or by 1) muted trumpet, 2) Clarinet, 3) Oboe; or by any three instruments having the range of the score written in C.To facilitate performance, this edition contains 'playing scores' both in C and B-flat.

SEK 127.00
1