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Pachelbel's Canon

(Redirected from Canon in D)

Canon in D (Pachelbel's Canon) (arrangement for solo piano)
Performed by Lee Galloway. Note that this arrangement is not exactly a canon like the original composition.
Canon and Gigue in D
Performed and realized on synthesizers by Jeffrey Hall.
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Pachelbel's Canon[1] is the most famous piece of music by German Baroque composer Johann Pachelbel. It was originally scored for three violins and basso continuo and paired with a gigue in the same key. Like most other works by Pachelbel and other pre-1700 composers, the Canon remained forgotten for centuries and was rediscovered only in the 20th century. Several decades after it was first published in 1919, the piece became extremely popular, and today it is frequently played at weddings and included on classical music compilations, along with other famous Baroque pieces such as Air on the G String by Johann Sebastian Bach.
Contents
[hide]

1 History
2 Analysis
3 See also
4 References
5 External links

[edit] History

Although Pachelbel was renowned in his lifetime for his chamber works (contemporary sources praise his serenades and sonatas), most of them were lost. Only Musikalische Ergötzung, a collection of partitas published ring Pachelbel's lifetime, is known, and a few isolated pieces in manuscripts. Canon and Gigue in D major is one of such pieces. A single manuscript of it survives, Mus.MS 16481 in the Berlin State Library, which contains two more chamber suites; another , previously kept in Hochschule der Künste in Berlin, is now lost.[2] The circumstances of the piece's composition are wholly unknown. One writer hypothesized that the Canon may have been composed for Johann Christoph Bach's wedding, on 23 October 1694, which Pachelbel attended. The music for the occasion was provided by Johann Ambrosius Bach, Pachelbel, and other friends and family members.[3] Johann Christoph Bach was a former pupil of Pachelbel's, and Johann Sebastian Bach's oldest brother.

The Canon (without the accompanying gigue) was first published in 1919 by scholar Gustav Beckmann, who included the score in his article on Pachelbel's chamber music.[4] His research was inspired and supported by renowned early music scholar and editor Max Seiffert, who in 1929 published his arrangement of Canon and Gigue in his Organum series.[5] However, that edition contained numerous articulation marks and dynamics not found in the original score; furthermore, Seiffert provided tempi which he considered right for the piece, but which were not supported by later research.[6] The Canon was first recorded in 1940 by Arthur Fiedler,[7] and the first famous recording[citation needed] of the piece was made by the Jean-François Paillard chamber orchestra.[8]

Over the years, the Canon has been arranged numerous times for a wide variety of ensembles. A non-original viola pizzicato part is also commonly added (in a string orchestra or quartet setting) when a harpsichord or organ player is not used to improvise harmonies over the bass line.[citation needed] The Canon's chord progression proved to be influential; it is used in many pop and rock songs[9], where the main theme[vague] (or the associated harmonic sequence) is frequently adapted (such as the piano break composed by George Martin for the Lennon–McCartney song "In My Life", from The Beatles album Rubber Soul (1965)), much like the opening of Bach's Toccata and Fugue in D minor, BWV 565. The gigue that originally accompanied the canon never received the same amount of popularity, even though it is a lively and energetic dance. This famous composition is also sampled in many songs through out the years, for example it is sampled on Akeem Ouellet's upcoming single "Stepping It Up".
[edit] Analysis

Pachelbel's Canon combines the techniques of canon and ground bass. Canon is a polyphonic device in which several voices play the same music, entering in sequence. In Pachelbel's piece, there are three voices engaged in canon (see Example 1), but there is also a fourth voice, the basso continuo, which plays an independent part.
Example 1. The first 9 measures of the Canon in D. The violins play a three-voice canon over the ground bass which provides the harmonic structure. Colors highlight the indivial canonic entries.

The bass voice keeps repeating the same two-bar line throughout the piece. The common musical term for this is ostinato, or ground bass (see Example 2). The chords suggested by this bass are:
Example 2. Ground bass of Pachelbel's Canon.
chord scale degree roman numeral
1 D major tonic I
2 A major dominant V
3 B minor submediant vi
4 F♯ minor mediant iii
5 G major subdominant IV
6 D major tonic I
7 G major subdominant IV
8 A major dominant V

Similar sequences appear elsewhere in classical music. Handel used it for the main theme and all variations thereof throughout the second movement of his Organ Concerto Op. 7 No. 5 in G minor, HWV 310.[10][not in citation given] Mozart employed it both for a passage in Die Zauberflöte (1791), at the moment where the three boys first appear and in the last movement of his Piano Concerto No. 23 in A major, K. 488 (1786).[citation needed] He may have learned the sequence from Haydn, who had used it in the minuet of his string quartet Opus 50 No. 2, composed in 1785.[citation needed] Neither Handel's, nor Haydn's, nor Mozart's passage is an exact harmonic match to Pachelbel's, the latter two both deviating in the last bar, and may in fact have arisen more prosaically from one of the more obvious harmonizations of a descending major scale. This sequence is known as a plagal sequence.[citation needed]

In Germany, Italy, and France of the 17th century, some pieces built on ground bass were called chaconnes or passacaglias; such ground-bass works sometimes incorporate some form of variation in the upper voices. While some writers consider each of the 28 statements of the ground bass a separate variation,[11] one scholar finds that Pachelbel's canon is constructed of just 12 variations, each four bars long, and describes them as follows:[12]

quarter notes
eighth notes
sixteenth notes
leaping quarter notes, rest
32nd-note pattern on scalar melody
staccato, eighth notes and rests
sixteenth note extensions of melody with upper neighbor notes
repetitive sixteenth note patterns
dotted rhythms
dotted rhythms and 16th-note patterns on upper neighbor notes
syncopated quarter and eighth notes rhythm
eighth-note octave leaps

Pachelbel's Canon thus merges a strict polyphonic form (the canon) and a variation form (the chaconne, which itself is a mixture of ground bass composition and variations). In this regard it is similar to the 13th century round Sumer Is Icumen In.[original research?] Pachelbel skillfully constructs the variations to make them both pleasing and subtly undetectable.[12]
[edit] See also

Discreet Music
Canon Rock (music)

[edit] References

^ Also known as Canon in D major or Canon and Gigue for 3 violins and basso continuo (German: Kanon und Gigue für 3 Violinen mit Generalbaß) (PWC 37, T. 337, PC 358).
^ Welter, Kathryn J. 1998. Johann Pachelbel: Organist, Teacher, Composer, A Critical Reexamination of His Life, Works, and Historical Significance, p. 363. Diss., Harvard University, Cambridge, Massachusetts.
^ Schulze, Hans-Joachim. Johann Christoph Bach (1671–1721) "Organist and Schul Collega in Ohrdruf", Johann Sebastian Bachs erster Lehrer, in Bach Jahrbuch 71 (1985): 70 and footnote 79.
^ Gustav Beckmann, “Johann Pachelbel als Kammerkomponist", Archiv für Musikwissenschaft 1 (1918–19): 267–74. The Canon is found on p. 271.
^ Perreault, Jean M. 2004. The Thematic Catalogue of the Musical Works of Johann Pachelbel, p. 32. Scarecrow Press, Lanham, Md. ISBN 0-8108-4970-4
^ Dohr, Christoph (2006), "Preface" (in German), Canon und Gigue für drei Violinen und Basso continuo (Urtext). Partitur und Stimmen, Dohr Verlag, ISMN M-2020-1230-7.
^ Daniel Guss, CD booklet to Pachelbel's Greatest Hit: The Ultimate Canon, BMG Classics (RCA Red Seal)
^ Paillard's recording, Medieval.org.
^ "Johann Pachelbel's Canon in D major and popular culture". Retrieved 2011-05-28.
^ Handel (PDF), Organ Concerto No. 11 in G minor, HWV 310, IMSLP, pp. 4–6.
^ Ewald V. Nolte and John Butt, "Pachelbel: (1) Johann Pachelbel", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001). ISBN 1561592390
^ a b Welter, Kathryn J (1998), Johann Pachelbel: Organist, Teacher, Composer, A Critical Reexamination of His Life, Works, and Historical Significance, Diss., Cambridge, Massachusetts, USA: Harvard University, pp. 207–8.

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