Kanon : für 3 Violinen und Bc Johann Pachelbel

Titel (DE): Kanon D-Dur -
Titel (EN): Canon D Major -
Titel (FR): Canon D Major -
Komponist / Composer: Pachelbel, Johann
Herausgeber / Editor: May, Helmut W.
Bearbeiter / Arranger:
Illustrator:
Opus:
Werkverzeichnis:
Besetzung / Instrumentation: 3 Violinen und Basso continuo oder Streichorchester / 3 violins and basso continuo or string orchestra
Besetzungsdetails:
Kompositionsjahr / Date of Composition:
Aufführungsdauer / Duration: 3'
Verlag / Publisher: Schott Music
Erscheindungsdatum / Date of Publishing: 30.06.1989
Ausgabe / Publication: Stimmensatz - Set of parts - je 3 Violinen I-III, 3 Violinen ad lib., 2 Violen ad lib., 3 Violoncelli/Kontrabässe
each 3 violins I-III, 3 violins ad lib., 2 violas ad lib., 3 cellos/double basses - - -
Seiten / Pages: 70
Verarbeitung: Kunststoff - Plastic cover
Schwierigkeitsgrad / Difficulty: mittelschwer - intermediate - moyen
Sprache / Language:
Reihe / Series:
ISMN: M-001-02321-4
ISMN-13: 979-0-001-02321-4
ISMN-EAN: 9790001023214
UPC:

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 an extensive 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 effect lies 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.

[FR]
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 an extensive 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 effect lies 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.