Bach, JS :: Musikalisches Opfer [Musical Offering] Volume III - Kanons [Canons]

By means of the ten canonic movements, Bach exemplifies the various possibilities for the working out of the Thema Regium according to the strictest learned manner of imitative counterpoint, in the course of which the theme itself is subjected to a rhythmic-melodic metamorphosis. The canonic art of these movements returns to the model of the cycle of canons in Bach s personal copy of the Goldberg Variations which came to light in 1974. With the exception of No. 8, all the canons of the Musical Offering are notated in enigmatic form in the original print and require the correct resolution before they can be played. The original presents some movements as a closed group: canons 1 5 are so numbered, and form a sequence in the sense of increasing contrapuntal complexity, with the canonic fugue at their end.

The remaining four canons are spread out through the original print, and certainly the primary consideration in this regard was to fill up the empty space. In relation to the sequence of canons 1 6, the two canones perpetui (No. 7 and 8) together with the two movements under the title Quaerendo invenietis (By searching you will find) (No. 9 and 10) inevitably form a second group.

As lusus ingenii (intellectual games) the canons are primarily reading and thinking pieces, and only in two movements does the original print specify instrumental performance: No. 2 (two violins) and No. 8 (flute, violin, and continuo). The suggestions in this Barenreiter Urtext edition for instrumental performance of the canons, in contrast to ll previous arrangements, proceed from the principle that collected movements must be performable by the group of instruments specified directly or indirectly in the original. It is thus that the exclusive use of flute, 2 violins, continuo instruments and obbligato (preferably 2-manual) harpsichord results. The latter thereby takes the responsibility for all those voices which go beyond the range of flute and violin. The instruments are thus divided in such a way (following the model of canons No. 2 and 8) that account is taken of the contrast of settings between those voices that are bound to the theme and free contrapuntal voices. Where the range permits, the flute is always employed.

With regard to the suggested instrumental performance of the canons, several alternative possibilities exist which fall within the bounds laid out above. Thus, fundamentally all the violin parts can be performed by a flute, and vice versa. Canon No. 1 can, moreover, be played by the two violins, although there is no case by Bach to serve as a precedent for such a violin duo.

This edition includes a complete score (used by keyboardists) and pull-out parts for violin 1, violin 2, flauto traverso, and single-voice basso continuo.

Table of Contents

1. Thematis Regii - Elaborationes Canonicae
   1. Canon a 2 cancrizans (keyboard)
   2. Canon a 2 Violini in unisono (2 violins, basso continuo/keyboard)
   3. Canon a 2 per Motum contrarium (flute, keyboard)
   4. Canon a 2 per Augmentationem, contrario Motu (violin, keyboard)
   5. Canon a 2 per Tonos (violin, keyboard)
2. Fuga canonica in Epidiapente (flute, violin, basso continuo/keyboard)
3. Canon perpetuus super Thema Regium (violin, keyboard)
4. Canon perpetuus (flute, violin, basso continuo/keyboard)
5. Quaerendo invenietis
   1. Canon a 2 (keyboard)
   2. Canon a 4 (2 violins, keyboard)

Contents

• Canones divesi sopra Thema Regium
• Fuga canonica in Epidiapente
• Canon perpetuus super Thema Regium
• Canon perpetuus
• Quaerendo invenietis
• Canon a 2 cancrizans
• Fuga canonica in Epidiapente