Kabinettstückchen im Klavierkanon - Muzio Clementi: Canone (Gradus ad Parnassum II, 1828) und Edvard Grieg: Canon a 4 voci (1860)

av Joachim Brügge

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Joachim Brügge

Prof. Dr Joachim Brügge earned his diploma in music theory from Musikhochschule Lübeck in 1985, followed by a PhD from Georg-August-University Göttingen (1993) and Habilitation: University Mozarteum Salzburg (2002). His topics are music-history of the 18th to 20th century, (W. A. Mozart, Jean Sibelius, Wolfgang Rihm, analyses and hermeneutic aspects, etc.). Important publications are Wolfgang Rihms Streichquartette. Aspekte zu Analyse, Ästhetik und Gattungstheorie des modernen Streichquartetts (Saarbrücken 2004); mit Gernot Gruber (Editor), Mozart Lexikon (=Das Mozart-Handbuch, hg. von Gernot Gruber, in Verbindung mit Dieter Borchmeyer, Bd. 6), Laaber 2005; Jean Sibelius: Symphonien und Symphonische Dichtungen (München 2009); mit Ulrich Leisinger (Editor) and Aspekte der Haydn-Rezeption (klang-reden, Bd. 6. Schriften zur Musikalischen Rezeptions- und Interpretationsgeschichte), Freiburg i.Br. u.a. 2011.

English abstract

The surprising discovery of two canons from Muzio Clementi: Canone (Gradus ad Parnassum II, 1828) and Edvard Grieg: Canon a 4 voci (1860) shows a rare model of construction of a four-voice-canon for piano (four voices in I-IV-V-I, instead of I-V-I-V). The article discusses details of form and construction of these two canons, in relation to the canon- and fugue-theory of the 19th century. In both cases it is remarkable how the respective composers deal with this unusual form and the limits of the piano (for example the playabilty of the four voices). Perhaps Grieg had known the canon by Clementi – his canon looks like a counterpoint-work of a young student making fun of the `serious schoolŽ of counterpoint Grieg learned in Leipzig. Clementi’s canon, however, is of greater dimension and ambition.

Keywords:Clementi,Grieg,canon,four voices,form,construction